Category Archives: New at the Rubenstein Library

An Invitation to the Parker Anderson Collection of Conspiracy Theory Research

Post contributed by  Will Runyan, Ph.D., Meyer Human Rights Archive Intern

Pamphlet supporting the 1992 presidential bid of Bo Gritz and containing conspiratorial claims related to the status of George H. W. Bush and Bill Clinton as members of Yale’s secret society, Skull and Bones

In the March 22, 1992 issue of the Detroit Free Press, political correspondent Hugh McDiarmid reported on “the biggest, most enthusiastic—and yes, wackiest—presidential rally that I have witnessed in Michigan this year,” which he went on to describe as “a passionately patriotic—if disconnected and, at times, historically inaccurate—journey through conspiracy land.” The candidate on stage was not Republican incumbent George H. W. Bush, Democratic challenger Bill Clinton, or even Ross Perot, the Texas businessman whose independent bid would attract 18.9% of the popular vote. Rather, it was Lt. Col. James “Bo” Gritz, a retired US Army Special Forces officer decorated for his service in Vietnam who ran as the 1992 presidential candidate for the right-wing Populist Party. As McDiarmid notes, Gritz’s candidacy represented a shift from the overtly racist and antisemitic rhetoric of the Populist Party’s 1988 presidential candidate, David Duke. Though Gritz’s two-and-a-half-hour speech in Michigan was not entirely free of slurs, his appeal to a packed community college auditorium rested on suspicions that the US government had been overrun by “unproved and unprovable plots (by international bankers, globalists, Tri-Lateral commission members, etc.) to take over the world,” as McDiarmid skeptically puts it.

 

Bo Gritz won just 0.1% of the 1992 popular vote, seemingly good evidence that his fringe campaign was precisely that. Yet in the context of the Parker Anderson collection of conspiracy theory research, Gritz’s campaign appears as one of many marginal forces driving the growth of a vibrant conspiratorial ecosystem. Throughout the 1990s, disparate figures, organizations, and fixations increasingly found alignment in a conspiracist worldview predicated on the rise of a tyrannical New World Order orchestrated by shadowy elites with the consent of top US officials. At the same time, this outlook gained increasing visibility and influence in the cultural and political discourse of the United States, spawning infinite variations in subsequent decades from 9/11 conspiracies to QAnon and falsehoods about the ongoing FEMA response to hurricanes Helene and Milton.

Originally published in 1992 by retired Pheonix police officer Jack McLamb, an affiliate of Bo Gritz, this document encourages police officers and members of the armed forces to resist the implementation of New World Order plots by the federal government. Its message is akin to that of today’s Oath Keepers and related militias.

The idea that emergent forms of international cooperation or global governance could endanger the rights and freedoms of average US citizens has circulated in many forms since the end of World War I, often linked to antisemitic tropes, Red Scare fears, or pervasive beliefs about secret societies. The Parker Anderson collection includes small amounts of material dating from the 1960s and 1970s that point to antecedents of the New World Order discourse that exploded in the 1990s, as well as a larger set of materials that offer glimpses of its further evolution in the past two decades—some as recent as May 2024. But the collection’s center of gravity is the period from 1987 to 2001.

To the extent that Parker Anderson, a lifelong Arizona resident and author of works on local history, was an engaged reader of local and state news from the late 1980s to the mid 1990s, exposure to conspiracist views may have been part and parcel of a morning routine—whether through reports on regional militia activity in The Arizona Republic or columns and letters to the editor expressing fears and suspicions about the New World Order in The Prescott Daily Courier. If the clippings from these and other newspapers included in the collection evoke the collector’s incidental brushes with conspiracism, a larger volume of newspaper articles obtained through electronic databases represents a concerted effort to document varied aspects of conspiracist discourse. These, in turn, provide essential context for the collection’s core, composed of conspiracist literature and promotional materials in varied formats: books, booklets, serials, pamphlets, audio and video recordings of speeches and interviews, documentary films, and mailers and catalogs from a variety of publishers and distributors of these materials.

