Category Archives: Feature Articles

The Library as Artist’s Studio: Where Information Serves Inspiration

Jenny Scheinman and Lisa McCarty
Composer, singer, and violinist Jenny Scheinman (right) talks with Lisa McCarty (left), curator of the Archive of Documentary Arts. Scheinman was commissioned by Duke Performances to write an original work inspired by the Depression-era films of North Carolina filmmaker H. Lee Waters.

By Aaron Welborn

The last few years have seen the blossoming of a vibrant arts scene at Duke. From major exhibitions at the Nasher Museum of Art to a new experimental and documentary arts MFA program, the arts have been taking center-stage on campus, and the university is investing more than ever in making them an integral part of the Duke experience.

The same trend can be seen here in the Libraries, where we hosted our first visiting artist-in-residence this year and witnessed the development of two original works of art inspired by archival collections. This is a different side of the library than most people normally see or think about—not the sanctuary of quiet study and serious scholarly work, but the “maker-space” of raw source material and artistic incubation.

“The greatest part of a writer’s time is spent in reading, in order to write,” said the great Samuel Johnson. “A man will turn over half a library to make one book.” He might have said the same about making one piece of music, or one play, or any other work of art. Creativity needs something to play with. And for many artists, no matter the media in which they work, the library is an open studio.

Here’s a look at three recent projects at Duke that celebrate the fruitful intersection of art and archives.

Steve Roden Image
Steve Roden visited Duke this fall as the inaugural Barbaralee Diamonstein-Speilvogel Visiting Artist.

So Many Ways To Do Research

Steve Roden is a visual and sound artist based in Pasadena, California. His work includes painting, drawing, sculpture, film, video, sound installations, text, and performance pieces. Roden has shown and performed his work around the world, and his pieces are included in the permanent collections of the Los Angeles County Museum of Art, the Museum of Contemporary Art in San Diego, and the National Museum of Contemporary Art in Athens, Greece, among other places.

This October, Roden spent three weeks at Duke as the inaugural Barbaralee Diamonstein-Spielvogel Visiting Artist. Named in honor of Dr. Diamonstein-Spielvogel, a prolific author, interviewer, and champion of the arts, this new biennial artist-in-residence program provides an extended opportunity for an artist to study and engage with collections in the David M. Rubenstein Rare Book & Manuscript Library. The fellowship is open to artists working in all media, and fellows are given free rein to explore more than twenty centuries worth of history and culture represented in the collections of the Rubenstein Library.

During his first week on campus, Roden was treated to a parade of treasures from the Rubenstein Library’s holdings. A team of curators assembled selections of their favorite rare books, documents, and artifacts, ranging from ancient papyri and medieval medical treatises to the records of twentieth-century human rights organizations.

“It was like having dessert for every meal,” said Roden, who was a bit overwhelmed by the possibilities.

“Ever since I was young, I tended to like things older than me,” he said. “I have a fondness for old paper and things that decay.” Some of the archival materials brought out for Roden to investigate were related to things he collects on his own, like old photographs and sound recordings. Others took him by surprise, like the haunting illustrations from a sixteenth-century work on eye surgery.

This was not the first time Roden had gone fishing for ideas in archival waters. In 2011, he traveled to Berlin for a month-long residency at the Akademie der Künste, where he had been invited to work with the papers of the literary critic, philosopher, and translator Walter Benjamin. It was an unusual assignment, since Roden neither speaks nor reads German. Instead, he turned his eye toward the visual elements of Benjamin’s papers. The result was a series of works in multiple formats, entitled Ragpicker, inspired by the color-coded symbols Benjamin used to organize and annotate his work. Selections from Ragpicker were featured in solo exhibitions last year in New York and Los Angeles.

Works from Roden's Ragpicker series, which was inspired by the papers of literary critic, philosopher, and translator Walter Benjamin.
Works from Roden’s Ragpicker series, which was inspired by the papers of literary critic, philosopher, and translator Walter Benjamin.

During his residency at Duke, Roden gave a public talk about the experience of working with Benjamin’s papers and how they had inspired a body of creative work. The rest of his time he spent working in the Rubenstein Library reading room, taking notes, making sketches, consulting different sources, meeting with students and faculty, and letting his curiosity guide him. “There are so many different ways you can do research,” he said.

It’s too early to say what Roden’s brand of research will unearth. But we look forward to inviting him back to show us what he discovered in the archives that we didn’t know was there.

11-20-14 William Tyler Publicity Photo
Duke Performances commissioned acclaimed Nashville solo guitarist William Tyler to compose original music inspired by the Civil War photographs of Alexander Gardner and George N. Barnard. Image courtesy of Duke Performances.

A Present Part of History

In 2013, the Rubenstein Library’s Archive of Documentary Arts celebrated two noteworthy acquisitions. Alexander Gardner’s Photographic Sketch Book of the Civil War and George N. Barnard’s Photographic Views of Sherman’s Campaign, both published in 1866, contain some of the most iconic—and graphic—images of the American Civil War. They are among the most important pictorial records of the conflict, not to mention outstanding examples of early American photography.

Soon after the photos arrived at Duke, Aaron Greenwald, Executive Director of Duke Performances, mentioned them to William Tyler, an acclaimed Nashville solo guitarist. Duke Performances has been working with the Rubenstein Library to launch a new initiative called “From the Archives,” commissioning world-class performing artists to create new works that engaged with archival materials. Greenwald asked Tyler if he might be interested in working on something about the Civil War, taking the Gardner and Barnard photographs as inspiration.

