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.”
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.
Another newly available item is Attica, it is a right to rebelauthored 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.”
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.
Post Contributed by Caitlin Margaret Kelly, Curator, Archive of Documentary Arts & Director, Power Plant Gallery
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:
“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.”.
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, 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.
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.
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.
Advanced searching by name, place, subject, format, and title
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.)
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
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
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!
Post contributed by Laurin Penland, Library Assistant for Rubenstein Technical Services
For someone like me who studied Joseph Conrad’s The Heart of Darkness in school, the Congo River can play an outsized role in my imagination as a place of brutal Western imperialism. So, you can imagine, how, when I was carefully paging through a diary from 1852 for a ship named the Mary Adeline, I froze in a moment of recognition upon seeing the words, “I was in the Congo River 12 days, during which time got ashore Shark’s Point. Was attacked by the savages, defended the vessel successfully and was eventually got off by … [the] steamer ‘Firefly’ and schooner ‘Dolphin.’”
This ship’s diary was written almost forty years before Conrad’s Heart of Darkness, during a time when enslavers were still abducting people from Africa and selling them if not legally, then illegally, especially to countries in South America (by that time many countries, including the US, had outlawed the transatlantic slave trade). The diary was kept by a man named Appleton Oaksmith—captain of the Mary Adeline—and though he does not mention enslaving people in the diary, I was suspicious. I wanted to know what he was doing in the Congo River and why he was “attacked.” So, I began to do more research.
First, I should provide a little more context. This diary was donated to the library as an addition to the Appleton Oaksmith papers, which the Rubenstein has held since 1937. The library had previously borrowed the diary in the 1950s so that it could be microfilmed. And now, decades later, the owners of the physical diary decided to donate it to the Rubenstein. It’s part of my job in the library to process new additions to collections, and this addition of the diary led me to try and discover what exactly the diary was about and how I might add it to the existing collection.
I did not know much about Oaksmith. In our online catalog, the description of Oaksmith stated merely that he was an “adventurer, author, ship owner, and industrial promoter of Hollywood, N.C.” A quick Google search for Oaksmith led me to think that “adventurer” was at best a polite euphemism and at worst a papering-over of the history of illegal slave trading. Here is one of the first entries I found about Oaksmith and his ship, the Mary Adeline:
“The U.S. brig Mary Adeline departed from Rio de Janeiro in April 1852 destined for the coast of Angola. After having been visited by the British steamship Fire Fly investigating evidence of slave trading, the Mary Adeline ran aground on a sandbar at Shark’s Point near the mouth of the Congo River. Within hours an estimated fifteen hundred to three thousand Africans attacked the boat. They used muskets, spears, oars, and cutlasses as weapons, along with hooks and poles to climb the side of the ship. The small crew of the Mary Adeline fought back by shooting a six-pound cannon that killed several of the Africans…. News of the battle spread quickly. Couriers capable of running fifty to sixty miles a day surely carried this information along the African coast. Inhabitants of Salvador learned of the attack after the return of the Mary Adeline to Salvador in late July. A planned attack by Africans of a slaving vessel helped to convince Bahians and foreigners resident in Salvador that a resumption of the slave trade would pose significant and unwanted risks.”
This passage is from Dale Torston Graden’s monograph, From Slavery to Freedom in Brazil, Bahia, 1835-1900. Graden’s description of the battle in the Congo River suggests two important points: 1) It is likely that Oaksmith was attempting to enslave West Africans, and 2) the attack played a significant role in limiting or ending the slave trade in Brazil. If these things were true, why did previous archivists describe Oaksmith as an “adventurer” and not as an enslaver?
