Category Archives: News and Features

Transitions: Student to Staff, Old Stacks to New

One of my most vivid memories of the Rubenstein Library is one of my first.  Shortly after starting to work as a student assistant in the fall of 2011, I entered the dark, dusty labyrinth of the library’s old stacks and grabbed an item to reshelve.  With great trepidation, I drew back both metal gates on the 1926 elevator, pushed the button for the fifth floor, and hoped that the creaky old machine would actually make it to our destination.  Once I got out of the elevator and my pulse had returned to normal, I found the item’s home on the bottom of a row of shelves, set it back in its proper place, stood up, and found myself eye-to-label with the Stonewall Jackson Papers.

As a lifelong history nerd, I had known that I would enjoy working in the Rubenstein, but it was not until that moment that I realized exactly how cool the Rubenstein was, and what a great resource it is for the Duke community.  That point was driven home even further when, as an undergraduate majoring in History and German, I used the Rubenstein frequently as a researcher.  Knowing how important the Rubenstein is to researchers in a wide variety of fields made it all the more exciting to sign on as a Senior Move Assistant during the transition from our old space to the new.

In the two weeks since I started working full-time, I have been busy measuring volumes to help figure out where items are going to be stored in our new space, and “linking” bound-withs to help ensure that items which are physically bound together actually show up that way in the catalog.  The move process is not simply moving items from point A to point B, and back to a refurbished point A.  It is also an opportunity to improve and simplify many aspects of the library, and it is very exciting to be part of that process.  Having worked and done research in both the old space and the temporary space, I can say that I am thrilled for the opening of the new Rubenstein Library.  The move process is making a great campus resource even better, and I can’t wait to see the final result of the next few months of work!

Post contributed by Michael Kaelin (T ’15), Senior Move Assistant at the Rubenstein Library. Michael worked as a Student Assistant for four years.  Originally from Wilton, CT, his interests include history and literature.

Profiles in Research: Georgina Colby and the Kathy Acker Papers

I was awarded a Mary Lily Research Grant in 2014 to travel to the Sallie Bingham Center for Women’s History and Culture to consult The Kathy Acker Papers. In April 2014 I carried out research in the archive for my book manuscript, Kathy Acker: Writing the Impossible, which is under contract with Edinburgh University Press.

Critics and scholars in the field of contemporary literature have largely understood Kathy Acker as a postmodern writer. My monograph challenges such readings of the writer and her works, paying close attention to the form of Acker’s experimental writings, as a means to position Acker and her work within a lineage of radical modernisms.

Consulting The Kathy Acker Papers, the extensive archive of Acker’s works housed at the Sallie Bingham Center, shaped my research in a number of ways. Most striking, and perhaps the aspect of the archive that has been most formative to my work, is what the archive revealed in terms of the materiality of Acker’s various manuscripts. The original manuscript of Acker’s early and most renowned work, Blood and Guts in High School (1978), is a lined notepad with text and image pasted onto the pages. It is a collage, an art object. The dream maps, which punctuate Blood and Guts in High School, are archived as separate framed objects. Dream Map Two is an artwork measuring 56 inches by 22 inches. Such archival discoveries enabled the development of my book. The monograph takes a specific work of Acker’s for each chapter as a means to explore six key experimental strategies in Acker’s oeuvre. A substantial knowledge of Acker’s avant-garde practices would not have been possible without the research carried out in the archive.

Image from manuscript for Blood and Guts in High  School by Kathy Acker
Image from manuscript for Blood and Guts in High School by Kathy Acker

The Kathy Acker Papers also illuminated a related line of enquiry taken in my monograph: the importance of Acker’s early poetic practices to an understanding of her later prose experiments, which often dislimn the distinction between poetry and prose. The repository of unpublished poetic works provided rich material for the first chapter of my book, which explores Acker’s engagement with the L=A=N=G=U=A=G=E poets in the 1970s. Acker’s unpublished poetry can be understood as both a significant autonomous body of work, and as juvenilia that was a catalyst for her later writing experiments. The box that houses these early works also contains typed conversations between Acker and her early mentor, the poet David Antin. Written under Acker’s early pseudonym, The Black Tarantula, these conversations point to the discourses that emerged between Acker and various writers and poets concerning the uses of language. In this 1974 text, ‘Interview With David Antin’, which reads in part, and perhaps intentionally, like a Socratic dialogue, Acker and Antin interrogate issues of language and certainty. Acker and Antin draw on their writing experiments, alongside a discussion of Wittgenstein’s On Certainty, as means to interrogate language and perception. Such materials are rich when read in conjunction with Acker’s poetry.