Lecture on tape distributed by John Maffei’s Catholic Counterpoint, one of several extremist Catholic publishers represented in the Parker Anderson collection

Taken together, this body of publications represents a distinctive resource for thinking about conspiracy networks. In addition to highlighting an array of individuals and organizations involved in crafting and disseminating conspiracist content at varying scales, operating in over twenty states and Washington, DC, the collection calls attention to their variable deployment of shared vocabularies in the service of constitutionalist, libertarian, evangelical, Catholic, white supremacist, and antisemitic arguments. Clusters of materials focused on events that served as conspiracy catalysts (the Ruby Ridge standoff in 1992, the Waco siege in 1993, and the Oklahoma City bombing in 1995) and on the prolific genre of conspiracy theories about Bill and Hillary Clinton richly document the evolution and convergence of ideas across distinct sources.

Antisemitic booklet from the early 1980s. Later New World Order conspiracy literature inherited the ideas boldly announced on the cover, expressed both in explicitly antisemitic terms and indirectly with references to international financial institutions.

Documentation focused on a range of organizations and individuals offers another valuable means of navigating a cacophony of New World Order conspiracies. The organization best represented in the collection is the right-wing political advocacy group Liberty Lobby, which played an outsized role in bringing conspiracist views into the mainstream through publication of the populist and anti-establishment weekly newspaper The Spotlight, sponsorship of the radio talk show Radio Free America, and distribution of books in the same vein. Among the best represented individuals is Bo Gritz, whose conspiracist trajectory extends well beyond the 1992 presidential race. Each entity draws elements of the larger collection together in a distinct way. In the case of Liberty Lobby, materials produced and distributed by the organization seamlessly integrate the most disparate conspiratorial strands, among them stolen elections, miracle cures for cancer, Holocaust denial, the assassination of John F. Kennedy, and the idea of FEMA as vehicle of authoritarianism. In the case of Bo Gritz, strands of conspiracism seem to grow together through an idiosyncratic life path progressing from private missions into Vietnam and Laos in the 1980s, motivated by the belief that abandoned POWs were held there, to attempts to mediate between federal authorities and white supremacist militia figures in the 1990s.

While the Parker Anderson collection captures only the early evolution of conspiracist discourse in the internet age through a variety of web publications, and subsequent developments linked to social media are largely absent, those unfamiliar with the “conspiracy land” of the 1990s may be surprised to find its degree of continuity with claims and perceptions surrounding the 2016, 2020, and 2024 US presidential elections. Anyone seeking to understand the roots of the conspiratorial present will find that the collection offers a wealth of strange, often unpleasant, but essential reading.

Article discussing Bo Gritz’s efforts to mediate between federal law enforcement and the Montana Freemen which also includes a sketch of his biography.

Franklin Research Center Acquires the Celeste and Reggie Hodges Photograph Collection

Post submitted by John B. Gartrell, Director John Hope Franklin Research Center

Ceremonial maskThe John Hope Franklin Research Center is happy to share the acquisition of the Celeste and Reggie Hodges Photograph Collection. The collection documents nearly two decades of their life in West Africa, after they joined the Peace Corps in the late 1960s. While there, the Hodges’ worked as teachers and for international agencies but spent years applying their love of amateur photography to document the everyday life of their neighbors and friends with a unique look at the local customs from fishing, basket weaving, husbandry, religious and rites of passage ceremonies. Over that same time, they were also gifted a number of masks, instruments and other artifacts that have been donated to a number of museums over the last few years (https://nasher.duke.edu/stories/a-personal-gift-2/). Both Celeste and Reggie worked behind the camera and developed their film in a makeshift darkroom when they had access to electricity and water in their village. The photographs display African life before the devastation of wars and Ebola in the 1990s affected the people and places where the Hodges’ lived.  The materials now in the Franklin Research Center include their photo negatives, original prints and digital scans, along with printed materials including artwork done by their students. This body of materials provides an intimate, firsthand perspective of this period and people. The collection will be made available once processing is completed.