This question sent me searching our digitized collection of the Rubenstein’s old card catalog. This is often the first place I look when trying to find more information about collections that the library has held for a long time, given that sometimes, descriptions in the old card catalog were never migrated to the online catalog due to length, complexity, or outdated language. The old card files on Oaksmith included a long biographical sketch. The writer of the description chose to describe the battle on the Congo River through the lens of the crew members of the Dolphin who helped Oaksmith escape. According to the Dolphin, Oaksmith fought “gallantly” against “3000 natives who had assembled for the purpose of plundering [the Mary Adeline’s] valuable cargo.” Later, the card file mentions that Oaksmith was indicted for slave trading, that he escaped from jail, and that he was eventually pardoned by President Grant. I was confused by the card file and by our online description, especially in juxtaposition to other scholarship that I found online. Was Oaksmith on the Congo River to enslave people? What was his valuable cargo? Why was he attacked? If he was eventually indicted, when was he convicted? How should I change the description of Oaksmith in the online catalog?
“[In 1852] the British Prime Minister to Brazil, Henry Southern, wrote to the foreign office about indications that the US vessels Mary Adeline and Camargo were being prepared to engage in the slave trade. ‘Mr. Marsden, a broker in Rio, a citizen of the United States,’ continued Southern, ‘is the party who is actively interested in getting up and aiding these speculations.’”
Later in 1852, the Camargo “disembarked 500 slaves at Bracuhy, south of Rio de Janeiro.” Marsden was jailed but was eventually freed. The captain of the Camargo, Nathaniel Gordon, escaped from Brazil, but was hung ten years later in the United States for slave trading. (Gordon is the only person in US history to have been executed for the crime of slave trading; his conviction and hanging are largely credited to the politics of that moment with the start of the Civil War and the beginning of Lincoln’s presidency.) The last place that Gordon abducted West Africans was at Shark’s Point on the Congo River, the same place that Oaksmith had run aground years earlier. And as for Marsden, after he was released from jail, he went on to be involved with a New York shipping company that was caught trafficking enslaved people to Cuba. Oaksmith also had significant ties to Cuba: his brother Sidney lived there, and Oaksmith himself was perhaps best known by historians as an ardent supporter of William Walker who “planned to establish a Central American empire that would ultimately include Spanish Cuba.”
It turns out that there is a copious amount of scholarship on Oaksmith and the illegal slave traders of his time. While I have not yet determined with certainty the purpose of Oaksmith’s journey to the Congo River in 1852 aboard the Mary Adeline and the reasons for the battle that ensued, I found historical evidence for his later attempts at slave trading, thus justifying two changes in the collection description: mentioning in the online catalog that Oaksmith was indicted for outfitting the slave ship Augusta in 1861 and finally convicted for outfitting the slave ship Margaret Scott in 1862, and adding “Slave trade – United States – 19th century” as a subject heading. I also decided to remove the word “adventurer” from his biographical description, lest it glorify the horrors of the slave trade and chattel slavery. The Appleton Oaksmith papers have also been added to a list of collections to which Rubenstein archivists hope to return, down the road, so that we can provide more detailed and just description. This is one of many legacy collections at the Rubenstein that deserve to be reprocessed and re-described so that we can better document the history of slavery and redress archival errors, silences, omissions, and erasures.
As for the ship’s diary that inspired this blog post, it has finally joined the rest of Oaksmith’s papers at the Rubenstein Library and will be requestable in the reading room once the library has reopened.
 Dale Torston Graden, From Slavery to Freedom in Brazil, Bahia, 1835-1900 (Albuquerque: University of Mexico Press, 2006), 8.
 Card catalog entry for the Appleton Oaksmith Papers, David M. Rubenstein Rare Book & Manuscript Library.
Post contributed by Craig Breaden (Audiovisual Archivist for the Rubenstein Library) and Liz Adams (Rare Materials Cataloger for the Rubenstein Library)
Harold Becker’s film, Ivanhoe Donaldson (1964), which was filmed during August, September, and October 1963, follows the titular Ivanhoe Donaldson, a 21-year-old Student Nonviolent Coordinating Committee (SNCC) field secretary as he travels from his home in East Lansing (Michigan), to Danville (Virginia), Selma (Alabama), and Greenwood (Mississippi), organizing demonstrations and voter drives. This rare 16mm film was recently acquired by the Rubenstein Library and is one of the first films we have digitized using our newly-purchased motion picture film scanner (a Filmfabriek HDS+). The film scanner, beyond offering impressive technical capabilities (we can scan each image up to 4k!), allows us to further our commitment to the preservation and discoverability of our moving image resources in the interest of the histories they generate and illuminate. In this case, footage shows Donaldson and other SNCC staffers, including Cordell Reagon and Avon Rollins, running workshops to show civil rights activists how to protect their bodies from high pressure water hoses and riot sticks; it shows canvassers urging citizens to exercise their right to vote; and it shows SNCC staffers invoking the name of Medgar Evers and discussing the efficacies of indirect and direct action in the wake of the 16th Street Bombing in Selma, Alabama.