Reading the materials in the archive, letters, early drafts of published works, speeches, Acker’s teaching notes and notebooks on philosophy, as well as Acker’s handwritten annotations on various texts, and her invaluable collection of small press pamphlets, was illuminating. Numerous texts disclosed the self-conscious nature of Acker’s experiments. A number of early poetic experiments are entitled ‘Writing Asymmetrically’, and several notebooks gesture specifically to the influence of William Burroughs and Acker’s experiments with the cut-up technique. Other notebooks are streams of consciousness, and are evidently comprised of material that Acker then cut up for use in her experimental works. Most of Acker’s novels originated this way, as a set of handwritten notebooks.

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Image from manuscript for Blood and Guts in High School by Kathy Acker

Archival research at the Sallie Bingham Center cultivated a rich understanding of the diversity of Acker’s experimental work and the writer’s remarkable lifetime achievements, many of which remain unpublished. The extent of the material and its uniqueness brought home the importance and centrality of the archive in the formation of knowledge regarding an experimental writer’s oeuvre. In the context of the female avant-garde writer, Acker stated that Gertrude Stein, as the progenitor of experimental women’s writing, is ‘the mother of us all.’ The remarkable experimentalism and the linguistic innovation of a great number of the texts that comprise The Kathy Acker Papers reveal Acker to succeed Stein as one of the most important experimental writers of the twentieth century.

Post contributed by Georgina Colby, Lecturer in Contemporary Literature, University of Westminster, UK.

 

Tableaus of all kinds

Summer is gallivanting into Durham, and with it comes the promise of a new beginning for the Rubenstein, one involving fresh paint, new shelving, and a touch of tenacity. In a month, we’ll begin moving our materials and ourselves into our beautifully renovated home. Some Rubenstein spaces—like the Gothic Reading Room—will remain lovingly preserved, testaments to the memories that came before and to the new scholars who will soon discover them. Others will be similar in name only. I’m looking at you, Rubenstein stacks.

I’ve heard a lot about the pre-renovated Rubenstein stacks during my nearly two years here. The creaky elevators, the nooks, the crannies, the many doorways. These quirks are part of the collective Rubenstein conscious, and they’re spoken of fondly, frequently.

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And while we’re sad to lose those charms, we’ve also been granted an opportunity to refine systems, to make materials more visible and easy to locate. We’ll no longer have a maze of classification schemes but one: Library of Congress. All of our print materials will be clustered by size: double elephants will chill next to double elephants; folios next to folios; mini materials next to mini. This is all great news for those of us lacking inner compasses. It also brings us to a logical question: how do we go about mapping locations for thousands of materials in this brave new world?

shelves

Easy! We turn to Tableau, a nifty data visualization service the lovely folks at Data Visualization introduced to us. Tableau allows subscribers to turn data into graphic representations that move far beyond bar graphs and pie charts—although it does have options for those as well.

Because we’re moving to a standard classification scheme, we now have more ways than ever to visualize our collections: we can look at overarching trends using the main classes of LC (e.g., “P” for Language and Literature or, “N” for Fine Arts); we can also get more granular than that. Within LC, there are subclasses that further delineate topics. PR—English Literature—is a subclass of Language and Literature, as is NA—Architecture—for Fine Arts. We can even delve deeper than that, looking at how many items are within a specific range of class numbers (e.g., PR1000-PR1100). With Tableau, we can then turn these data points into visual c(l)ues:

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Click through to see the tableau in its full-sized beauty

 

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Another visualization representing the same data.

This visualization breaks out our print holdings first by size designation (12mo = duodecimo; 8vo = octavo; 4to = quarto), then by subclass. Looking at this, we know that we have substantial chunks of duodecimos classed in “B”—Philosophy, Psychology, Religion.  We can also see that there are relatively fewer quartos and folios classed in Philosophy, Psychology, Religion. By doing this legwork, we know that we should probably leave extra space in the duodecimo section for materials classed “B.” Conversely, we also know that we won’t need to leave quite as much room in the folio areas for materials classed similarly.