“Aaron had no knowledge that I had grown up obsessed with the Civil War,” Tyler said recently. “I agreed to do the piece on the spot.”

Gardner Photo Book Title Page
The Libraries recently digitized the Gardner and Barnard photo albums, making them freely available online.

The result, nearly a year in the making, is Corduroy Roads, a film and music project that reflects on the lingering legacy of the Civil War, coinciding with its sesquicentennial. Tyler collaborated with filmmaker Steve Milligan and theater director Akiva Fox, both Durham residents, to create a suite for solo guitar that blends music, film, and spoken text and examines the ways in which the war continues to haunt the South to this day. The work is unlike anything Tyler has done before. (And probably unlike anything Gardner and Barnard have been involved with, for that matter.)

Corduroy Roads premiered with four sold-out performances in November at 305 South Dillard, a new multi-use arts space in downtown Durham.

The experience has been a personal one for William Tyler, a southerner with deep roots in Tennessee and Mississippi. He remembers being fascinated by the war from an early age. “It was a very present part of history,” said Tyler, who grew up in an area where every small town had its war memorials, battlefields, and historical markers. The clincher came when his parents took him to see a reenactment of the Battle of Shiloh during the war’s 125th anniversary year. “That hooked me,” he said.

Photograph of the Capitol Building in Columbia, SC, from Barnard's Photographic Views.
Photograph of the Capitol Building in Columbia, SC, from Barnard’s Photographic Views.

Poring over the photographs by Gardner and Barnard revived that early interest. But the images also revealed things Tyler had not seen or thought about before—for example, how labor-intensive the photographic process used to be. “I don’t think people understand how fragile and delicate wet plate photography was,” said Tyler. “Our relationship with photography has changed so much over the last 150 years, from being an extension of portraiture to something that is so ephemeral it’s almost an afterthought.”

Tyler’s music offers a contemporary soundtrack to the distant past, looking at the way photography shapes our understanding of history, as well as our own personal memories.

Prior to the performance, the Duke University Libraries digitized the Gardner and Barnard photo albums, which are now freely available on our website. A century and a half later, the images still shock with the raw devastation of war. But they also preserve fleeting moments of life moving on, leaving future generations to write the history books.

03-20-15 Jenny Scheinman Publicity Photo
Jenny Scheinman’s Kannapolis: A Moving Portrait is inspired by the films of H. Lee Waters. It will debut on March 20 in Duke’s Reynolds Theater. Image courtesy of Duke Performances.

Every Face in Town

Another commission by Duke Performances highlighting the creative intersection of film and music will debut this spring. Jenny Scheinman is an award-winning composer, singer, and violinist. She has toured and recorded with Bill Frisell, Norah Jones, Madeleine Peyroux, Bruce Cockburn, and many others, and has seven albums of original music to date. Scheinman was commissioned to write an original work set to seventy-year-old archival footage by the late North Carolina filmmaker H. Lee Waters.

Herbert Lee Waters (1902-1997) was a studio photographer in Lexington, North Carolina. In the 1930s, he began supplementing his income by traveling to small towns across the South and filming the people who lived there going about their day. Waters worked with local movie theaters to screen his 16-mm films, which he called “Movies of Local People,” charging audience members a nickel or dime to see themselves on the big screen.

Waters Movies of Local People Poster

Waters produced 252 films across 118 communities in North Carolina, Virginia, Tennessee, and South Carolina, the only such collection from an itinerant American filmmaker of that era. The surviving footage, now held in the Rubenstein Library at Duke, provides a rare glimpse of everyday life in the Piedmont South during the Depression.

In 2004, the Library of Congress selected Waters’s film, Kannapolis, North Carolina, for inclusion in the National Film Registry, a list of films deemed “culturally, historically or aesthetically significant” to American culture. The film was shot in 1941, just months before the U.S. entered World War II.

It was Kannapolis that convinced Scheinman to take on the project. “It’s a particularly beautiful and joyous film,” Scheinman said. “Also, I love the fiddle and mountain music of this region. I started out as a fiddle player, and I had been looking for a project where I could get back to that again. I was living in New York at the time, and I had a little bit of artistic homesickness.”

On March 20, 2015, Kannapolis: A Moving Portrait will premiere in Duke’s Reynolds Theater. The piece blends music and film, pairing a live score by Scheinman with re-edited footage from Waters’ films. Scheinman worked with director Finn Taylor and editor Rick Lecompte to comb through fifteen of Waters’ films and choose scenes where the music and imagery would click. They also brought in sound designer Trevor Jolly to bring Waters’ silent footage to life.

When she first watched the archival films, Scheinman was struck by how Waters managed to create a different snapshot of each community. “He would set up his camera in one town for one day, and he tried to capture every face in that town,” she said.

Film stills from Kannapolis (1941) by H. Lee Waters.
Film stills from Kannapolis (1941) by H. Lee Waters.

Waters filmed a variety of ordinary scenes, including school recitals, sporting events, and workers arriving and departing from mills and factories. He slyly included numerous shots of children to entice their families to the theater. Waters, who was white, was also one of the few filmmakers at the time to capture intimate scenes of African Americans going about their daily lives.

Without meaning to, the films reflect and critique certain things about our world today, Scheinman says. “This was before television or any modern devices. So people are very engaged with each other, very attentive and affectionate. You see them walking down the street arm-in-arm. You see people showing off for the camera, dancing, and teasing each other.”

In keeping with the time period, Scheinman’s score draws inspiration from regional folk music sources. Although she’s not from North Carolina herself—she grew up in rural California—her music, combined with Waters’ footage, conjures a powerfully resonant vision of a particular time and place in the South. The effect is not nostalgic, but plainspoken and familiar.