Woman cleaning fish

“What, Me Worry?”: The Nick Meglin Papers at the Rubenstein Library

Post contributed by Elliot Mamet, Ph.D. Candidate in Political Science at Duke and Archival Processing Intern at the Rubenstein Library.

The papers of Nick Meglin, longtime editor of MAD Magazine, are now available and open for research at the Rubenstein Library.

Meglin was affiliated with MAD Magazine for decades. As a newly-minted graduate of the School of Visual Arts, Meglin was hired at MAD Magazine in 1956. Over the course of his life he held various titles at MAD, including Idea Man, War Correspondent, Associate Editor, Tennis Editor, Co-Editor, and, upon his retirement in 2004, Contributing Editor. Meglin played a central role in shaping MAD’s editorial voice and recruiting artists to join the “Usual Gang of Idiots.”

The Nick Meglin Papers include extensive material which convey how MAD Magazine was edited and produced, such as layout art, ideas for features, inside jokes between editors, parodies, celebrity correspondence, and detailed accounts of the yearly MAD staff trips. One folder, “Horrifying Cliches,” includes “a freak accident,” “a flaming passion,” “a blessing in disguise,” “a gross understatement,” and “a bloodless coup,” among others.[1] Another folder, Typewritoons, chronicles a 1965 reader contest to generate cartoons from the script of a typewriter.[2]

Meglin’s creative pursuits expanded far beyond MAD Magazine, and the Nick Meglin Papers gives a sense of his enormous output. The collection includes Meglin’s illustrations, many of his essays, song lyrics, and two musicals he wrote, Tim and Scrooge and Grumpy Old Men. It also includes Nick’s greeting card ideas, some of which he sold, including “See, I didn’t forget the occasion!… only the date! Sorry I’m late…” and “happy birthday to the best looking, brightest, and most talented person in the world…me!”[3]

The front of a greeting card created by Meglin. It features hand-drawn newspaper headlines such as "Candy is toxic," "Flowers found to contain DDT," "New cars...dangerous," and "Champagne bad for health!"
A greeting card designed by Meglin.
The inside of the greeting card designed by Meglin. Text reads "I love you too much to send anything but good wishes!"
The inside of Meglin’s greeting card.

Upon his 2004 retirement, Meglin moved to Durham. While living here, he volunteered for WCPE, creating 84 original sketches of composers and musicians, he taught illustration, and he formed a “usual suspects” lunch club of fellow illustrators and creatives. It is exciting for researchers to be able to access the papers of Nick Meglin at the Rubenstein Library, and to learn more about the colorful life and career of Nick Meglin, who was an illustrator, cartoonist, art instructor, essayist, lyricist, writer of musicals – and always a humorist, too.


[1] Horrifying Cliches, 1971. Box 1, MAD Magazine Series, Editorial and Administrative Files Subseries. In the Nick Meglin Papers, David M. Rubenstein Rare Book & Manuscript Library, Duke University.

[2] Typewritoons. Box 2, MAD Magazine Series, Editorial and Administrative Files Subseries. In the Nick Meglin Papers, David M. Rubenstein Rare Book & Manuscript Library, Duke University.

[3] Greeting Card Ideas. Box 8, Other Professional Materials Series, Other Projects Subseries. In the Nick Meglin Papers, David M. Rubenstein Rare Book & Manuscript Library, Duke University.

“Dearest Sabina”: Addition to the Carl V. Corley Papers

Post contributed by Leah Tams, Accessions Coordinator.

The Carl V. Corley papers at the Rubenstein document the career and artistic output of Carl Corley, a white novelist and illustrator, and notably include works of gay fiction and homoerotic art. Even more notable is the fact that Carl always signed his works with his real name. A recent addition to Corley’s papers, consisting largely of correspondence from Corley to a woman named Sabina Allred (later Sabina Allred Allen), greatly enhances and complicates our understanding of Corley, his life, and his work.

