Post contributed by Ani Karagianis, Centennial Archivist, Duke University Archives.
[A small exhibit related to this blog post can be viewed near the Perkins Library service desk for the next month.]
Recently, the Rubenstein Library put up a small exhibit about the Greensboro Woolworth Sit-ins in February 1960. Since I participated in the creation of the exhibit, naturally, I wanted to look more into the early sit-ins and other movements of the early 1960s. It is here where I can say that there is a Duke angle to some subsequent events after the sit-ins. Duke angle #1: Professor William Chafe of the history department. Bill Chafe, who wrote a great book that I was able to devour during the holidays (Civilities and Civil Rights) interviewed three of the four members of the Greensboro Four: Ezell Blair Jr. (known as Jibreel Khazan), Joseph McNeil, and David Richmond. Rather than having me write about their interviews and their experiences of the sit-in, I have provided the readers with some snapshots of them speaking about their experiences in Greensboro, North Carolina Agricultural and Technical State University, and the Woolworth sit-ins. These oral histories can be found in box two of the William Chafe Oral History collection.
Some good soundbites courtesy of these interviews:
Jibreel Khazan (labeled as “Jabriel Kajan”, 1974, speaking about his youth NAACP council and providing a little background of the idea behind the protest:
Joseph McNeill, 1978, reflecting on the movement the role of the Greensboro community:
David Richmond, 1972, providing a breakdown of the day’s plans:
Please join us for our next Trent History of Medicine Event, a symposium celebrating Remarkable Stories of American Black Surgeons in the 19th and Early 20th Centuries.
Speakers include:
Jill L. Newmark, “Without Concealment, Without Compromise: Black Civil War Surgeons”
Margaret Humphreys, “Searching for Dr. Harris”
Todd L. Savitt, “Entering a ‘White’ Profession: African American Physicians in the Late Nineteenth and Early Twentieth Centuries”
Jill L. Newmark is an independent historian and former Curator and Exhibition Specialist at the National Library of Medicine, National Institutes of Health. She has curated numerous exhibitions and written several articles on African American medical personnel who served during the American Civil War.
Margaret Humphreys is the Josiah Charles Trent Distinguished Professor of the History of Medicine in the School of Medicine at Duke University, as well as Professor of History, Professor of Medicine, and affiliate with the Duke Global Health Institute. A specialist in the history of science and medicine, she has focused her research and publications primarily on infectious disease in the U.S. and the American south, as well as the history of medicine during the American Civil War.
Todd L. Savitt is an historian of medicine with a particular interest in African-American medical history. He is professor in the Department of Bioethics and Interdisciplinary Studies in the Brody School of Medicine at East Carolina University.
There is no registration required. The event will be recorded.
Sponsored by Duke University History Department, the Trent Center for Bioethics, Humanities & History of Medicine, and the History of Medicine Collections in the David M. Rubenstein Rare Book & Manuscript Library.
An archive like that at Duke University can be approached from numerous angles. Professors might partner with the Rubenstein Library to encourage student engagement with materials that are relevant to their courses. Students might flock to the reading room to fulfill requirements for a paper. Researchers from across the world might visit the Rubenstein’s collections to identify sources that pertain to their independent studies. There is also the possibility that people might visit the reading room out of pure curiosity, stumbling in search of rare books, letters, and artifacts that are simply “cool” to them. I found myself in this category while perusing the catalog for a topic that could be reflected well in an exhibit, and I was pleased to see how a streak of curiosity can lead down a rabbit hole of literary exploration.
Beginning my quest by analyzing works celebrating an anniversary year, I found myself in the middle of a pastoral tale full of drama, love, and a surprising amount of sheep, as known as Thomas Hardy’s fourth novel, Far from the Madding Crowd.
Far from the Madding Crowd as it appeared in January 1874 for Cornhill readers.
In January 1874, Thomas Hardy obliged Sir Leslie Stephen, editor of Cornhill Magazine, by publishing his novel serially for Cornhill readers to enjoy. Describing his work as a story involving “a young woman-farmer, a shepherd, and a sergeant of cavalry,” Hardy set forth on a yearlong adventure of watching the public and critics receive his novel before him (Hardy 1928, 125). Later that year on November 23, 1874, Hardy saw the publication of his work in its entire form. While reading the novel, which is an experience in and of itself, is where some people end their journey down this Victorian English path, the Rubenstein’s holdings allow for a much deeper dive of Hardy’s process to and through publication, from an exploration of his title to the aftermath of the story in his wake.