Ivanhoe Donaldson not only documents the work of Donaldson and SNCC, but it also captures the joy with which they work. Between footage of workshops and peaceful demonstrations, the camera follows staffers as they clap their hands and sing civil rights staples like “We shall overcome.” Donaldson is frequently shown singing boisterously, even if in the words of Dorothy Moore, “he can’t sing too well.” But more than anything else, it’s incredibly clear that Donaldson loves to sing, and when he does, there’s nowhere he’d rather be. And as audience members, we’re right there with him.
With the courage of his namesake, Ivanhoe Donaldson both shaped and survived a crucible moment in American history as a field secretary for the Student Non-violent Coordinating Committee, organizing and training young people to put themselves in harm’s way, challenging white supremacy and asserting the right to vote. Becker’s emotionally-charged cinema vérité, the product of following Donaldson and his foot soldiers through the South in the summer and fall of 1963, provides an immediacy that is unique to film and, as SNCC’s members age and pass, a meaningful perspective to supplement memory. Also, having a resource created with documentary and poetic intention at the time the events occurred — much like James Karales’ photographs from an earlier period of SNCC’s existence — enlivens the dialogue of past and present immeasurably.
The digitization and preservation of the Ivanhoe Donaldson film is part of a larger effort made by the Rubenstein Library over the last decade to ensure that SNCC’s legacy is captured in documents, photographs, oral histories, and conferences, and made available on websites such as the SNCC Digital Gateway (https://snccdigital.org/). To learn more about Ivanhoe Donaldson, you can view a biographical entry and listen to an interview at https://snccdigital.org/people/ivanhoe-donaldson/.
So, you might be wondering, when can I see the whole Ivanhoe Donaldson film? Since the film is still under copyright, we cannot post it to the web. But, you can view the newly digitized preservation copy by requesting the film in the online catalog and then visiting the reading room at the Rubenstein Library.
At Smith Warehouse, the Technical Services archival processing area of Bay 11 is quiet. But not because the librarians working there have shushed everyone. Rather, the archivists, catalogers, interns and student workers perform many tasks by themselves. And most of us are wearing headphones or earbuds. Undoubtedly we are listening to music, podcasts, sports events, and whatever else we can stream. As a self-proclaimed news junkie, I often listen to live broadcasts.
As an archivist of University Archives records, my worlds collided in a “deja vu all over again” manner. At the end of January and beginning of February I was listening to the impeachment hearings and trial of President Donald J. Trump as I was processing the John S. Bradway Correspondence with Richard M. Nixon records. The collection is comprised of letters written between the Duke law professor, and his former student from 1959-1978. Nixon graduated from Duke Law in 1937, and the two men stayed in touch. These letters were recently gifted to Duke from a historical society in New Jersey.
The correspondence covers the time periods that Nixon worked as an attorney at a law firm, a United States Vice President, a newly-elected United States President, an embattled impeachment defendant, and finally, a former President looking back at his legacy. But the bulk of the letters fall between 1973 and 1974, when President Nixon was first tied to, then accused of, and later resigned due to the Watergate break-in and scandal and subsequent White House cover-up.
Bradway and Nixon’s correspondence show the respect each had for the other. They often mention their spouses, Mary Bradway and Pat Nixon, offering their greetings to them in each letter. The men also write glowingly of each other, and Bradway offered his suggestions to “stay with it” and his view that neither the Republican party nor the country would have anything to gain by Nixon resigning. When Nixon finally did resign and leave Washington, the correspondence continued, and Bradway urged him to write “a book or a series of articles” giving his side of the Watergate story.
