Category Archives: New at the Rubenstein Library

Healing and Truth-Telling: Aishah Shahidah Simmons papers

Post contributed by Ren Bickel, Technical Services Archivist for the Sallie Bingham Center for Women’s History and Culture

The Rubenstein Library is pleased to announce that the Aishah Shahidah Simmons papers are now open for research. Simmons is a Black feminist lesbian Buddhist practitioner, dharma teacher, and award-winning writer-filmmaker. Through three decades of cultural work, Simmons has created films which address Black lesbian identity, and sexual violence in Black communities, including her feature-length, award-winning NO! The Rape Documentary (2006). National Book and Pulitzer Prize-winning author Alice Walker, says of NO!, “If the Black community in the Americas and in the world would heal itself, it must complete the work this film begins.”

Simmons’s Lambda Literary Award-winning anthology, love WITH accountability: Digging Up the Roots of Child Sexual Abuse, brings together diasporic Black child sexual abuse survivors and advocates who, through first-person transformative storytelling, explore child sexual abuse within Black families and communities. Feminist activist and author Gloria Steinem says of love WITH accountability: “With this brave and healing anthology of truth-telling about sexual abuse within Black families, Aishah Shahidah Simmons sets an example for all families.”

orange flyer advertising "A Benefit for No! REEL Sisters Combating Violence Against Black Women"The daughter of Civil Rights activists and scholars Michael Simmons and Dr. Gwendolyn Zoharah Simmons, and the sister of Grammy Award-winning DJ and record executive Tyree Cinque Simmons (DJ Drama), Simmons grew up in Philadelphia, Pennsylvania. She is married to Black lesbian trailblazer Sheila Alexander-Reid, founder of Women in the Life. Simmons founded the multi-media company AfroLez ® Productions in 1992 while participating in a scriptwriting workshop at Scribe Video Center taught by her mentor, the late award-winning author and filmmaker Toni Cade Bambara. During the workshop, she wrote Silence…Broken, which she developed into a short film in 1993. The company later produced In My Father’s House (1996), among other films. NO! The Rape Documentary was funded by individual donors, community-based funders, and granting agencies such as the Ford Foundation, Astraea Lesbian Foundation for Justice, and the Valentine Foundation. The film had its world premiere at the 2006 Pan African Film & Arts Festival in Los Angeles, CA. Simmons’s films have been included in film festivals around the world and have been screened by many educational and activist organizations.

Simmons’s writings have been published in media such as USA Today, The Root, Ms. Magazine, The Feminist Wire, The New York Times, Lion’s Roar, Black Perspectives, and Left of Black, as well as in newspapers in Philadelphia and Chicago, among other cities. She has held artist-in-residence and guest faculty appointments at universities such as Williams College, Temple University, Scripps College, Spelman College, the University of Pennsylvania, and the University of Chicago. Since 1995, she has led over 400 workshops and dialogues in the U.S., Europe, Africa, Asia, and the Caribbean. She is an Insight Meditation (vipassanā) teacher, including as Resident Teacher at Delaware Valley Insight.

The Aishah Shahidah Simmons papers were acquired as part of the Sallie Bingham Center for Women’s History and Culture, the John Hope Franklin Research Center for African and African American History and Culture, and the Archive of Documentary Arts. The collection is comprised of 39 linear feet of materials that document Simmons’s professional career, filmmaking endeavors, and personal life. Researchers will be able to explore Simmons’s writings, correspondence, working files, and an extensive collection of audiovisual materials documenting her life and work. The materials will provide insight into independent filmmaking in the 1990s and 2000s through an intersectional Black feminist lesbian lens and preserve the personal stories of many Black women survivors of sexual violence who courageously chose to speak their truth.

Technical Services Archivist Ren Bickel prepared the collection for research use. Reflecting on Simmons’ papers, she notes, “This collection documents Simmons’s deep commitment to a Black feminist approach to survivor-centered cultural work, especially in her years-long quest to make NO! The Rape Documentary. Researchers will find an array of information about the practical aspects of creating independent documentary films, from securing funding and managing logistics, to writing, filming, and editing. The stories Simmons gathered of Black women survivors’ experiences are powerful and affecting. I’m so excited to see what researchers will discover and how they’ll incorporate the materials into their own writings and projects.”

We are excited to make this singular collection available to students, scholars, and other researchers.