A letter handwritten in black ink that begins "Dearest Sabina." Small illustrations of flowers (red, green, and black) are at the top of the letter.
A World War II-era letter written to Sabina

The Sabina Allred Allen Collection of Carl Corley Papers, received in February 2022, contains World War II-era love letters from Carl to Sabina. In these letters, he frequently addresses how much he loves and misses Sabina, as well as their plans for the future (engagement, marriage, etc.). Carl wrote to Sabina almost every day until his transfer overseas, after which time he still wrote to her at least weekly. 

A pencil illustration on U.S. Marine Corps stationary. The illustration depicts a woman crying while holding a letter. A plantation-style house is in the background. A poem at the bottom reads: "The letter that told it burned my hand; for it broke my heart to see. You said you grieved with tears of love, for our dreams which could never be. But those dreams rise and live, in life, as I and you. They will be there just as we always dreamed--all coming true."
Illustration of Sabina drawn by Carl during World War II

Also included in this addition of material  are illustrations of Sabina that Carl created and gifted to her. The artwork originally accompanied the letters that he sent during World War II, but the drawings were separated from the letters at some point after receipt. Most of the artwork depicts Sabina wearing different outfits and hairstyles, sometimes illustrating a style that Carl mentioned in a letter, while other pieces depict Sabina and Carl together. Several of the illustrations also feature a Southern plantation house that appears to be inspired by Tara from Gone With the Wind, one of Carl’s favorite works.

The World War II-era correspondence between Corley and Sabina ends in early September 1946, after Corley has returned home. In this letter, Corley ends their relationship, citing (among other things) how different they are from each other, as well as issues of trust. A couple weeks later, Sabina married Bobby Arnold on September 21, 1946. Sabina and Bobby divorced in May 1949, and she then married Dempsey Allen on June 13, 1949. Sabina and Dempsey Allen remained together until their deaths in 2008 and 2016, respectively, but Corley did re-enter Sabina’s life in 1999.

Carl Corley and Sabina Allred Allen reconnected in 1999 while Corley was working on his autobiography, which he refers to as “The Art and Writings of Carl Corley.” From these later letters, it seems that Carl reached out to Sabina for her help in reconstructing his adolescence, as well as to see the artwork he created for her during World War II. Sabina was a great source of inspiration for Carl’s artwork, so he likely viewed her as an important figure to include in his autobiography. Carl and Sabina continued to correspond weekly through at least April 2002, discussing politics, family, daily routines, collecting habits, and their past. Many of these letters also contain racist diatribes against Black Americans.

While Sabina Allred is only a blip on the radar in original materials acquired from Corley—she is featured in two small photos in his World War II scrapbook—this new addition suggests that perhaps Sabina’s role in Corley’s life was more significant than the original collection lets on. The addition also suggests that Carl may have been struggling with his identity as a gay man, as well as giving us a window into the bisexual practices of gay men during this period. The Sabina Allred Allen Collection of Carl Corley Papers adds a significant dimension to our understanding of Carl, and we look forward to having faculty, students, and researchers engage with this new material.

Happy 213th Birthday, Abraham Lincoln!

Post contributed by Naomi L. Nelson, Associate University Librarian and Director, David M. Rubenstein Rare Book & Manuscript Library

Abraham Lincoln was born on February 12, 1809, in a one-room log cabin in Kentucky, which was on the western frontier of the young United States. His father was a hardscrabble farmer who moved his family several times in search of better opportunities, but the family never escaped poverty.

Lincoln was an avid reader from an early age. He grew up in Indiana and later remembered that he had less than a year’s schooling there—total. He was ambitious and learned by reading. Over his lifetime, Lincoln is known to have read in many disciplines, including the Bible, law and legal history, classical literature, world and American history, and political economy.

In an address to the Wisconsin State Agricultural Society in 1859, Lincoln noted “A capacity, and taste, for reading, gives access to whatever has already been discovered by others. It is the key, or one of the keys, to the already solved problems. And not only so. It gives a relish, and facility, for successfully pursuing the [yet] unsolved ones.”