Processing this collection with impeachment trial streaming through my earbuds led to an unusual echo chamber. The same phrases that I saw in the documents were being repeated on the floors of the House and the Senate. For example, liberal media was mentioned in both the recent impeachment hearings and the correspondence. The phrase “Impeachment is a political process” and concerns about the health and future of the Republican party were discussed in the letters I read, and in the very recent commentaries I heard. For me it was a startling reminder of how primary source documents very clearly connect to our present-day lives and current affairs.
Blog post contributed by Liz Adams, Rare Materials Cataloger
Way back in 2018, back when the new decade was but a glint in our eyes, we received something very big (literally and metaphorically) here at the Rubenstein: a single volume of 83 prints associated with William Hogarth. The creation dates for these prints span from 1732 (Midnight modern conversation) to 1781 (Mr. Walpole). Some of them are sincere, like a portrait of the actor David Garrick as Richard III. Others chart corruption and vice, notably in the series A rake’s progress and A harlot’s progress. Still others are pointed rejoinders to Hogarth’s nemeses, which included people like the satirist Charles Churchill (The bruiser, C. Churchill), alcoholic beverages (Gin Lane), and the French military. The themes are varied; the production methods evolve; and even Hogarth’s role in the creation of these prints oscillates between publisher, printer, artist of original work, and artistic supervisor. The prints are thus unified by their differences.
In 2019, I learned these differences were not just between prints but also within them. Hogarth was a tinkerer: He would return to the same copper plate, darkening and expanding shadows, adding crosshatching, changing clothing and facial features, and even excising text. He would do this work multiple times, releasing subsequent editions, or “states” of each print. There are at least ten different versions of some of Hogarth’s most famous prints, all subtly different and requiring the viewer to have excellent “I spy” skills. Luckily (for me and you, but mostly me), Hogarth is a very famous and well-studied artist. Dr. Ronald Paulson’s Hogarth’s graphic works tracks every change, making it possible to differentiate between moderate cross-hatching and slightly deeper cross-hatching. Thanks, Dr. Paulson!
I want to point out just one more wrinkle: After Hogarth’s death in 1764, his copper plates first went to his family, who then sold them to the publisher John Boydell. In 1790, Boydell published a volume of Hogarth’s works using the unaltered copper plates. Thus, a print that might be physically dated 1732 might really have been printed in 1790, long after Hogarth’s death. Furthermore, Boydell printed the plates on laid paper given to him by Hogarth’s wife Jane, as well as on a newer type of paper known as wove (Donihue). This can make dating quite complicated, as the use of laid paper might still mean that Boydell printed it, and not Hogarth. Some of our prints are also trimmed and mounted, making it hard to distinguish paper at all. In situations like that, caveats in catalog records really do work wonders.
This all leads me to 2020. The future that seemed far away is our present. Our once uncataloged volume of 83 Hogarth prints is now very much cataloged. You too can see what comes of industry and idleness (spoiler: basically what you’d expect) and what wigs looked like in the 18th century (elaborate and itchy). Happy new year, new decade, and new researching to you all!
These prints were a gift acquired as part of the Frank Baker Collection of Wesleyana and British Methodism.
Post contributed by Craig Breaden, Audiovisual Archivist
Radio Haiti on YouTube? Now there’s an idea…. When the Radio Haiti team at the Rubenstein Library embarked on a pilot project to see how the collection would perform on YouTube and the Internet Archive, we imagined it would be a fairly straightforward process, and that it was a natural fit. The idea for the pilot, funded as part of an NEH grant, came from discussions around how to effectively re-broadcast the archive. “Take the archive to its listeners,” was a rallying cry, “to Haitians in Haiti!” This approach captured the spirit of Radio Haiti, whose tireless advocacy for democracy in Haiti was brought to a halt only by assassinations and death threats carried out under an umbrella of impunity. With our pilot now complete, we are left with some expectations unfulfilled, some questions still unresolved. But even so, we learned a lot about the process, while enjoying one unqualified success.