Using a data visualization service has allowed us to be more accurate, more efficient, in our planning today so we won’t have to do as much shifting in the future. (Sorry wonderful colleagues! I can’t promise that we’ll never do shifting.) My own hope is that by doing this methodical (and methodological!) plotting today, the new stacks will be spoken of with the same fondness as the old stacks—albeit with less reverence toward crannies.

Anxiously awaiting our renovated space? It’s coming! From July 1st-August 23rd, the Rubenstein will be closed as we move into our permanent home. On August 24th, we’ll reopen to one and all.

Thanks to Mark Zupan and the Duke Libraries Renovation Flicker page for the excellent pictures; thanks also to Data Visualization for showing us its cool offerings!

rube on the move

Post contributed by Liz Adams, Collections Move Coordinator

Human Rights Archive Collection Sheds Light on 1983 Assassination of Peruvian Journalists

I am Carmen Valdivieso Hulbert, a New York-based journalist-filmmaker born in Peru. I am currently co-directing and producing Uchuraccay, an investigative, human rights documentary for my company, Quinoa Films Inc.

The documentary attempts to find answers related to the assassinations of eight journalists and their guide in 1983 in Uchuraccay, a hamlet in the Andes of Peru. The murders occurred amidst warfare between the Maoist group, Shining Path, and Peruvian military forces. As part of my investigation of the case, I found valuable material among the Coletta Youngers Papers at the Human Rights Archive in the David M. Rubenstein Rare Book & Manuscript Library.

Map of Peru showing location of Uchuraccay.
Map of Peru showing location of Uchuraccay.

In the process of this ten-year investigation, I have found a large amount of information which at first did not stand out due to the complexity of the case. In February 2015, I found a copy of the original report on the assassinations filed by the government-appointed investigative commission in March of 1983. The group was led by Peruvian writer Mario Vargas Llosa. According to the commission’s findings, the villagers of Uchuraccay were the sole culprits of the murders. Furthermore, the report fails to cite any military presence in the area when the murders took place.

This report was based on testimony given to the commission by the military chief of Ayacucho, the capital city of Huamanga Province, where Uchuraccay is located. He stated that the last military flight to the area took place on Sunday, January 23, 1983. His testimony conflicts with information I found in an article published on January 27th of the same year in the leading newspaper, El Comercio. The article, based on information received from the same military headquarters, indicates that a group of military and police officials arrived in the area from Lima on January 26th. Around noon, the group visited Uchuraccay, among other areas. This was the very day that the journalists arrived in Uchuraccay and were allegedly murdered around 4 p.m.

The discrepancy only hit me after I found and read the investigative report this past February. Had I not found this particular document in the Coletta Youngers Papers, it would have taken me longer to connect the dots.

A friend I met on my last trip to Lima in January of 2014 had mentioned that Javier Azcue, the journalist who wrote the story in El Comercio, had told him about the importance of that visit, and that no journalist had taken note of it. I was not sure what he was referring to until I re-read the official report at the Rubenstein.

On January 30, 1983, the date of the exhumation of the eight journalists’ bodies, villagers in Uchuraccay told a journalist who spoke Quechua, one of the main Peruvian indigenous languages, that the soldiers had told them to kill any stranger who arrived in the community on foot, and that they should remove their eyes and cut out their tongues while they were still alive. Apparently that did not happen, as indicated by the newspapers clippings I found among the Coletta Youngers Papers. While at the Rubenstein, I found some enlarged newspapers clippings of La Republica that showed close-up photos taken the day the bodies were exhumed. The photographs show the faces of five of the eight murdered journalists. As gruesome as these images are, they show two of the journalists with eyes half-closed and intact, and three with their eyes closed but without signs of having been removed, as some of the villagers had previously stated.

Photocopy of article from La Republica. From the Coletta Youngers Papers.
Photocopy of article from La Republica. From the Coletta Youngers Papers.

Previously I had only heard the recordings of the villagers’ testimonies in their native Quechua, along with a transcript translated into Spanish. I was therefore able to recognize one of the villager’s photo and name in the newspaper clipping.

Post contributed by Carmen Valdivieso Hulbert, Rubenstein Library researcher, journalist, and filmmaker.