These are words to warm a librarian’s heart. David M. Rubenstein’s Americana Library includes many of the books that Lincoln is known to have read. He has loaned Duke a number of these titles for the exhibition “To Stand by the Side of Freedom: Abraham Lincoln and the American Nineteenth Century,” now on view in the Rubenstein Library and online.

Interested in learning more about Abraham Lincoln and his place in American history? Please join us on February 16 for “Abraham Lincoln and the American Experiment: a conversation with David M. Rubenstein and Thavolia Glymph.”

Dispatches from the Nuremberg Trials: The Robert P. Stewart Papers

Post contributed by Elliot Mamet, Ph.D. Candidate in Political Science at Duke and Archival Processing Intern at the Rubenstein Library.

What does it feel like to be a fly on the wall at the Nuremberg Trials? The papers of Robert P. Stewart, recently donated to the Rubenstein Library, provide an answer.

Stewart was an attorney and Duke alumnus who served as a legal aide to Judge John J. Parker at the Nuremburg Trials in 1945 and 1946. There, 24 Nazi political and military leaders were indicted and tried with waging aggressive war, war crimes, and crimes against humanity. 19 were found guilty, and 12 were sentenced to death.

An overriding theme of Stewart’s correspondence is the emotional toll that the evidence of Nazi crimes took on the jurists. His letters tell of film evidence taken by the U.S. army when they first encountered the Nazi concentration camps.  “It really was an awful pictorial display of what the Nazis had done—and it upset Judge [Parker] a great deal. The English judges could not even eat.”[1] Judge Parker, Stewart says, became depressed from hearing so much terrible evidence.[2] Compounding this emotional toll was the homesickness felt by the American legal contingent.

A four-page handwritten letter from Robert P. Stewart to Mary Moss, dated December 2nd, 1945. The letter's addressed airmail envelope is also included.

Also in Stewart’s letters is discussion of the secret 1939 non-aggression pact between Nazi Germany and the USSR—an agreement first disclosed at Nuremberg. Writes Stewart, “perhaps the most interesting bit behind the scenes lately is the way one of the defense lawyers is trying to introduce a document which purports to be a photostat copy of a secret treaty between Germany and Russia in 1939.”[3] That non-aggression pact paved the way for the Nazi invasion of Poland on September 1, 1939.

Outside of court, Stewart encountered colorful characters during his service at Nuremberg. For instance, he lunched with General Dwight Eisenhower at Eisenhower’s Frankfurt villa, calling Eisenhower “a remarkable man—strictly down to earth,” and noting it was “probably the first time during this war that anyone so lowly as a major sat down to break bread with him.”[4]

Some 35 years after returning from the Nuremberg Trials, Stewart reflected on his service in a profile in The Asheville Citizen. “The most dramatic part of the trials,” Stewart said, “was the evidence on the persecution of the Jews. The films shown and the stories told were horrendous, unbelievable. If I hadn’t been there I would never have believed it.”[5] He was there, and his papers at the Rubenstein help us feel what it was like.

Footnotes:

[1] Letter from Robert P. Stewart to Beverly G. Moss, December 2, 1945. Folder 2, Robert P. Stewart papers, David M. Rubenstein Rare Book & Manuscript Library, Duke University.

[2] Letter from Robert P. Stewart to Plummer Stewart, January 12, 1946. Folder 2, Robert P. Stewart papers, David M. Rubenstein Rare Book & Manuscript Library, Duke University.

[3] Letter from Robert P. Stewart to Plummer Stewart, May 30, 1946. Folder 3, Robert P. Stewart Papers, David M. Rubenstein Rare Book & Manuscript Library, Duke University.

[4] Letter from Robert P. Stewart to Plummer Stewart, November 7, 1945, and letter from Robert P. Stewart to C. C. Gabel, November 7, 1945. Folder 1, Robert P. Stewart papers, David M. Rubenstein Rare Book & Manuscript Library, Duke University.