“Placing my papers at Duke marks an important moment in my life and work. As a Black feminist lesbian survivor-healer whose cultural works, writings, and images are survivor-centered and rooted in non-carceral accountability, reaching communities globally, I am grateful that this work will be held with intention across the Sallie Bingham Center for Women’s History and Culture, the John Hope Franklin Research Center for African and African American History and Culture, and the Archive of Documentary Arts, accessible to generations who can learn from this work as ground to stand on and build beyond what I could imagine.” – Aishah Shahidah Simmons

 

Header image: Portrait of Aishah Shahidah Simmons by Studio TSHAY

Anne Pickford: A Timeless Model

Post contributed by Brandee Newkirk, Processing Intern for the John W. Hartman Center for Sales, Advertising & Marketing History.

For my first-ever processing project as an intern at the John W. Hartman Center for Sales, Advertising & Marketing History, I was given the opportunity to process the papers of Anne W. Pickford, known professionally as Kaylan Pickford. Anne Pickford was a model between the 1970s and the 2000s. However, unlike traditional models who typically begin their careers in their late teens or early twenties, Pickford, with the help of her friend J. Frederick Smith, started her career in her 40s after two marriages and the birth of two children.

To better understand the significance of Anne Pickford’s presence in the modeling industry, it is helpful to understand the changes the fashion industry made by the early 1980s. Through the commercial success of 1960s models like Twiggy and Donyale Luna, by the late 1970s the fashion industry saw the potential in establishing new relationships between the models and the public audience. This new preoccupation with how models engaged with the audience created the rise of the “Supermodel” and saw the deliberate hiring of models at younger and younger ages.

For Anne Pickford, who began her career in the late 1970s and into the early 1980s, the industry’s interest in cultivating youth as fashion ambassadors made it difficult for her to enter the industry at a later age. In an interview with the New York Times, Pickford described the beginning of her career as difficult and how she had to break through, stating, “I earned $3,000 the first year and $3,000 the second year. Then I sort of caught on.” This financial difficulty is reflected in the Hartman Center’s collection of Pickford’s papers, as Pickford kept detailed records of her checkbooks and pay stubs.

This early difficulty led Pickford, throughout her career, to dedicate herself to celebrating her age, opting not to dye her grey hair or undergo cosmetic surgery. When considering the fashion industry at the time, Pickford had good reason to assume an ageist bias. Models such as Brook Shields, Farida Khelfa, and Paulina Porizkova all began their careers in their mid-to-late teens, and larger fashion brands like Yves Saint Laurent, Chanel, and Jean Paul Gaultier were all known for hiring only teen to twenty-year-old models. This industry standard trickled down to more commercial advertising.

Inside the Anne “Kaylan” Pickford papers, researchers will see Anne Pickford’s interest in challenging the commercialization of older women. Featured in the collection are a series of advertising images that showcase Kaylan Pickford using beauty cosmetics or luxury goods. Anne Pickford wanted older women to be celebrated for their beauty in aging, making a conscious effort to turn away commercial pharmaceutical jobs for more beauty-based photoshoots. The collection also includes the writings of Anne Pickford. Two of her books, Always a Woman (1982), and Always Beautiful (1985), were written to inspire “mid-life” women and provide helpful tips on maintaining beauty without resorting to surgery.

Anne “Kaylan” Pickford’s collection is a celebration of what it means to get older. Anne Pickford dedicated her career to letting women know that just because they have lived a successful life, it does not mean that their beauty has faded.

 

Franklin Research Center Announces the Opening of the Sylvia Wynter Papers, Exhibition, and Symposium

Post contributed by John B. Gartrell, director John Hope Franklin Research Center 

The John Hope Franklin Research Center is pleased to share that the archive of philosopher, scholar, and author Sylvia Wynter will be opened to the public beginning March 3. The archive, which was acquired by the center in 2018, has been undergoing processing for the past 2 years and the writings series will be made available first to researchers, with the remaining sections of the collection opening by the summer of this year.

sepia colored headshot photo of Sylvia Wynter
Sylvia Wynter photo, 1970s

To commemorate and share the contents within the papers, the Franklin Research Center is mounted an exhibition entitled “Noise up the World: Introducing the Archive of Sylvia Wynter,” which will be on display in the Mary Duke Biddle Room in the David M. Rubenstein Rare Book & Library from February 26-August 1. This exhibition is co-curated by John B. Gartrell, Dr. Deborah Jenson, Diego Avila Lopez, and Michaelle Vilmont.