NEH grant will fund Voices of Change Project at the Rubenstein Library

The David M. Rubenstein Rare Book & Manuscript Library at Duke University has received a grant of $200,000 from the National Endowment for the Humanities to support Voices of Change: Preserving and Presenting Radio Haiti.  This two-year project, set to begin in July 2015, will preserve and make widely available the written- and spoken-word archives of Radio Haiti Inter, the country’s oracle of democracy from the late 1960s until its closure in 2003. The announcement of the award coincides with the fifteen year anniversary of the assassination of the station’s owner and Haiti’s most prominent journalist, Jean Dominique, and amidst continuing news coverage about the ongoing trial of his accused murderers.

radio haiti
Jean Dominique and Michèle Montas at Radio Haiti Inter, 1995

 

The Human Rights Archive at the Rubenstein Library received the archives of Radio Haiti in late 2013 as a gift from Michèle Montas, the station’s co-anchor and widow of Dominique.  “To me, Duke University was the most welcoming environment for these unique archives, with knowledgeable teams of scholars and archivists able to preserve the past and help to use that recent past as a tool to re- imagine the future,” commented Montas about her decision to place the archives at Duke.

As evidenced in the more than 3,000 recordings and 70 linear feet of paper records comprising the collection, Radio Haiti distinguished itself from other media outlets in Haiti by covering not only events in Port-au-Prince but news from the rural areas of Haiti, including a grassroots democratic movement that eventually overthrew the Duvalier dictatorship in 1986. It was the first independent radio station in Haiti, and the first to broadcast in the language of the people, Haitian Creole, instead of the French spoken only by Haiti’s elite.

The collection is one of the most important and comprehensive resources available for studying and understanding the recent history of Haiti. Primary materials related to Haiti are relatively rare, and the archives of Radio Haiti are particularly distinct both for the depth and breadth of their coverage. According to Laurent Dubois, project advisor and Marcello Lotti Professor of Romance Studies and History at Duke, “The Radio Haiti Archives represent a tremendous resource for scholars, educators, and the general public interested in culture and politics in Haiti from the late 1970s to the present. Under the leadership of Jean Dominique and Michèle Montas, the station served as a critical voice for reportage, debate, editorials, and news for several decades.” Access to these important primary materials will allow scholars to write the history of the country in nuanced and participatory ways.

beth doyle
As part of preparing the grant proposal, Library staff completed a pilot project cleaning and digitizing a selection of tapes from the Radio Haiti Archives.

 

Grant funding will support a full-time project archivist fluent in both Haitian Creole and French to oversee the arrangement, description, digitization and preservation of these materials. To support multilingual and international research, audio recordings will be described in French, Haitian Creole, and English, and will be made freely available online via Duke’s Digital Collections, the Digital Public Library of America, and the Digital Library of the Caribbean.

In order to promote easy access to these materials in Haiti, the Library will partner with the Forum for Scholars and Publics at Duke and FOKAL (La Fondation Connaissance et Liberté/Fondasyon Konesans Ak Libète), a community organization in Haiti, to place digital copies of the recordings in libraries throughout Haiti. The team will also explore creating podcasts from the recordings to allow for easier access in regions with intermittent internet connectivity.

The Radio Haiti collection is a singular resource supporting a nuanced and comprehensive understanding of the last 50 years’ of Haiti’s history. By preserving and making accessible these archives, Duke University Libraries seeks to advance the dialogue not only about Haiti’s past but also about its future.

Those interested in learning more about the archives of Radio Haiti are encouraged to visit the pilot site developed collaboratively between the Forum for Scholars and Publics and the Library at http://radiohaitilives.com/.   This site includes access in Creole and English to all the recordings reformatted as part of the planning phase of the grant.

Post contributed by Kat Stefko, Head of Technical Services. 

Women at Duke Wikipedia Edit-a-thon

Date: Wednesday, March 25, 2015
Time: 10:00 AM-2:00 PM
Location: Edge Workshop Room, Bostock Library
Contact: Kelly Wooten, kelly.wooten@duke.edu or 919-660-5967

Two Women in front of the Washington Duke statue, ca. 1900s. From the University Archives Photograph Collection.
Two Women in front of the Washington Duke statue, ca. 1900s. From the University Archives Photograph Collection.

Join the staff of the Sallie Bingham Center for Women’s History and Culture for an opportunity to learn how to edit Wikipedia articles, learn more about the rich history of women at Duke University, and then put that knowledge into action by creating and editing entries that document the lives and contributions of women alumnae, faculty, staff, and community members.