The Duke University Libraries are currently in the process of digitizing all 252 of Waters’ films, including Kannapolis. They will be freely available online by the end of this year. Although most of the “local people” in them have long since passed on, contemporary viewers will recognize something of themselves in the faces that still live on in the archives.

Our Giving Story: Jan Tore Hall and Ruthann Huling Hall

Jan Tore Hall and Ruthann Huling Hall in South Africa, 2005. Photos courtesy of Jan Tore Hall.

A lifetime of love and memories that started at Wallace Wade

By Audra Ang
Their love story began at a football game with a scream.

The setting was Wallace Wade Stadium on a sunny Saturday, September 19, 1970. Duke was playing Maryland.

Jan Tore Hall, a bespectacled rising sophomore, sat next to Ruthann Huling, a sports-loving freshman with golden blonde hair who was spending her first weekend on campus. The game took an exciting turn and Huling cheered enthusiastically for her team.

“She screamed in my ear. She really did—and LOUDLY,” recalls Hall.

The attraction was immediate and, happily for him, mutual.

Jan and Ruthann Hall 1
Ruthann and Jan as undergraduates at Duke.

Their relationship blossomed quickly. Within three weeks, the pair became “an item.” Hall joined the percussion section of the Duke University Marching Band (DUMB) to be with Huling, a flautist. Huling took summer school to ensure that they graduated at the same time. Once, they got tossed out of the short-order grill in Huling’s dorm for “improper smooching in public,” Hall says. By the end of their junior year, they became the first married couple in DUMB.

“I had a serious, dour, Scandinavian sort of outlook on life. She could be very serious about things but was happy most of the time and deep down, always joyful,” Hall says. “She was also very pretty. I am most blessed even for her to have noticed me that first day.”

The couple graduated with honors in 1973, Hall with a degree in economics and political science and Huling with one in mathematics. During their 40-plus years together, they moved from North Carolina to Connecticut to Tennessee before settling in Massachusetts. They had successful careers—Hall was a lawyer and Huling was an investment actuary—but they felt the need to do more in the world.

After much soul-searching and discussion, Hall and Huling decided to become volunteer missionaries in South Africa. They completed an initial two-year commitment in Durban as administration consultants and outreach assistants before Huling was diagnosed with cancer, requiring surgery and treatment. Still, they planned and worked on a long-term effort to get Massachusetts churches to establish relationships with counterparts in the KwaZulu-Natal region.

They travelled back and forth from 2004 onwards until Huling’s cancer recurred. The couple returned to Durban in 2008 one final time to thank the churches for letting them serve as missionaries.

Huling died in 2012 at age 59. She was at home, holding her husband’s hand.

Later that year, he scattered her ashes in a Durban township where they had worked.

What does Hall miss most about his wife? “Everything. It can’t be otherwise; she was everything to, for, and with me.”

Their memories and shared experiences—at Duke and later in life—are what inspired the couple to include Duke in their will. Their gift will provide support for Libraries’ staff continuing education, scholarships for students from southern Africa, and unrestricted use. Recently, Hall made additional gifts to support Duke Gardens, the Libraries, and the marching band. Each of those gifts is dedicated to the memory of Huling.


Q&A with Jan Tore Hall


How did your time at Duke develop and shape you as a person? Is there something you took away from your education here that has stood you good stead through the years, either personally or professionally?

There’s a real intertwining of the personal and the educational in this.

Besides my life with Ruthann, I’ve carried with me over the years something I learned from a semester in Professor Martin Bronfenbrenner’s course on Marxist economics. That was a particularly striking experience of learning about a system of thought from someone who disagreed fundamentally with its premises but analyzed and critiqued (rather than criticized) its structure and methods with dispassion and respect.

This was an early, very important, instance of my learning the value of considering questions on their own terms rather than from a predetermined set of values or with a particular conclusion in mind.

Why is giving important at a place like Duke? What is the best and/or the most inspiring experience you’ve had here?

Well, the best and most inspiring experience must be meeting Ruthann, mustn’t it? Not perhaps something to go in the promotional literature, but there it is.

Also, the concept of a university as a community extends to those in place and to those who have come from there, so it’s a community across space and time. The benefits to be drawn from that community carry with them a responsibility of participation and support of the enterprise through time.
That duty can come more and less naturally to each of us, but at its best, it would include ‘giving back,’ as we are able.

What’s your favorite place/hangout at Duke?

I’d say the Chapel, and portions of the Gardens, as providers of a sense of place. Experientially, I think of two places that probably don’t exist anymore in the same form: the Rare Book Room, where I worked for three years as a student, and the snack bar in the basement of the old Grad Center dorm (Trent Hall, now, I believe), out of which Ruthann and I were summarily tossed for excessive PDA.

The truth is that Duke constituted the place of origin for Ruthann and me. It is where we met, where we came to know each other, and where we began the time and life together that continued for four decades more. So I suppose that even though we left, and only rarely went back, it’s natural to think on it again, now, in these ways.


Audra Ang is a Senior Development Writer with Duke’s Office of University Development. A previous version of this story originally appeared at Blueprints, the blog of the Duke University Planned Giving Office.

Digitizing DukEngineer: Every Issue Since 1940 Now Online

DukEngineer Vol 11 No 3 1949

By Gwen Hawkes

DukEngineer Vol 5 No 3_1943
DukEngineer cover from 1943

To help celebrate the seventy-fifth anniversary of the Pratt School of Engineering, the Duke University Libraries recently finished digitizing a classic campus publication: DukEngineer. Since 1940, DukEngineer has been written, edited, and published by a volunteer team of engineering students who chronicled campus developments and recorded their experiences and perspectives. The entire magazine archive is now available online, beginning with the very first issue and running through the most recent editions of 2013.