Two events will kickoff the exhibition and opening of the papers. On Monday, March 2, there will be an opening reception from 5:30-7:00pm and Tuesday, March 3, the “Archive as Ceremony” symposium will occur from 8:30am-4:30pm. Both events will take place in the Holsti-Anderson Family Assembly Room 153 of the Rubenstein Library. The symposium is co-sponsored by the John Hope Franklin Research Center for African and African American History & Culture, Department of Romance Studies, Center for Latin American and Caribbean Studies, and Trinity College of Arts & Sciences.

collage of writings for event poster
Archive as Ceremony Symposium flyer, March 2 and 3

Any researchers wishing to use the collection should register a research account and order materials prior to their visit. The collection guide for the papers is now live – https://archives.lib.duke.edu/catalog/wyntersylvia. For any additional inquires, please contact the Franklin Research Center – franklin-collection@duke.edu.

Program for “Archive as Ceremony,” March 3, 2026 (Holsti-Anderson Assembly Room, Rubenstein 153)

9:00am – Light breakfast

9:30am – Opening Remarks

9:45am – Keynote Address, Anthony Bogues, Asa Messer Professor of Humanities and Africana Studies, Affiliated Professor of History of Art and Political Science, Brown University, “Archives : Black radical/ anti-Colonial Thought / Theory and History Making”

10:30 Discussant: Zakiyyah Iman Jackson, Associate Professor of Literature, Duke University

10:45-11:00, Q&A

11:00-11:15 Break

11:15-12:00 Roundtable, “Organized Noise: Processing and Making Public the Sylvia Wynter Papers”, with John B. Gartrell, Tracy Jackson, Russell-Flowers Technical Services Archivist, David M. Rubenstein Rare Book & Manuscript Library, and Bedour Alagraa, Assistant Professor of Political and Social Thought in the Department of African and African Diaspora Studies at the University of Texas at Austin

Noon-1:00 Lunch Break

1:00 Panel, “The Discovery Archive and the Journey Toward the Human”

Diego Ávila López, Doctoral Student in Romance Studies, “Navigating 1492: Sylvia Wynter and the Colonial in the Archive”

Michaelle Vilmont, Doctoral Student in Romance Studies, “Who Brings Society Into Being? Sylvia Wynter, Frantz Fanon, and the Genres of Being Human”

1:45 Discussants: Richard Rosa, Associate Professor of Romance Studies, Duke University; Tony Ballas, Doctoral Student in Literature, Duke University

2:00 Q&A

2:15 Panel, “Wynter from Subsistence to Catastrophe”

Bedour Alagraa, Assistant Professor of Political and Social Thought in the Department of African and African Diaspora Studies at the University of Texas at Austin, “The Interminable Catastrophe”

Isabel Bradley, Assistant Professor of French Literature, Thought, and Culture, New York University, “On Subsistence and the Sociogenic Principle”

3:00 Discussants: Anne-Maria Makhulu, Associate Professor of Cultural Anthropology, Duke University; Laurent Dubois, John L. Nau III Bicentennial Professor in the History & Principles of Democracy at the University of Virginia

3:15 Q&A

3:30-3:45 Break

3:45 Epilogue: Deborah Jenson, Professor Emeritus of Romance Studies, Duke University, “Sylvia Wynter: Human Autonomy and the ‘Cognitive Charter’”

4:00 Discussant: Felwine Sarr, Anne-Marie Bryan Distinguished Professor of French, Duke University

4:15-4:30 Q&A

Thanks to the facilitation of Professor Anthony Bogues, the John Hope Franklin Research Center was able to acquire the papers of Sylvia Wynter in 2018. Over the last 2.5 years, the archive has been painstakingly organized and prepared to be shared with the wide range of scholars from those who know Wynter’s work intimately to those who are only discovering her voice. A small team here are Duke, including scholars, graduate students, the staff of the David M. Rubenstein Rare Book & Manuscript Library and the Duke University Libraries exhibition team has dedicated this past year to commemorate the opening access to these papers with this symposium and exhibition which serve as a prelude to the seeds of future events involving the large and distinguished community of Sylvia Wynter scholars, students and researchers whom we acknowledge humbly and respectfully.

Celebrating the Dr. Thomas Bashore Collection

Date: Wednesday, October 29, 2025
Time: 4:30 p.m. – 5:30 p.m.
Location: Rubenstein Library Room 153, Holsti-Anderson Family Assembly Room
Contact: Rachel Ingold (rachel.ingold@duke.edu)

The History of Medicine Collections recently received the Thomas Bashore, M.D., Collection of Artifacts. Dr. Bashore is Professor Emeritus of Medicine at the Duke University Medical School, where he specialized in treatment of cardiovascular conditions and congenital heart disease. He first began collecting historic medical artifacts, such as mechanical devices relating to electrotherapy and cardiology, and expanded his collection to include fringe medical instruments and treatments.

Please join us on Wednesday, October 29, at 4:30 p.m. to celebrate the Thomas Bashore Collection. Dr. Bashore will provide remarks.