This edit-a-thon is part of a worldwide movement to increase the percentage of women editors and woman-focused articles within Wikipedia.

If you’re planning to attend, create a Wikipedia account in advance and sign up on the edit-a-thon’s meetup page (where you’ll also find a list of proposed Wikipedia articles that you can work on). Bring your laptop to the edit-a-thon if you can. You can also participate from anywhere in the world!

Looking for more information about the edit-a-thon? Read Duke Today’s article or listen to this “State of Things” discussion with local edit-a-thon organizers, including the Bingham Center’s Kelly Wooten!

The edit-a-thon is co-sponsored with the Duke University Archives and the Duke Women’s Center.

Archives Office Hours at the SOURCE

We know, there’s less than a month before LDOC and you need another thing to do like a hole in the head. But, if you’re a leader or an active member of a Duke student group (including graduate and professional student groups), finish out your group’s year by giving documentation about your activities to the Duke University Archives.

By archiving your records, you ensure that your group’s legacy remains part of Duke University’s history, alongside the records of Duke’s presidents and campus offices. It’s your way to make your mark on what future Duke students and scholars will know about Duke history for decades to come.

To help with this, University Archives staff will be holding regular office hours at UCAE’s the SOURCE starting this week through the end of the semester. You’ll find us at the SOURCE on:

  • Thursday, March 26th from 2:00-4:00 PM
  • Thursday, April 9th from 2:00-4:00 PM
  • Thursday, April 23rd from 2:00-4:00 PM

No appointment is necessary—just stop by with any questions about the records collecting process or to tell us more about the records you’d like to archive.

Cast from "The Womanless Wedding," ca. 1890. From the University Archives Photograph Collection.
This group is in the Duke University Archives. Is yours?
Cast from “The Womanless Wedding,” ca. 1890. From the University Archives Photograph Collection.

Need a little background information before coming to visit us?

Read more about the types of documentation we collect—and see some examples of student groups whose records we hold—on our student group records website.

Before you stop by, make a quick canvas of any documentation your group might be ready to place with the University Archives. Think about the types of documentation you have, the dates it covers, and if there are any special formats (do you have tons of video files? do you have a gigantic banner from a group event?). We’ll then help decide what should come to the University Archives.

We’ll also ask you how much documentation you have to give to us, so we can estimate the number of boxes you’ll need (yep, we can provide those) or make arrangements to get digital files from you via DropBox, a flash drive, etc.

Can’t visit the SOURCE during our office hours?

Complete our online form to let us know a little about the records you’d like to donate, and we’ll get in touch with you to discuss next steps. Or send us an email with any questions!

Post contributed by Amy McDonald, Assistant University Archivist.

Author Scott Ellsworth on “The Secret Game”

Date: Tuesday, March 31, 2015
Time: 4:00 p.m.
Location: Edge Workshop Room, Bostock Library
Contact: Valerie Gillispie, valerie.gillispie@duke.edu or 919-684-8929

Cover of "The Secret Game" by Scott EllsworthPlease join us on Tuesday, March 31, at 4:00 p.m. for a special reading by historian and Duke alumnus Scott Ellsworth. He will be reading from his new book The Secret Game: A Wartime Story of Courage, Change, and Basketball’s Lost Triumph.

The Secret Game tells the incredible story of a Sunday morning in 1944 when the all-white Duke University military team from the Medical School traveled across town to North Carolina Central College for Negroes (now North Carolina Central University) and played a secret interracial basketball game. Under legendary coach John McLendon, the NCCU Eagles won the match-up. The players then continued to socialize and play a pick-up game that mixed players from each team.

Scott EllsworthAgainst the backdrop of World War II and the Jim Crow South, Ellsworth explores the way this extraordinary game came about, what it meant for the players involved, and how the details of this game were forgotten—and remembered. Ellsworth conducted research in the Duke University Archives, Duke University Medical Center Archives, and NCCU archives in writing the book.

Ellsworth will be introduced by Timothy B. Tyson, Duke University faculty member and author of Blood Done Sign My Name. The event will be followed by a book signing and reception in the Edge Lounge. Copies of The Secret Game will be available for sale by the Gothic Bookshop.