If research libraries are square pegs, YouTube is the round hole. Librarians and archivists love metadata, YouTube loves “views.” Researchers and users love a good search tool, YouTube loves to put your eyes on ads. The differences between the missions of an ad-supported social media platform and a dot-EDU library have the potential to obscure the common goal of content delivery. We knew using YouTube, if not exactly a deal with a devil, demanded compromise and creative thinking. The first challenge was finding workflows that we could apply to the entire archive, including batch conversion of audio to video and bulk uploading of content and metadata. It was with the metadata where we started running into trouble. With paltry character limits on titles, descriptions, and keywords, YouTube left us scratching our head (when video is clearly the data hog, how does text get such short shrift?) and scrambling for a solution to provide adequate description for the recordings. The situation seemed especially acute because our Radio Haiti metadata is trilingual (English, Haitian Creole, French), and takes a lot of text space to accommodate our anticipated user populations. Ultimately we built in a default: every description that exceeded the 5000-character limit had an ellipsis added to the end along with a link to the Duke Digital Repository (DDR) page for that recording, so that, on YouTube, we still depended on the Library resource for full description.
The Internet Archive, as its name might suggest, was far more accommodating, offering robust metadata fields without the ads or YouTube’s relentless “Up Next” pushiness. It has the spirit and ethic of our great public libraries, with a dedication to the public weal. Radio Haiti would be far from its first radio archive, and its mission, like any real archive’s, is long-term preservation. There were only two downsides to the Internet Archive platform, and the first one it shared with YouTube: There was no way to group related recordings (for example, multipart programs) via a relator metadata field in the upload spreadsheet. That work would have to be done “manually,” in the description field, which might not be a big deal if there were 100 or so recordings, but the Radio Haiti Archive has 5,308 audio files. Needless to say, the relationships between files that our DDR could make would not be replicated on these platforms. The second, more obvious downside, is that for all its virtues the Internet Archive just doesn’t have the audiences that YouTube, media titan, boasts.
And that one unqualified, and unexpected, success? Our team of developers, driven by this pilot project to compress the digital footprint of Duke Digital Repository pages, thus decreasing load times in areas with limited digital infrastructure, made successful modifications repository-wide to the DDR. Data transfer required for a first-time visit was cut to as much as one sixth of the original size, meaning users’ browsers could render the site much faster and, in Haiti, where mobile data transfer is limited by plans that are typically purchased daily, more cheaply. So, while allowing faster load times in Haiti for our re-broadcasting of the Radio Haiti Archive, they also made the DDR as a whole more efficient. For me, this is a great example of a specific need driving innovation. The Radio Haiti project improved the delivery of Duke University Libraries’ digital resources while also providing the opportunity for our team to see both the trees and the forest in our work.
The processing of the Radio Haiti Archive and the Radio Haiti Archive digital collection were made possible through grants from the National Endowment for the Humanities.
Post contributed by Stephanie Fell, Rare Materials Project Cataloger
When the Lisa Unger Baskin Collection was packed and shipped to Duke in early 2015, many of the materials were boxed thematically. Therefore, as we have been cataloging the collection, the materials tend to come in waves of various themes and subject matter. Lately a number of cookbooks and monographs relating to domestic arts have been coming across my desk. Some have been traditional cookbooks and domestic arts manuals, offering recipes, menus, and nutrition information, as well as advice to the home maker, from cooking, cleaning, and child care tips to household budgeting and how to decorate the home. I wanted to point out a couple of items in particular that caught my attention.
These particular books, at first glance, are traditional cookbooks or domestic arts manuals for women to help them maintain a healthy and happy home through cooking and good housekeeping. Looking more closely, however, they contain a subversive message that rejects traditional gender roles and encourages the reader to emancipate herself from the kitchen.