Items from the Thomas Bashore, M.D. Collection are currently on display in the Josiah Charles Trent History of Medicine Room and the Hubbard Case.

“The Best, the Only, and the Unexpected” lives at the Rubenstein!

Cover of a summer 2002 Hammacher Schlemmer catalog, featuring a sonic insect trap.

The Hartman Center and the Rubenstein Library are pleased to announce the arrival of the records of Hammacher Schlemmer, the 177-year-old hardware merchants-turned-purveyors of unique, odd, and oddly practical items, sold through a variety of catalogs that themselves represent one of the historical high points of creativity in catalog design and direct-to-consumer merchandising. The company produced its first catalog in 1881 and is considered the oldest catalog-based retail company in the United States, pre-dating Sears and Montgomery Ward by several years.

Hammacher Schlemmer began as a supplier of tools and trade equipment in 1848 in the Bowery section of New York by Charles Tollner. In 1853 he hired a 12-year-old German immigrant, William Schlemmer, as an assistant. A few years later another German immigrant, Albert Hammacher, invested in the growing hardware store. Eventually Schlemmer bought Tollner’s stake in the company, and in 1883 the company was renamed Hammacher Schlemmer & Co., a name it maintained for a century and a half.

Cover of an 1884 catalog for Hammacher Schlemmer featuring tools.Originally Hammacher Schlemmer sold primarily tools, from files and saws to more complicated machinery like the Lougee hair picker (a cotton gin-like machine for combing horsehair used in upholstery stuffing). By the 1900s the company had expanded to offer specialized tools for automotive, piano-building, and other trades; in the 1930s the company began to transition from hardware to housewares and general retail merchandise.

Hammacher Schlemmer maintained a store in the Bowery (and later branched to Chicago and Los Angeles), but an increasing percentage of sales came from its catalog operation. In the early days the catalogs doubled as selling aids for sales agents. They developed a reputation for detailed, useful print and finely rendered line drawings, as seen in this catalog entry for the Lougee hair picker:

Advertisement for the Lougee Hair Picker featuring a line drawing of the machine and explanatory text.

With the transition to household goods (kitchen gadgets, furniture, cleaning implements and the like; a separate catalog for gourmet food products began in the 1930s) the catalog layouts shifted from line drawings to black-and-white (and later, color) photography. The catalogs for the centennial years 1947-1948 featured whimsical pastel drawings in color. By 1977 the catalogs would shift to an all-color layout.

Cover of the centennial Hammacher Schlemmer catalog featuring a pastel illustration of a woman in pink riding in a horse-drawn carriage.

The hardware line was dropped in the mid-1950s, and Hammacher Schlemmer turned to feature more high-end luxury goods, curated from other manufacturers’ items, as well as those developed by its own subsidiary, Invento, which was established in 1962. In 1983, the company established another subsidiary, Hammacher Schlemmer Institute, that focused on product testing and comparisons among competing products (similar to testing performed by groups such as Consumer Reports), later adding a Consumer Testing Panel for end-user testing and evaluation. In 1986, Hammacher Schlemmer began online sales in addition to its mail-order catalog operation. It joined SkyMall in 1991 as a charter member, advertising its products to airline passengers on U.S. domestic and selected international routes.

The catalogs featured a wild variety of products at every price point: slipper socks ($34.95); a walking stick with a built-in telescope ($89.95); a single-serving coffee maker ($199.95); a bamboo Tiki bar ($499.95); a leather chair in the shape of a baseball glove ($6,200); a full-scale working replica of the original 1966 Batmobile ($200,000); and a two-person fully functional electric submarine ($1.5 million). These products lived side-by-side in the page layouts of the catalog, a million-dollar submersible or a $65,000 robot next to entries for compression socks, garden hoses, and pens.

Two-page spread of a Hammacher Schlemmer catalog showing everyday items and luxury items advertised right next to each other.

Along the way, Hammacher Schlemmer was instrumental in introducing a number of household items that started out as novelties and moved into mainstream popularity: pop-up toasters (1931); electric shavers (1934); steam irons (1948); telephone answering machines (1968); Mr. Coffee (1973); and the Cuisinart (1977), to name a few. Hammacher Schlemmer’s status as an American cultural icon is evidenced through parodies of the company’s catalog offerings that appeared in places such as the pages of Readers Digest and on the Family Guy television cartoon.

The Hammacher Schlemmer records should be available for researchers in the Rubenstein Library by late 2025. The collection offers a rich resource for scholars interested in topics as varied as advertising history; direct marketing; catalog design; line art; and the evolution of a historically important American retail establishment.

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.”