While we can give Hardy credit for the storyline and characters that emerge in his novel, the title must be attributed to another prominent figure in English poetry, Thomas Gray. Hardy’s use of Far from the Madding Crowd is a direct reference to Gray’s 1751 poem, Elegy Written in a Country Churchyard, where Gray writes:
“Far from the madding crowd’s ignoble strife
Their sober wishes never learn’d to stray;
Along the cool sequester’d vale of life
They kept the noiseless tenor of their way.”
The Rubenstein is home to various versions of Gray’s poem, many of which include illustrations to accompany the famous line later used in Hardy’s title. An 1850 edition includes illustrations by R. S. Gilbert, depicting two adults and two children in their home, with one woman gazing into the distance while the other helps a child to read. An 1861 edition includes an image, created by E.V.B. and engraved by William Meason, depicting angels in their robes. An 1887 edition includes illustrations by Alfred Woodruff, centering the focus on a cemetery, with plants overtaking the emerging gravestones on the stanza’s partnering page. An 1899 edition pictures a cottage set off from a path, surrounded by the sky and vegetation. While Gray’s poem was published nearly a century before Hardy’s birth, the Rubenstein’s holdings create the space to imagine how Hardy may have seen the poem for the first time, and how its presentation led him to use one of Gray’s lines as the title for his work.
Illustrations from two editions of Thomas Gray’s Elegy Written in a Country Churchyard, 1899 (left) and 1861 (right).
Jumping further down the rabbit hole of this investigation, I then pulled two books by Florence Emily Hardy, Hardy’s second wife, with the hope of learning more about the historical context surrounding Hardy’s process of creating and publishing Far from the Madding Crowd. The first of the two books, The Early Life of Thomas Hardy, which covers his life from 1840 to 1891, is where the drama began to unfold. While published under Florence Hardy’s name with an understanding that Hardy himself contributed much of the work, the reception of this book has been contested by some scholars in the field. Some believe that Florence altered much of the text from its original form, a topic covered thoroughly by Michael Millgate in The Life and Work of Thomas Hardy, which was published with Hardy’s name after Millgate edited the work to resemble Hardy’s final version. Other scholars in the field have responded to this controversy, such as Tim Dolin in the 2007 article, “The Early Life and Later Years of Thomas Hardy: An Argument for a New Edition,” calling for Florence Hardy’s text to be reinstated as a credible account. Regardless of the criticism for Florence Hardy’s Early Life, the work presents additional information on Hardy’s writing practices as his novel continued to be published serially in Cornhill.
“So Hardy went on writing Far from the Madding Crowd—sometimes indoors, sometimes out—when he would occasionally find himself without a scrap of paper at the very moment that he felt volumes. In such circumstances he would use large dead leaves, white chips left by the wood-cutters, or pieces of stone or slate that came to hand. He used to say that when he carried a pocket-book his mind was barren as the Sahara” (Hardy 1928, 127).
Florence Emily Hardy’s 1928 publications on the life of her husband, Thomas Hardy.
Duke University is also home to additional texts that provide understanding to the world that Hardy lived in and how it was brought to life on the page. One book in particular, Hardy’s Wessex by Hermann Lea, showcases the real places that served as inspiration for Hardy’s setting, including images to better understand the farmland and lifestyle in Far from the Madding Crowd.
Hermann Lea’s descriptive work on Thomas Hardy’s Wessex, published in 1913, reprinted in 1928.
The Rubenstein also houses a few of Hardy’s papers in their archive. While they do not speak directly to this novel’s anniversary, they include some of Hardy’s correspondence and an etching of him completed by William Strang, an artist and printmaker who worked with other notable figures like Samuel Taylor Coleridge.
Now 150 years old, Far from the Madding Crowd is a story that continues to see itself adapted and discussed. You may have read it in an English course, watched it unfold on-screen, or never heard of the sheep-filled tale before now. No matter the case, Duke Libraries has just enough copies for you to join the fun of guessing who Bathsheba Everdene will marry in the end!
Interested in reading more on the topic of Hardy’s Far from the Madding Crowd? “Far from the Madding Crowd at 150: Seven Reflections” includes writings from a group of Victorian scholars, all focusing on a different aspect of the text and bringing forth their unique perspectives on Hardy’s work.
Works Cited
Gray, Thomas. Elegy Written in a Country Churchyard. London: Printed for the Guild of Women-Binders, 61 Charing Cross Road, W.C., 1899. David M. Rubenstein Rare Book & Manuscript Library, Duke University.