[5] Tony Brown, “Stewart Had Important Role at Nuremberg,” The Asheville Citizen, September 8, 1981, pg. 9. Oversize Folder 1, Robert P. Stewart papers, David M. Rubenstein Rare Book & Manuscript Library, Duke University.

Santa and Me!

Post contributed by Rick Collier, Technical Services Archivist for the John W. Hartman Center for Sales, Advertising & Marketing History.

A child in a dark sweater and shorts smiles while sitting on Santa's lap. A Christmas tree with tinsel stands behind them.For many towns and cities in 20th century America, the holiday season officially began just after Thanksgiving, which was established as a fixed national holiday in 1941. Frequently festivities included a parade that involved local dignitaries, youth clubs, business and social organizations, a Miss Something-or-Other pageant winner, high school bands, fire engines, culminating in the arrival of Santa Claus in some ostentatious conveyance. Town folk stood in yards and sidewalks, sometimes for hours in freezing weather, to witness the spectacle. To this day, even, the Macy’s Thanksgiving Day Parade ends with the Santa Claus float.

Afterwards, Santa generally installed himself in one or several of the local department stores, meeting children, hearing their wishes, and sometimes posing for photographs. In all it was a wonderfully odd synthesis of folklore, consumerism, and technology. How did it begin?

It is generally accepted that Macy’s Department Store featured the first in-store Santa Claus character beginning in the 1860s.  Perhaps the first in-store Santa Claus that we might recognize, the rotund and jolly old man inspired by the stories of Washington Irving and illustrations of Thomas Nast, was James Edgar who posed as Santa as a promotional act in 1890 at his dry goods store in Brockton, Mass. The idea caught on and soon Santas were featured in department stores across the country. In the early 1940s, photographers and studios such as Art French in Seattle and Kiddie Kandids, based in the Midwest, began photographing Santa posed with children. What started out as a way to make money in what might otherwise be an off-season became a way to create mementos of childhood.

Recently the Hartman Center acquired a small collection entitled “Santa and Me!”, named for a promotional campaign conducted by Kiddie Kandids, a chain of photograph studios that apparently began in St. Louis and expanded to include over 2,000 studios located in major and regional department stores throughout the United States. The photographs, taken between 1946 and 1948, depict Santa with children on his knee, as well as some other themed settings such as Alice in Wonderland and the circus. There are also shots of Santa on a department store stage with the photographer’s booth hidden in a wall, as well as some images of how the camera was set up to capture the moment of Santa and child.

A man dressed as Santa Claus sits on a gilded carved chair in front of drapery. A Christmas tree stands on either side. He's seated on a platform with entrance and exit ramps and railings.

Accompanying documentation describes how to conduct an “Operation Santa Claus” campaign: instructions on pricing; how to match the children to their photographs; distribution; how to set up the camera and process the flow of children. There are even recommendations on processing children through the experience: “This is a candid photograph and the children can be taken as fast as Santa wants to move them along. At the rate of 300 per hour, 2,000 to 3,000 is not unreasonable.”

This small collection provides a glimpse into an aspect of mid-century holiday celebrations and a commercial photographic practice that was only a few years old at the time. The collection is available at Duke’s Rubenstein Library and the collection guide may be viewed here.

Sources:

New Collections Spotlight: The Attica Prison Uprising: “If we cannot live as people, then we will at least try to die like men”.

Post Submitted by Patrick Stawski, Human Rights Archivist

The Human Rights Archive recently purchased two historical publications documenting the Attica Prison Uprising of 1971.  The Rubenstein Library’s Technical Services/Print Materials Cataloging Section has expertly cataloged these items and they are now available for consultation in the Rubenstein reading room.

In September of 1971 inmates at Attica Correctional Facility in Attica, New York, rebelled against prison authorities and took control of the facility.  After four days of attempted negotiations the state police violently suppressed the rebellion leading to the death of 43 staff and inmates.  The Attica Uprising was a watershed moment in the on-going fight to establish respect for human rights within the penitentiary system and to recognize and reform the racist practices and policies of the criminal justice system which feed the carceral machine.  We can thus understand that Attica is a direct ancestor of social movements such as Black Lives Matter that continue this fight today. Attica: slaughter at Attica: the complete inside story is written by journalist James A. Hudson and published in 1971, soon after the uprising.  The publication begins with a quote from Attica inmate Charles Horatio Crowley who was also known as Brother Flip, “If we cannot live as people, then we will at least try to die like men.”