The magazine provides a fascinating look at the life of Duke engineering students through the decades. Clicking through old copies, it is easy to see how many things have changed—and how some things have remained the same. Many of the articles are academic in nature, recounting the latest developments in technology or sharing the details of students’ work and research. However, there’s plenty of more whimsical fare. An article from the February 1960 issue entitled “Do-It- Yourself Still” chronicles the author’s encounter with an “honest-to-goodness bootlegger” and explains how to make your own hooch at home.

DukEngineer 2003_2004
Decades later DukEngineer is still representing the voices of students on campus (cover image from March 2004).

Every academic discipline has its stereotypes, and engineering is no exception. One could be forgiven for skimming the (no doubt fascinating) multi-part series on the history of the slide-rule. Another example is the “Girl of the Month” photo spreads that regularly appeared in the 1960s and 1970s, often featuring attractive coeds from Trinity or the Divinity School. (Today, approximately 30 percent of undergraduates and graduate students at Pratt are women.) Many issues also featured a section of jokes and “Diversions,” including brain-teasers, mind-benders, and a fair share of puns that non-engineers will simply have to trust are funny.

Over the years, DukEngineer has helped to keep the Duke engineering student community connected. The DukEngineer digital collection allows us the opportunity to watch the growth and evolution of this world-class academic community from its earliest days.

Gwen Hawkes (T’16) is an English major and Library Communications Assistant at Duke.

Filming the Great Famine of China

Memory project faces
Filmmakers working on “The Memory Project” amassed over 1,000 hours of interview footage with survivors of China’s Great Famine (1959-1961).

By Ezgi Ustundag

The true story of China’s Cultural Revolution is found not in history books but in the memories of those who survived the Great Famine, says Guo-Juin Hong, co-director of the Franklin Humanities Institute’s Audiovisualities Lab.

Wu Wenguang
Filmmaker Wu Wenguang. The video footage of his Memory Project oral history interviews will be archived at Duke.

“Capturing the real history is a race against time,” says Hong, a scholar of Chinese literature and culture. “There are no official state accounts of the Great Famine—we don’t even know exactly how many people died, and their names and stories will be lost forever in a few years’ time.”

Little known a half-century later in America, the Great Famine of 1959-1961 killed between 20 million and 43 million Chinese, according to different scholarly studies. Coming during the upheaval of the Chinese Cultural Revolution, the famine occurred during a period of drought and bad weather, but many scholars focus blame on the policies of the Communist Party.

Hong hopes “The Memory Project” will help illuminate this blight on China’s history. The project began in 2010 when Wu Wenguang, a pioneer of Chinese documentary film best known for Bumming in Beijing (1990), and his cohort of young filmmakers returned to their native villages in twenty provinces to interview survivors of the Great Famine. By 2013, they had amassed over 1,000 hours of footage.

Zou Xueping
Filmmaker Zou Xueping

The project was the focus of Wu and his protégés Li Xinmin, Zou Xueping and Zhang Mengqi’s two-week residency at Duke this October. The residency, which was co-sponsored by Duke University Libraries, included three film screenings, a master class for the MFA program taught by the filmmakers, and a panel discussion featuring the filmmakers, Hong and faculty from Duke’s department of cultural anthropology and the MFA program.

“There’s this very strong activist energy in preserving memories against a highly suppressive state like the Chinese government,” Hong added. “And that’s exactly what Wu Wenguang and his studio have done with ‘The Memory Project.’”

The residency also featured a reception with the filmmakers hosted by Rubenstein Library to celebrate Wu’s donation of the entire body of project interviews. During their time at Duke, Wu and his cohort worked with librarians in Rubenstein and International and Area Studies to catalogue and promote the new collection online.

Both the acquisition of the 1,000-hour body of footage and the university’s relationship with Wu dates back to 2012, when Wu and three filmmakers from his studio came to Duke for the first time as filmmakers-in-residence. The success of the residency two years ago started a dialogue between the Libraries and the filmmakers that culminated in Wu’s decision to donate the complete collection of interviews to Duke.

Zhang Mengqi
Filmmaker Zhang Mengqi

“Because the oral histories of the Great Famine were totally excluded from state history, the most important thing for these filmmakers is for these memories to be accessible,” Hong said. “This history is going to be secure at Rubenstein, but we’re not hiding it from anyone.”

Hong hopes those who attended the events and use the donated footage in their research will not only learn more about the Great Famine but also realize the amount of information that is still hidden from public view.

“I want this residency to give (members of the Duke community) a good sense of how little we actually know about Chinese state violence in the 20th century,” Hong said. “The goal is not for people to walk out of the screenings knowing everything about the Great Famine but for them to realize that though nobody can ever know the extent of this tragedy, it was very real and needs to be studied.”

Ezgi Ustundag (T’16) is an Arts and Humanities Intern in Duke’s Office of News and Communications. A previous version of this article originally appeared online in DukeToday.

Librarians and Teachers Build Copyright Knowledge through MOOC

Collage image
Left to right: Gilliland (UNC), Smith (Duke), and Macklin (Emory) c0-taught the MOOC “Copyright for Educators and Librarians”

By Courtney Lockemer

Can a library use an image of a book cover on its website? Can an artist make a drawing of a copyrighted photo without infringing the photographer’s copyright? Can an elementary school show Frozen at its student/parent movie night without fear of being sued by the film studio?