Hardy, Florence E. The Early Life of Thomas Hardy, 1840-1891. New York, The Macmillan Company, 1928. David M. Rubenstein Rare Book & Manuscript Library, Duke University.
Post contributed by Leah M. Kerr, Our Story, Our Terms Project Archivist
DATE: Wednesday, September 25, 2024
TIME: 11:30-1 ET, 1:30-3 ET, 3:30-5 ET
LOCATION: Zoom webinars (please register to receive links)
Please join Our Story, Our Terms (OSOT) Project Archivist, Leah M. Kerr and her colleagues explore the idea of “(re)Imaging” as the process of updating, recreating, and adding to the representation of Black activists and artists in the predominately white libraries and archives. As if a switch has been flipped, more artists are turning to primary source images for use in their expressions of their lives. More movement activists are recognizing the need to document themselves for their own records, and to provide truth to future historians. These changes also require archivists to accurately describe, arrange, and gather the materials of previously underrepresented communities.
In three conversations, Black activists, artists and archivists gather to discuss the thoughts behind capturing primary sources as art; the need to correctly document actions in movement work; and the steady change of recognizing the need for archives to reexamine traditionally white patriarchal and hierarchical practices that have limited the thoughts on the collection and availability of Blackness in special collections.
Image: (noun) a physical likeness or representation of a person, animal, or thing, photographed, painted, sculptured, or otherwise made visible.
Order of Conversations –
Conversation 1 (11:30am-1:00pm ET ): Say it Loud – Telling Our Stories- explores evolving methods of capturing, interpreting, and documenting Black stories.
Conversation 2 (1:30pm-3:00pm ET): Fight the Power – New Memory Keeping – offers discussions around the recognition of Memory Work, its applications, and implications for strengthening Black representation.
Conversation 3 (3:30pm-5pm ET): Alright – Strengthening the Black involvement in Archives – making Black memory work a movement rather than a moment requires community education, diversifying staff in libraries and archives, and simplifying methods of institutional documentation. But how do we make these things happen?
Date: Tuesday, April 9, 2024 Time: 6:30 p.m. — A reception will precede the conversation at 6:00 p.m. Location: Smith Warehouse Bay 4, Ahmadieh Family Lecture Hall Please RSVPhere.
The “Rosetta Reitz’s Musical Archive of Care” Bass Connections team welcomes Rissi Palmer! She’ll be in conversation with us as we explore the album Sweet Petunias, issued by Rosetta Records in 1986 (part of the Rosetta Reitz Papers in the Sallie Bingham Center for Women’s History and Culture). The conversation will also feature Bass Connections undergraduate team members Lindsay Frankfort and Trisha Santanam and team co-leader singer-songwriter Tift Merritt.
A reception will precede the conversation at 6:00.
Registration not required, but much appreciated. Please RSVPhere.
Hosted by the Forum for Scholars and Publics (Forum @ FHI), with the support of Bass Connections, the Sallie Bingham Center for Women’s History and Culture, the Social Science Research Institute, and Duke Arts.
The Rubenstein Library is pleased to announce our 3rd annual Black Lives in Archives Day.
This one-day only immersive exhibition will allow visitors to browse, touch and feel special selections from the collections of the David M. Rubenstein Rare Book & Manuscript Library by and about Black lives. Feel free to chat with Rubenstein Library staff and explore one-of a kind Black primary source material. From rare first editions books, to published works exploring Black life in Durham, to publications by Black students at Duke, the event will give attendees a hands-on experience with the richness of Black print culture!
This event is free and open to the public. Information on visiting the Rubenstein Library, including parking and campus maps, is available on our website.
Post contributed by Shaina Leverett, Harry H. Harkins Intern for the Duke Centennial, Duke University Archives
If someone approached you and asked- “What is this thing you call Duke University? What does it mean? Where does it come from? Who makes it? Who continually makes it?” How would you respond to that?
Four undergraduates applied to create an exhibit showcasing the last 100 years of Duke history. As part of a Story+ summer research program, their jobs were to comb through the University Archive and chose 100 items that evoked Duke’s last 100 years, and subsequently curate an exhibit. Now, to give you some perspective on what that task entails, the university archive contains about 11,000 linear feet of records (including digital records).