Attica, it is a right to rebel, Cover

Hudson then sets out to provide the details of the actual events of the uprising and oppression, including first-hand accounts from those who were there, a map of the prison grounds with key locations noted, and photographs of the rebellion, the negotiations, and the state’s attack on the inmates and the horrifying aftermath. Hudson also explores what led up to the riot, investigates if the living conditions at Attica were as inhumane as the inmates claimed, and asks readers to consider what role racism played in the state’s deadly response to the rebellion.

Attica: slaughter at Attica: the complete inside story, view of destruction inside the prison

Another newly available item is Attica, it is a right to rebel authored by the Revolutionary Student Brigade, circa 1972.  Printed in stark black and red, the pamphlet is a collaboration between the RSB, some of the Attica brothers, as well as their supporters.  The pamphlet proclaims that “ATTICA IS NOT A TRAGEDY, but a symbol of militant resistance of oppressed people against a system that tries to crush them.”  In contrast to Hudson’s journalistic tone, The RBG invokes a clear call to solidarity and action with the Attica inmates by all people involved in resisting a racist system that terrorizes Black people.  The back sheet of the pamphlet includes the 33 demands of the Attica rebels, many of which we today recognize as basic human rights, “provide adequate food and water and shelter for this group”, “allow true religious freedom”, “Apply the New York State minimum wage law to all work done by inmates. STOP SLAVE LABOR.”

Cover image, book
Attica: slaughter at Attica: the complete inside story, Cover

These new items join the Human Rights Archives extensive collections on the experiences of the incarcerated, and the impact detention and incarceration have on their families and communities.  These include the papers of Jomo Joka Omowale, one of the Attica Brothers who went on trial in the wake of the uprising, and the papers of Elizabeth Fink, a human rights lawyer who represented prisoners killed and injured during the Attica uprising.  To learn more about these collections and how to access them please visit our research guide.

Attica, it is a right to rebel, 33 Demands of the inmates

The Enduring Power of Witness

Post Contributed by Caitlin Margaret Kelly, Curator, Archive of Documentary Arts & Director, Power Plant Gallery

Spider Martin Photographs

When I opened the newly arrived box the first photograph on top of the stack was one of the few with a title, called, “Two Minute Warning.” It is an iconic image taken on March 7, 1965 in Selma, Alabama, by a young photojournalist for the Birmingham News, James ‘Spider’ Martin. This print is among the more than 40 gelatin silver prints by Martin recently acquired by the Archive of Documentary Arts at the David M. Rubenstein Rare Book & Manuscript Library. The prints depict the violence of Bloody Sunday, the men and women of the Selma to Montgomery March, and George Wallace on the campaign trail. There are photographs of Dr. Martin Luther King, Jr., John Lewis, and Ralph Abernathy, among many others.

But in among the well-known visages, are many unknown faces, all marching through the landscape. It wasn’t long into my inspection of these prints that I started to notice the suitcases, the socks, a backpack worn by John Lewis, and the straining hands holding up Amelia Boynton – grasping for the fabric of her coat.

While a few of the prints were made in 1965, most were reprinted by Martin between 1993-1999. Some of the later prints come with handwritten reflections. On the back of a photograph of Ralph Abernathy and M.L.K. at the Selma March, Martin writes:

Spider Martin Photographs

“Dr. King knew he was a target. Many times I was tipped off that he might be assassinated. I look at this picture and think that Dr. King is looking towards heaven and thinking that it is enevitable (sic) that he will die fighting for the struggle. I think of the gospel song “Commin’ Home (sic).”