Every day, Kevin Smith fields multiple questions like these. Smith is director of the Office of Copyright and Scholarly Communications at Duke University Libraries and is both a librarian and an attorney experienced in copyright and technology law. He is one of a handful of individuals with these intersecting areas of expertise, and it makes him a much sought-after resource for librarians and educators from around the country, and the world, with questions about copyright and intellectual property licensing.

“Just putting together a lesson plan requires that you make decisions about how to use other people’s stuff,” said Smith.

Teachers are concerned about personal liability or liability for their school. Librarians end up fielding many of their copyright questions. “Because they’ve got books all around them, they’re assumed to be experts in copyright,” Smith said.

So, Smith and two of his fellow copyright experts—Anne Gilliland of the University of North Carolina at Chapel Hill and Lisa A. Macklin of Emory University—decided to teach a MOOC on copyright—a free, convenient way to help thousands of librarians and educators become “copyright mavens.”

The course, “Copyright for Educators & Librarians,” ran for four weeks this summer on Coursera. Over 10,000 participants from 130 different countries enrolled. Participants quickly started using the course’s discussion forums and social media to help each other answer copyright questions from the course and their daily work.

Kristina Eden, a copyright instruction librarian at the University of Michigan, started an on-campus discussion group for colleagues taking the course. To accommodate employees on multiple campuses, Eden rotated the location of the meeting. Each week, 10-15 individuals met, each with a role at the university that dealt with some kind of copyrighted materials: videos for foreign language instruction, archives, streaming media for departmental courses. “They all wanted support and to talk about it with other people,” said Eden.

Months after the course ended, the discussions are still going. Eden created an email list to continue the conversations that took place in the discussion groups, and is using it to field copyright-related questions that come up in course her colleagues jobs and to share resources, like an infographic about fair use. MOOC participants continue to share copyright-related news and questions on the course’s Facebook page.

Feedback from students indicate many hope to continue developing their copyright knowledge by taking “Copyright for Educators & Librarians” again. Smith said the course instructors intend to teach a second session and have even talked about expanding it to include more global perspectives from copyright experts outside the U.S. “The chance for all of us to learn about what copyright issues are like in the rest of the world would be wonderful.”

Courtney Lockemer is the Communications Manager for Online Education Initiatives at Duke. A previous version of this story origially appeared at

Adopt-a-Book Program Preserves Library Treasures

“Old age isn’t for sissies,” Bette Davis once said. She wasn’t talking about antiquarian books, but she could have been. Many of the oldest, most significant works of history and literature require careful conservation treatments in order to stand the test of time.

That’s why we recently launched a new Adopt-a-Book Program. Library materials are put up for “adoption” based on their value, risk, and use, and donations to the program ensure that they are carefully preserved and maintained.

The Adopt-a-Book Program is a great way to honor someone special or commemorate an important event, such as a birthday or graduation. An electronic bookplate with the name of the donor or honoree is added to the item’s catalog record, and they are also listed on the library website as a contributor. Gifts to the program help keep library materials available for current and future faculty, scholars, and students.

Here’s a sampling of adoptable (and adopted) titles in the Duke University Libraries.


Grapes of WrathGrapes of Wrath (1939)
By John Steinbeck

A classic of American literature, Steinbeck’s masterpiece brought attention to the plight of migrant farmers during the Dust Bowl and made a stinging critique of the ruthlessness of American capitalism. This first edition is in fair condition, but the original dust jacket needs repair and the book needs a custom-made enclosure to protect it from further damage.

Adopt for $150


Cameron ScrapbookEdmund M. Cameron Scrapbooks

Eddie Cameron’s career as a football and basketball coach at Duke is legendary. His legacy lives on, not only in the roars of Cameron Indoor Stadium, but also in the contents of these scrapbooks, which document his illustrious career. The scrapbooks contain newspaper clippings, photographs, and ephemera from years of successful coaching, including some related to the Rose Bowl in 1942 and the Sugar Bowl in 1945. The bindings are brittle and in need of repair, along with some of the contents.

Adopt for $3,000



Diderot EnclyclopediaEncyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers (1751-1772)
Published by Denis Diderot

Diderot’s encyclopedia was the Internet of its day—an attempt to embody all of the world’s knowledge and disseminate it throughout society, changing and improving humanity. It was the ultimate embodiment of Enlightenment thinking. This complete set includes seventy volumes of text, illustrations, and supplements. Each volume requires a custom enclosure for protection, along with minor repairs to the text and fold-outs.

Adopt for $200 per volume


villette imageVillette (1853)
By Charlotte Bronte

Villette is arguably Bronte’s most refined and emotionally powerful novel, featuring a complex and vivid heroine. This first edition is in urgent need of conservation, with loose stitching, many tears, and damaged covers.

Adopt for $2,500






Audubon Birds of AmericaBirds of America (1837-1838)
By John James Audubon

A work of both art and science, Audubon’s Birds of America is one of history’s most iconic books. The pages of these double elephant folios stretch forty inches tall, each printed with Audubon’s vivid, life-sized illustrations. This rare, complete four-volume set was printed serially between 1827 and 1838. Three of the four volumes are in need of full conservation attention, including repairing damaged stitching and replacing the boards.

Adopt for $25,000 per volume 







These titles have recently been adopted and will undergo much-needed conservation treatments. To learn more, visit our Adopt-a-Book Program website.

The Catcher in the Rye (1951)
By J. D. Salinger
This first edition of Salinger’s rebellious coming-of-age tale is in good condition. However, in order to ensure that it remains so, the book needs a custom-made box for protection. These enclosures help to protect delicate volumes from wear and light exposure, while allowing the book to remain in circulation.