This event is sponsored by the Duke University Archives, the Center for Documentary Studies, the Gothic Bookshop, the Duke University Libraries, and the Office of Public Affairs and Government Relations.

Post contributed by Valerie Gillispie, Duke University Archivist.

Our new home: A sneak peek

It’s confession time: I started working at the Rubenstein after we moved onto the 3rd floor of Perkins. This means that I never gazed up at the ceiling archway of the Gothic Reading Room, and I never wandered our old stacks, traveling the well-trod paths—literally and figuratively– of those librarians who came before me. Our impermanent home is the only one I’ve known. And in truth, I’ve always had a hard time imagining what came before and what comes after. Architectural plans, while incredibly helpful, don’t always capture grand staircases and hidden crannies.

Rare Book Room
Rare Book Room

 

 

Luckily for all of us, Kat Stefko, the head of Rubenstein Technical Services, and I recently returned to our once and future home. We put on our fanciest construction gear and walked around the floors, all the while marveling at the differences in scale between our temporary location and our new one. Check out the maps cabinets! They are the very definition of bright young things.

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maps cabinets (sideways!)

 

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With a handy ruler, we were also able to measure the shelf clearance for our new manuscript shelving units. I’m happy to report that our larger manuscript boxes will fit safely and snuggly on each shelf. Can you imagine these filled with boxes?

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And just because I mentioned the scale earlier, look at how tall these units actually are! I’m not a small person, but these are the equivalent of two of me. (Don’t worry, fellow staff members and curious readers: our ladders will be sturdy and strong.)

Although we at the Rubenstein love a good field trip, we didn’t tour the stacks just to tour the stacks. We wanted to gain a better sense of how to move our materials from our current abode to our new one. As July 1st swirls closer, we need a solid moving plan, one that takes into account tight turns and elevators, lines of visibility and door widths. Our spaces aren’t quite complete, but we found it incredibly helpful to walk the pathways we’ll take in July, to imagine materials moving at fast clips down hallways and into elevators. It was all enormously satisfying: we know that we can make this move happen, and we’re well on our way to figuring out how to do it.

rube on the move

Post contributed by Liz Adams, Rubenstein Move Coordinator. 

 

Crazies in Love: A Valentine’s Open House

Date: Thursday, February 12, 2015
Time: 3:30-5:00 PM
Location: Room 217, Perkins Library
Contact: Amy McDonald, amy.mcdonald@duke.edu

Dearest readers and friends, we long to see you on Valentine’s Day. Won’t you please set our hearts a-flutter and come to our Valentine’s Day open house?

Do you fear that you will be too busy penning epistles of undying love to your own beloveds to join us? Ah, but this event is crafted especially for you: we’ll be sharing the most swoon-worthy of love declarations from the Rubenstein Library’s collections, so you may find just the term of endearment you need to woo your mate.

Perhaps a few examples to help the time pass more swiftly until we meet?

We’re charmed by the simplicity of this short note from the scrapbook of Odessa Massey, Class of 1928:

Note from Odessa Massey's scrapbook
From the Odessa Massey Scrapbook, 1924-1928.

Or the more expressive route taken by Francis Warrington Dawson—writing to Sarah Morgan, his future wife–is always sure to succeed:

Letter from Francis Warrington Dawson to Sarah Morgan, February 10, 1873. From the Dawson Family Papers.
Letter from Francis Warrington Dawson to Sarah Morgan, February 10, 1873. From the Francis Warrrington Dawson Family Papers.

“How deeply should I thank God that he has allowed me to know you, which is to love you, for the sun now has a brighter light & the sky a deeper blue. The whole world seems truer & better, & this pilgrim, instead of lingering in the depths, is breasting the healthy difficulties of existence, with his eyes fast fixed on you. Whatever else may fail, believe always in this devoted & unselfish love of Francis Warrington Dawson!”

Or whose heart wouldn’t melt upon receiving this most adorable valentine, from our Postcard Collection:

Valetine, undated. From the Postcard Collection.
Valentine postcard, undated. From the Postcard Collection.

And there might even be tips on how to present yourself when you present your valentine!

Barbasol advetisement, 1944.
Barbasol advetisement, 1944. http://library.duke.edu/digitalcollections/adaccess_BH0643/

 

Have we convinced you yet? What if we mention that there will be chocolate and candy?

Until next Thursday,

Your Rubenstein librarians