As a member of the news media, Spider Martin was on site to cover a march. It wasn’t until the foot of the Edmund Pettus Bridge that he also became a witness to the violence of Bloody Sunday. John Lewis is quoted as saying, “he left, through the power of his camera and with a quick eye, images that will educate and sensitize unborn generations.”[1].

Spider Martin Photographs

The particular print, which I mentioned at the start of this blog post, came with a note from Martin’s daughter, Tracy, “He would make a perfect print and send to the client which was common a long while back, but he would always make them a titch darker and contrastier because he thought all printed publications lost that in the print process.” This particular print, now part of the ADA, may have been destined for publication in the book ‘Weary Feet, Rested Souls’ by Townsend Davis.

In addition to the newly added photographs by Spider Martin the Archive of Documentary arts, also holds the work of photographer James H. Karales,[2] and his coverage of the Civil Rights Movement in the 1960s. They are joined by various other collections at the Rubenstein Library including the Abraham Joshua Heschel papers documenting his participation in the Selma to Montgomery March.[3]

[1] http://www.spidermartin.com/new-page-1

 

[2] https://repository.duke.edu/dc/karales

 

[3] https://archives.lib.duke.edu/catalog/heschelabraham

 

New Rubenstein Finding Aid Interface to Launch on July 1

Post contributed by Noah Huffman, Archivist for Metadata, Systems, and Digital Records

On July 1, 2020 the Rubenstein Library will launch a new and completely redesigned discovery and access interface for our collection guides (a.k.a. finding aids). The new site, soon-to-be available at archives.lib.duke.edu, will replace our current finding aid platform and is the result of over a year of planning and six months of local development work. Duke staff can access a demo app (VPN required) for a sneak peak of the interface before it launches.

Here’s a 5-minute video tutorial outlining some the site’s key features.

Built on the open-source ArcLight software, the site will offer researchers new ways to search, browse, and explore nearly 4,000 detailed inventories of collections held in the Rubenstein Library, including the Duke University Archives. In total, the site will contain information about the contents of nearly 80,000 boxes of material held in the Rubenstein, including manuscripts, letters, diaries, organizational records, photographs, audio visual recordings, oral histories, objects, zines, digital materials, and much more.

What to expect from the new finding aid site:

While the new site will contain the same data available on the old finding aid site, you will notice many differences in the way information is structured and presented. Listed below are just some of the new features along with a few screenshots of the new interface. We’ll provide more details about the new interface after the July 1st launch. In the meantime, you can read about some of our design and development work in a blog post from Sean Aery, the primary developer for ArcLight at Duke.

Some new features in archives.lib.duke.edu:

  • More comprehensive and reliable searching
  • Advanced searching by name, place, subject, format, and title

    Arclight search results example
    Search result and facet view
  • Filter search results by name, place, date, format, subject, and several other facets
  • Limit search results to only materials available online
  • Browse Duke-focused collections by University Archives Record Group (for university offices, schools, former presidents/provosts, athletics, student/campus life, etc.)

    Browse By University Archives Record Group
    Browse by University Archive Record Group
  • Easily navigate large finding aids and complex collection hierarchies (by series, sub-series, etc.)
  • View digital objects in the context of their collections: More seamless integration with the Duke Digital Repository

    Arclight collection page
    Navigate collection hierarchy and view digital objects in context
  • Bookmark collections, boxes, or folders of interest; save the bookmarks; and email them to yourself or others
  • View a rotating gallery of featured items on the homepage (with citations and links to collections)
  • Mobile-friendly display, but also optimized for wide displays

    Arclight on mobile device
    Mobile display
  • Improved visibility of restriction information: Know when materials are restricted or require certain conditions for access
  • WCAG2.0 AA compliant: works well with screen readers and other assistive technologies; easily navigable by keyboard
  • Faster page-load times for large finding aids and for researchers with low-bandwidth connections

We welcome your feedback!

We’re proud of the new site and we hope it empowers researchers to discover and interact with our collections in new ways. Still, we know that there is more work to do and we welcome your feedback. If you have questions, find a bug, or want to suggest a new feature, please let us know!