New Testament Gospel Lectionary
This manuscript was published in Venice sometime during the seventeenth century by the Eastern Orthodox Church. It contains excerpts of scripture used in liturgy, a calendar of Holy Days organized by month, and tables for incipits of the Gospels and Apostles.

Stephen Fuller Papers
Fuller (1716-1808) was a British iron manufacturer and colonial agent for Jamaica. His papers and correspondence cover a wide range of topics, including trade, the Wilberforce abolition movement in England, English politics, and the Anglo-French war of 1793.

Poems on Various Subjects, Religious and Moral (1773)
By Phillis Wheatley
An important book by almost any definition, Wheatley’s Poems is the first book published by an African American—not to mention the first by a slave and only the third by an American woman. Duke owns a precious first edition signed by the author herself. The boards need to be reattached, and a custom enclosure is needed to help protect the book.


Constructive Criticism: A Rare Find Recalls an Architectural Debate

Published in 1761, Della Magnificenza ed Architettura de’ Romani was Piranesi’s contribution to one of the great artistic debates of the day—whether ancient Greek art and architecture was superior to that of Rome.
Published in 1761, Della Magnificenza ed Architettura de’ Romani was Piranesi’s contribution to one of the great artistic debates of the day—whether ancient Greek art and architecture was superior to that of Rome.

Giovanni Battista Piranesi (1720-1778) was one of the great masters of the art of printmaking. His large copperplate etchings of the architectural splendors of Rome made him famous in his own time, and they have continued to influence writers, artists, and architects to this day.

A number of those famous etchings originally appeared in Della Magnificenza ed Architettura de’ Romani [On the Magnificence and the Architecture of the Romans]. Published in 1761, the book was Piranesi’s contribution to one of the great artistic debates of the day—whether ancient Greek art and architecture was superior to that of Rome. (If the title didn’t give it away, he sided heavily with the Romans.)

Piranesi’s books and prints were bought and studied by architects and artists throughout Europe. One of those early elephant folio-sized volumes found its way to the collections of Lilly Library on Duke’s East Campus, where it has been held in the locked stacks of the building’s basement since the 1940s, when librarians estimate it was acquired.

Recently, a Piranesi expert visiting Duke noticed something unusual about this particular copy of Della Magnificenza. Heather Hyde Minor is an associate professor of the history of architecture at the University of Illinois at Urbana-Champagne. She is also a 2013-2014 fellow at the National Humanities Center in Research Triangle Park. Her new book, Giovanni Battista Piranesi’s Lost Words, will be published in 2015 by Pennsylvania State University Press.

At the front of the volume, Professor Minor noticed “a large, carefully executed drawing” she had never seen before. The drawing resembles a cartouche, a classical architectural window or tablet designed to contain an inscription. It was perhaps intended as a kind of bookplate or souvenir—a way of personalizing a book at a time when books were costly and highly personal. But for whatever reason, the inscription area was left blank.

This drawing resembling a cartouche, which may have been executed by one of Piranesi's children or a member of his workshop, appears at the front of the Lilly Library copy.
This drawing of a cartouche is not known to appear in any other published copies of Piranesi’s Della Magnificenza.

“I have looked at many Piranesi volumes in the U.S. and in Europe,” Minor said. “I have never seen a drawing bound in to one.” The style of the drawing led Minor to believe that it was not executed by Piranesi himself, but possibly by one of his children or a member of his workshop. “This makes your book particularly exciting,” said Minor in a written evaluation of the volume she provided to the Libraries.

The Lilly copy of Della Magnificenza is bound together with a copy of Piranesi’s Osservazioni di Gio. Battista Piranesi sopra la letter de M. Mariette (Rome, 1765), another installment in the Greco-Roman debate in which Piranesi argues against claims by the French critic Mariette that Roman artists were inspired by their Greek forerunners. Watermarks date the publication of the two books to sometime between the 1770s and the 1790s.

The Piranesi volume was recently moved to Duke’s Rubenstein Rare Book & Manuscript Library, where it will continue to inspire scholarly conversation and debate, just as it did some two hundred and fifty years ago.


Rubenstein Library Renovation in Pictures

Rubenstein Library Plaque

Renovations to the David M. Rubenstein Rare Book & Manuscript Library are in full swing. In recent months, we celebrated an important turning point in the project—the transition from a destruction site to a construction site. The demolition of the original stack core is finished, walls have been removed, and the façade of the building is being cleaned. From this point on, it’s all building up, framing out, and adding finishing touches until the summer of 2015, when the renovation is scheduled to be complete.