Here’s the moment where we scratch the track and ask “Wait, hasn’t Duke been around more than 100 years?”, and the answer is yes, technically speaking Duke began as Brown’s Schoolhouse in the year 1838. Instead, the Duke Centennial celebrates the 100th anniversary of the establishment of the Duke Endowment by James B. Duke. This charitable organization supports a number of causes and organizations, one of them being Trinity College. The college quickly changed its name to Duke University to reflect the transformative nature of this ongoing gift. The Story+ scholars looked back through the records since that pivotal year, and their work resulted in a rich and kaleidoscopic narrative of our school, which is now on display in Chappell Gallery in Perkins Library and online.
The students tasked with this project are Caroline Edmondson (T’26), Prisha Gupta (T’ 26), Zoe Tishaev (T’ 24), and Melody Tzang (T’ 25). Their project was managed by Jessica Orzulak, PhD, and they were further assisted by a team of staff at the Rubenstein. I sat down with each of the four undergraduates and asked them a series of questions ranging from the practical and philosophical struggles of the task. Their responses highlighted the difficulty in attempting to tell a ‘complete’ story about our institution, and the reasons we try to do it anyway.
Student Curators (L to R): Melody Tzang, Zoe Tishaev, Caroline Edmondson, and Prisha Gupta
Interviewer: Your task was to create an exhibit showcasing the last 100 years of Duke’s history. How did you find a focus for that wide of a time period?
Caroline: Yeah, that was definitely a big challenge. We came up with a list of themes that we knew we wanted to cover, as well as events that we already knew about just from our experience being here. Then it was a little easier to narrow the search and say, okay, let’s find some stuff that talks about the Woman’s College. Okay, let’s find some stuff that talks about the Graduate School or the Duke Forest. Also, we would look at collections that interested us, or that we thought might contain some insights. We tried to find objects that sort of spoke for themselves or spoke to parts of the stories that we didn’t necessarily know.
Interviewer: Part of looking back, especially over the course of a century, means we have to sometimes look upon some disappointing parts of history. How did you consider including the parts of our history that are more difficult to engage with?
Zoe: I think I’m a big believer that we criticize the institutions that we love. Because we want to learn from our past and we want to make them better, right? So it’s good to look back and to reflect and to see where things have changed and how we can learn from our past and the shortfalls of things that we’ve tried that haven’t worked. Something that’s easy to forget about when we step into leadership positions is [that] we forget to think about what’s been tried already and how we got to where we are, and all the mistakes and all the successes that have led us here. Until we understand that, it’s difficult for us to truly move forward.
Interviewer: How do you hope people will react to this exhibit?
Prisha: [Looking at] the Trinity Archive from the 1920’s, the editor had written their editor’s letter on Duke’s name change. I loved getting to read that. That person was definitely only here for 4 years, but what they had written meant a lot to somebody–to me! I’m somebody in the future! Even small pins, T-shirts, and the photos that people take, I think it builds such an impact on what we understand to be Duke’s history. I just hope that people realize after they leave the exhibit that they matter to this institution in some way.
Interviewer: What have you learned about Duke’s past 100 years that most surprised you?
Caroline: There are some smaller stories that were definitely surprising, like my mind was totally blown when we found out about the parapsychology lab. I was also struck by how frequently I found things that were so similar to what’s happening today. I’m a member of Duke Players, which is our oldest student theater organization. One of the objects that we pulled out to represent that group is a script in a Playbill from a production of the Glass Menagerie. Like decades and decades ago, and now we still read that play all the time!
Interviewer: What advice would you give to your fellow undergraduates, who maybe haven’t utilized the archive yet?
Zoe: You should absolutely do it. At least once in your career. It’s so touching and grounding to connect yourself back to the students who roamed the same halls as you and walked the same ground. There’s something very humbling about that and it’s just so fascinating to see. I think the library staff are nothing but helpful. Just go into the archives, they’re open for everybody. And ask the staff member to walk you through it. They will be delighted and thrilled that you have taken an interest, and honestly, our library system is probably one of the best in schools of our caliber.
Interviewer: Are there any skills you gained from this experience that you see yourself using in your education or your future job?
Melody: For sure, all of the soft skills that are super important in the workplace- collaboration, problem solving, also, just being able to communicate properly with so few words. [My] writing skills definitely came in handy with the label writing. It’s a really difficult learning how to be concise in your writing with so little space, especially for the [artifact] labels. Cutting it to 100 to 150 words is really tough because we’re doing all that primary source research we come across. Maybe we only write 10% of what we’ve actually researched, and so [from] that whole breadth of knowledge [it] is really hard to pick and choose what our general audience would want to take away from an artifact. Or maybe there’s too much information that we just can’t put in there that we actually really wanted to share. So, a lot of it was how do we be concise with our writing? How do we also be creative in combining information together and spread it across different labels [so] that information still gets out there.
Interviewer: What is your favorite artifact in the exhibit?
Melody: My personal favorite item in the exhibit is this printing plate of the Duke alma mater. The alma mater was originally titled “Hymn to Trinity” by a graduate student named Robert H. James. It was a devotional for Trinity College before Trinity College became Duke University. He was inspired to write a hymn to Trinity in order to show his own gratitude and devotion to his college, and then also to express the feelings of his fellow students and others in what he called “the little worlds of Trinity.” It kind of mirrors that sort of same devotion and gratitude that I have for Duke.
Zoe: I change my answer on this every time. I think my traditional answer has been the roller skates. [Follow the link for more details on a 1949 bus boycott against the rise in bus fares between East and West Campus.] I am a very pedestrian centered person. My whole thing on campus is fighting for more pedestrian access and less auto-centrism. So just seeing the energy people went through to walk from East to West campus because of a fare hike . . . it was more about the principal than the affordability of it. It’s a combination of civic engagement and people standing up for what they thought was right. Today, [that protest] could never happen. Students would not get that outraged. Or maybe they’d get outraged, but they wouldn’t organize around something of that scale. People drive from East to West Campus every day, and I just think it’s a strange shift because the distance hasn’t changed, but the students have.
Prisha: The picture of Jelly Leftwich and the Blue Devil is . . . [imagine here Prisha’s facial expression of palpable glee and adoration]. I’m a notorious Jelly Leftwich fan. I did a small research project on his scrapbook a while back and we don’t have the scrapbook in the exhibit, but that’s also an object worth checking out. Basically, he came here in 1926 to direct the three main bands at Duke. He’s kind of credited with revitalizing the music department at Duke. His scrapbook is really funny. Newspapers would also often call him handsome or something, and he would underline it every time.
Caroline: One of my favorite things that I totally found by chance was a glass lantern slide from 1935 of the Duke Forest. It’s meant for a projector, so it’s just kind of like tiny green glass image that you would put in front of a projector that would get displayed on a wall. When I checked out the collection, I thought it was going to be documents, but it was all these little glass lantern slides. It’s stunning and it honestly took my breath away a little bit. Because it looks just like it does now, like in 1935, the Duke Forest had as much beauty in it as it does now and I thought there was something remarkable about that. The Forest isn’t one of the institutions at Duke that I engage with very frequently, but it really put things into perspective for me. How lucky we are to have this resource that has been preserved for so long and will hopefully be preserved for decades to come. And to have this image of it from almost 100 years ago that looks so identical to how it looks now . . . it honestly made me a little emotional, this tiny image that someone took for research purposes in 1935 tells such a beautiful story of almost 100 years of the Duke Forest, which I thought was really cool.
The exhibit titled Our Duke: Constructing a Century will have its kick-off event on January 24th, 2024 from 4-6, with our curators set to give remarks at 4:45. On behalf of my fellow staff members in the University Archives department, we are exceptionally proud of the work of these four bright students. You can see from the exhibit, the level of care and gravity they considered when telling their story of Duke. We look forward to officially celebrating the fruits of their several months of hard work, and hope you will join us. To see more on the exhibit, including a virtual exhibition and the curator’s statements, please visit it OUR DUKE: Constructing A Century.
Date: Tuesday, January 23, 2024 Time: 5:30 p.m. Location: Rubenstein Library Room 153, Holsti-Anderson Family Assembly Room, Duke University (the event will be recorded) Contact: Rachel Ingold (rachel.ingold@duke.edu or 919-684-8549)
Dr. Kylie Smith
Please join us on Tuesday, January 23, for our next Trent History of Medicine Lecture Series event. Kylie Smith, Ph.D., will present “Jim Crow in the Asylum: Psychiatry and Civil Rights in the American South.”
The Civil Rights movement of the 1950’s and 60’s sought to end racial segregation in all U.S. public institutions, including hospitals. Psychiatric hospitals became political battlegrounds over segregation and patients’ rights, setting the scene for disparities that continue today.
“Jim Crow in the Asylum” explores the process of desegregation and deinstitutionalization in state psychiatric hospitals in Georgia, Alabama and Mississippi. It draws on original records, court cases, and personal testimony to expose the racist ideas that underpinned the treatment of African Americans with mental illness and saw psychiatric hospitals used as dumping grounds for some of the South’s most vulnerable people.