For more images and updates on the renovation, and to follow our progress, visit

August 2013: The third floor of the Rubenstein Library during demolition. This area previously housed the offices of the Political Science department. After the renovation, it will feature a series of study areas for collaborative research work.
August 2013: The third floor of the Rubenstein Library during demolition. This area previously housed the offices of the Political Science department. After the renovation, it will feature a series of study areas for collaborative research work.
August 2013: The Gothic Reading room during demolition. The original wood shelves have been removed and will be replaced by new ones designed in keeping with the room’s original character.
August 2013: The Gothic Reading room during demolition. The original wood shelves have been removed and will be replaced by new ones designed in keeping with the room’s original character.
September 2013: Workers remove the roof above the old stacks. The entire stack core had to come out, from top floor to basement. New stacks with reinforced floors will be built in their place. Then we’ll put the roof back on!
September 2013: Workers remove the roof above the old stacks. The entire stack core had to come out, from top floor to basement. New stacks with reinforced floors will be built in their place. Then we’ll put the roof back on!
December 2013: Demolishing a portion of the original stone wall. As some floors of the library get reconfigured, new openings have to be created to accommodate new hallways and entrances.
December 2013: Demolishing a portion of the original stone wall. As some floors of the library get reconfigured, new openings have to be created to accommodate new hallways and entrances.
December 2013: Excavating the stack core foundation. Workers are finally getting down to bedrock. Once the mud and debris are cleared out, a new foundation will be poured.
December 2013: Excavating the stack core foundation. Workers are finally getting down to bedrock. Once the mud and debris are cleared out, a new foundation will be poured.
February 2014: With the new foundation in place, new columns and column footings are being built to support the new stack core.
February 2014: With the new foundation in place, new columns and column footings are being built to support the new stack core.
February 2014: Scaffolding in the Gothic Reading Room. The chandeliers have been removed, the lighting systems are being enhanced, and the ceiling panels are being repainted.
February 2014: Scaffolding in the Gothic Reading Room. The chandeliers have been removed, the lighting systems are being enhanced, and the ceiling panels are being repainted.
April 2014: Wall framing in the University Librarian’s office, formerly the site of the Breedlove Room.
April 2014: Wall framing in the University Librarian’s office, formerly the site of the Breedlove Room.
April 2014: Workers install the refurbished leaded-glass windows that were removed at the beginning of the renovation and shipped to Virginia for professional restoration. For more about the window restoration project, see our story in this issue.
April 2014: Workers install the refurbished leaded-glass windows that were removed at the beginning of the renovation and shipped to Virginia for professional restoration. For more about the window restoration project, see our story in this issue.

Coming Soon to Bostock Library: The Research Commons

Architectural rendering of the Research Commons on the first floor of Bostock Library.
Architectural rendering of the Research Commons on the first floor of Bostock Library. Renovations will take place May-November 2014.

By Aaron Welborn

Duke is the kind of place where an undergraduate political science major can work side-by-side with graduate students studying the mental health effects of refugee resettlement. Or where a Ph.D. student in civil and environmental engineering can lend a hand to a team of researchers gathering epidemiological data in Latin America.

Increasingly, Duke students and researchers are conducting their work in the context of interdisciplinary collaborations like these. That’s because real-world problems don’t fit into traditional academic boxes. They demand a collaborative approach, involving teams of individuals from diverse backgrounds who can share expertise and find new solutions.

Research like this isn’t confined to the classroom or laboratory. It happens in the places where academic boundaries intersect—places like the library.

To meet the growing needs of interdisciplinary, team-based, and data-driven research, the Duke University Libraries are in the process of transforming the first floor of Bostock Library into a new academic service hub equipped with tools and workspaces for digital scholarship, reservable rooms for project teams, and expanded technology and training facilities.

The new space, which we’re tentatively calling the “Research Commons,” will officially open in January 2015. The improvements will allow for more technology-focused library services, more spaces for collaborative work, and an attractive new destination for students and faculty in the heart of campus.

Floor plan of the Research Commons, which will occupy the entire first floor of Bostock Library. Click on the image to see a larger version.
Floor plan of the Research Commons, which will occupy the entire first floor of Bostock Library. Click on the image to see a larger version.

The main period of renovation activity will be May through November 2014, in order to minimize disruptions to students and faculty. Funding for the $3.5 million project was made possible through the Libraries’ Duke Forward Campaign, with especially generous support by Todd and Karen Ruppert and the Bostock Family.

The Research Commons will increase the Libraries’ ability to support interdisciplinary and team-based teaching and learning at Duke, such as the innovative projects emerging from the Bass Connections initiative. The space will bring together the Libraries’ Brandaleone Data and GIS Services Lab (relocated from the second floor of Perkins Library); workshop and presentation space for groups large (45-50 people) and small (6-8 people); reservable and drop-in project rooms; and expert library staff assistance, available on-site or by appointment.

“The goal of the Research Commons is to allow individual researchers and project teams to experiment with new ideas and approaches with experts, technology and training available in close proximity,” said Deborah Jakubs, Rita DiGiallonardo Holloway University Librarian and the Vice Provost for Library Affairs. “It will be the kind of space that invites discovery, experimentation, and collaboration.”

Plans for the Research Commons came about through a multi-year planning process in which faculty, students, and library staff explored emerging trends in teaching and research at Duke. One of the findings from that process was that, as higher education evolves (witness the explosion of online learning, to cite just one example), libraries must also evolve to remain the vital center of intellectual life. We must expand our role as a partner in innovation by providing spaces, services, and materials that act as catalysts for experimentation and originality.

To accomplish this vision, the Libraries are working with the architectural firm Shepley Bulfinch, the same firm that designed and built Bostock Library and the von der Heyden Pavilion in 2005, renovated Perkins Library between 2006 and 2008, and is directing the current renovation of the David M. Rubenstein Rare Book & Manuscript Library.

In order to make room for the Research Commons renovation, collection materials and furniture on the first floor of Bostock Library are being relocated to other library locations over the summer. The Libraries will free up additional study space elsewhere in Perkins and Bostock to accommodate students temporarily displaced by the work.

Plans are under way to mark the completion of the Research Commons with a grand opening event in January 2015—just in time to kick off another innovative year at Duke.

Rendering of a planned social lounge space in the Research Commons.
Rendering of a planned social lounge space in the Research Commons.



Research Commons Essentials

Bostock Library
Bostock Library

The first floor of Bostock will be renovated during Summer and Fall 2014, to create a physical space in the center of campus that invites discovery, experimenting and collaboration. Here’s what you’ll find in the Research Commons:

  • Brandaleone Data and GIS Services Lab (relocated from second floor of Perkins Library)
  • Workshop and presentation space, for groups small (6-8) and large (up to 45-50)
  • Project rooms, multiple sizes, both reservable and drop-in
  • Library personnel, available on site and by appointment for consulting and assistance

The Research Commons connects library users with specialists and puts them in touch with other potential research partners at Duke. Students and faculty can get expert advice on:

  • Planning and managing the research process, from idea to publication
  • Analyzing and visualizing research data, from graphs to maps and timelines
  • Sharing research with others, through presentations, publications and archives

Library users can get help with the research process, from looking for new project ideas, to collecting or creating research data, to creating public presentations of works in progress. And we’ll offer tools and resources for making the most of research data, including:

  • Scanners (large-format, overhead, and multi-sheet feed)
  • Data analytics  (statistics, mapping, and visualization)
  • Training (workshops on research methods and tools)



Research Commons Timeline

Faculty Planning Process

May 2014
Library collections, furniture, and equipment move from the first floor of Bostock to other locations
Bostock first floor closes

June 2014
Construction begins on the Research Commons

Summer 2014
Collections move in several locations in Perkins Library to free up additional study space

November 2014 to December 2014
Construction complete, the Research Commons opens for use

January 2015
Grand opening event


Window Treatment: A Library Renovation Invites the Light

Detail from the original blueprints for the Rubenstein Rare Book & Manuscript Library (originally called the “General Library”) on Duke’s West Campus, 1928. Image courtesy of Sergey Furer, Duke Facilities Management.

By Aaron Welborn

Among the things that separate a good library from a truly great one, there is one distinction so subtle we often fail to notice it. It has less to do with the size and richness of an institution’s holdings, or the knowledge and expertise of its staff—although these are essential—and more to do with a certain quality of light.

We are talking, of course, about windows.

Windows provide the natural light that suffuses a reading room with bookish warmth and radiance, as well as the inspiring views that invite the mind to wander. Too few windows and a library becomes a gloomy vault. Too many and the materials on the shelves will whiten and wither in the sun.

There are 356 leaded glass casement windows in the David M. Rubenstein Rare Book & Manuscript Library, and another 490 tracery panels designed with varying degrees of ornamental flourish. The glass is of exceptional clarity, considering its age (circa 1928). It was also of exceptional cost for the time, hand-blown to minimize the presence of bubbles and distortions. It’s hard to find glass like that outside of Europe these days.

“This building was made in the time of true craftsmen,” says John Raynal.

John Raynal 3
John Raynal. His firm specializes in the restoration of historic and stained glass.

He should know. Raynal specializes in the restoration of historic and stained glass. He was brought in to refurbish the windows as part of the Rubenstein Library renovation project. One of the major goals of the renovation, as well as one of the major challenges, is to preserve as much as possible of the building’s original character. That includes the old-fashioned windows that are so much a part of the “Gothic Wonderland” look of Duke’s West Campus.

It is highly specialized work, the domain of a small group of skilled practitioners. But Raynal has more than three decades of experience and an artisan’s appreciation for things that were built to last.

Over the last several months, Raynal and eleven of his employees removed all 356 casement windows throughout the library and transported them back to his studio in Natural Bridge, Virginia. There each window was disassembled, pane by individual pane, its hinges and hardware cleaned of eighty-six years of rust and grime, given a special powder coating, re-leaded, re-assembled, buffed and polished, and carefully packed up for shipping back to Durham. (Most of the building’s tracery windows were too delicate to remove and had to be restored in place.)

Once complete, “They should last another hundred years without any problem,” Raynal says.

John Raynal 2
Raynal and eleven of his employees removed 356 casement windows throughout the library and refurbished them at Raynal Studios in Natural Bridge, Virginia.

It’s a big job with a lot of moving parts, but Raynal is accustomed to those. He has restored the windows in Princeton University’s Chapel, Boston’s Old South Church, New York’s St. Patrick’s Cathedral, historic St. Paul’s Church in Alexandria, Virginia, and many other architectural landmarks.

Having enrolled at Virginia Tech in Engineering, he dropped out after taking a job with a stained glass company and realized that he had found his niche. (One of his earliest apprenticeships involved repairing a sanctuary window in Duke Chapel.) That’s when his real education started, working on the churches, cathedrals, and magnificent public buildings of New York, Boston, Washington, and other cities throughout the northeast.

“Most of those old buildings had European roots,” Raynal says. “They were built by immigrants and master craftsmen who brought their skills over with them.” The opportunity to work on such buildings up-close was a kind of graduate-level training in the glazier’s trade.

Box 94
The library soon after it was constructed in the 1930s. It was a time when skilled laborers “were willing to work for half the price.”

Walking around the scaffolding that surrounds the Rubenstein Library, he recognizes that same attention to detail and workmanship in the building’s construction. Duke’s West Campus was built during the Great Depression. It was a time when skilled labor could be had cheap, when “the best were willing to work for half the price,” Raynal says, and the university spared no expense.

Now, generations later, he is helping to preserve the legacy of those original campus craftsmen in a most transparent way. When the project is complete and the renovated Rubenstein opens next year, it will be filled once again with that rare quality of light that tells you when you’ve entered a great library and invites you to have a look around.

John Raynal 1
Raynal has restored the windows in Princeton University’s Chapel, Boston’s Old South Church, New York’s St. Patrick’s Cathedral, and many other architectural landmarks.