Kylie Smith is Associate Professor and Director of the Center for Healthcare History and Policy in the Nell Hodgson Woodruff School of Nursing, and Associate Faculty in the History Department, at Emory University in Atlanta, Georgia. She earned her PhD in the history of psychiatry in Australia, and is the author of the award winning book Talking Therapy: Knowledge and Power in American Psychiatric Nursing published by Rutgers University Press in 2020. Her new book entitled Jim Crow in the Asylum: Psychiatry and Civil Rights in the American South will be published by UNC Press early in 2025 and is supported by the G13 Grant from the US National Library of Medicine.
This event is sponsored by the History of Medicine Collections in the Rubenstein Rare Book & Manuscript Library and the Trent Center for Bioethics, Humanities & History of Medicine. The Trent Center is holding another talk by Professor Smith on Wednesday, January 24, at noon
Date: Tuesday, October 24, 2023 Time: 5:00 p.m.- 6:30 p.m. Location: Rubenstein Library 153 (Holsti-Anderson Family Assembly Room)
Please register here. Free parking for registrants.
Please join the Sallie Bingham Center for Women’s History and Culture for “In Conversation about the National Black Justice Coalition with Mandy Carter (Social Justice Activist), Victoria Kirby York (Director Of Public Policy And Programs, NBJC), Eric D. Martin (LGBTA Center Coordinator, NCCU), andKamau Pope (Ph.D. candidate, Duke University)” exploring the history and future of America’s leading national civil rights organization dedicated to the empowerment of Black lesbian, gay, bisexual, transgender, queer+, and same gender loving (LGBTQ+/SGL) people. Learn more about the NBJC on their website.
**Register here. Registrants will receive an email with a pass for free parking at the lower level of the Bryan Center parking garage.
Mandy Carter
This event is part of a series associated with the exhibit, Mandy Carter: Scientist of Activism, honoring the decades-long work of Mandy Carter, a Durham, NC-based Black lesbian feminist activist who has been central in the struggle for social justice. The exhibit was curated with intention by Kamau Pope.
While celebrating Mandy and her community organizing tactics, this exhibit celebrates four central anniversaries of national and regional organizations that Mandy joined, founded, or led. These organizations: War Resisters League, celebrating 100 years; 60 years since March On Washington; Southerners On New Ground, celebrating 30 years and the National Black Justice Coalition, recognizing its 20th year, are all central to the legacy of nonviolent resistance, Black freedom movements, and queer liberation and through this exhibit shows what it takes to get us free.
The exhibit design was created by a Durham, NC-based, Black-owned firm, Kompleks Creative and the typeface was designed by Tre’ Seals of Vocal Type.
Date: Tuesday, June 13, 2023 Time: 4:30pm – 6:30pm Location: Rubenstein Library 153 (Holsti-Anderson Family Assembly Room) Please RSVP here.
Please join us for a celebration of the opening of Mandy Carter: Scientist of Activism, an exhibit honoring the decades-long work of Mandy Carter, a Durham, NC-based Black lesbian feminist activist who has been central in the struggle for social justice.
4:30-5:15 p.m.: Exhibit viewing and reception (Chappell Family Gallery, Rubenstein Library)
5:15-6:30 p.m.: Formal program with Mandy Carter and others (Holsti-Anderson Family Assembly Room, Rubenstein Library Room 153)
Parking:
Free parking available at the lower level of the Bryan Center deck. There will be a parking attendant at lower level expecting attendees to this event.
While celebrating Mandy and her community organizing tactics, this exhibit celebrates four central anniversaries of national and regional organizations that Mandy joined, founded, or led. These organizations: War Resisters League, celebrating 100 years; 60 years since March On Washington; Southerners On New Ground, celebrating 30 years and the National Black Justice Coalition, recognizing its 20th year, are all central to the legacy of nonviolent resistance, Black freedom movements, and queer liberation and through this exhibit shows what it takes to get us free.
This exhibit was curated by Kamau Pope, Doctoral Candidate in History, Duke University with assistance from:
Laura Micham, Director, Sallie Bingham Center for Women’s History and Culture and Curator, Gender and Sexuality History Collections
Mandy Carter, Activist
Yoon Kim, Senior Library Exhibition Technician
Meg Brown, Head, Exhibition Services and E. Rhodes and Leona B. Carpenter Foundation Exhibits Librarian
The exhibit design was created by a Durham, NC-based, Black-owned firm, Kompleks Creative and the typeface was designed by Tré Seals of Vocal Type.
Designed by Kompleks Creative and Vocal Type
Dispatches from the David M. Rubenstein Rare Book and Manuscript Library at Duke University