Foods and Home Making by Carlotta C. Greer, published in 1938, was intended to be used by teachers to train boys and girls to do household tasks better. This text looks typical of the genre and time period; it includes “many suggestions and devices to stimulate pupils to participate in home activities and to do their share in making their homes attractive and happy” (page iii-iv). Upon closer examination, the “To the teacher” note includes the following advice: “Much of the material of Foods and Home Making is suitable for boys as well as girls. Knowledge of food selection is necessary for boys. Stimulation of boys’ interest in home making contributes to their appreciation of home life” (page v). The author encourages the reader to get her sons involved (and appreciate!) the work involved with sustaining and maintaining a household.
Another noteworthy feature of the Rubenstein Library’s copy is that it contains manuscript annotations indicating the owner was using the volume to prepare for an exam. Part of my work as a rare materials cataloger is to include provenance-related information such as this in the library’s catalog record in copy-specific notes. This kind of information about the book is important to include in the bibliographic record, because it shows not only how a former owner used the item, but also helps to differentiate this copy from copies at other institutions.
Another volume I cataloged recently is Uncooked Foods & How to Use Them by Mrs. & Mrs. Eugene Christian. Published in 1904, it is dedicated to “the women of America on whom depend the future greatness of our glorious country”. This unassuming volume includes more than just recipes and housekeeping advice. Scrolling through the table of contents, the reader will find that chapter 8 is entitled “Emancipation of Woman”. The authors advocate a raw food diet — one reason for this being simplicity: “There is nothing more complicated–more laborious and more nerve-destroying, than the preparation of the alleged good dinner. There is nothing simpler, easier and more entertaining than the preparation of an uncooked dinner” (page ). The authors argue that eating raw foods is healthier and will “emancipate [the reader] from the slavery of the kitchen and the cook stove” (page ). They continue, “… the use of uncooked or natural foods will surely bring relief and freedom” (page 52). Mr. and Mrs. Christian were admittedly ahead of their time in more than one regard.
As I’m cataloging the Lisa Unger Baskin Collection, which documents the work of women over the last 500 years, I’m not just describing the materials bibliographically, but I’m also trying to provide relevant access points and descriptive information for researchers. In addition to these items, the Rubenstein Library holds many other volumes related to cooking and domestic life. One can find other examples of domestic arts advice for women both inside and outside of this collection through Duke University Library’s online catalog. A genre term search for “Cookbooks” will return many items in that category and a keyword search for “prescriptive literature” may yield broader results.
Post contributed by Meggan Cashwell, Technical Service Intern
I recently processed the latest accession to the Robert A. Hill Collection: The Jamaica Series. The series consists primarily of Professor Hill’s research on the Rastafari Movement and Rev. Claudius Henry. While evaluating the materials I came across several particularly fascinating items, including the “Rev. Henry Picture Album.” As I carefully examined each image, the history of Rev. Henry and his followers unfolded.
Professor Hill shared his extensive knowledge of Rev. Henry in an interview for Reggae Vibes. He was wrapping up a research trip in Jamaica in 2010 when he decided to spend part of the remainder of his time meeting with members of Rev. Henry’s International Peacemakers Association at Green Bottom, Clarendon. The elders welcomed him to “Bethel,” a facility Henry and the Peacemakers constructed decades earlier, and they shared about their relationship to the movement.
Rev. Henry (1903-1986) considered himself a prophet after experiencing a vision at age eighteen. He began preaching, eventually moving to Cuba and then America before returning to Jamaica in the 1950s to fulfill his revelation. Rev. Henry accumulated thousands of followers, and in 1959 built The African Reform Church of God in Christ. Professor Hill claims that Rev. Henry’s following constituted the largest Back-to-Africa Movement of its time. Rev. Henry traveled to Ethiopia more than once to meet with officials affiliated with Emperor Haile Selassie, considered by many Rastafarians to be the messiah (image one). Their ambitions to relocate were never realized. In 1960 Rev. Henry and fifteen others were arrested on grounds that they were plotting an insurrection against the Jamaican government. At their trial in 1960, which Professor Hill attended when he was 16, they were found guilty.
In 1966 Rev. Henry was released from prison and went back to his followers in the parish of Clarendon. There in Green Bottom, Rev. Henry and others built a commune called the International Peacemakers Association. The Peacemakers were self-sustaining. The pictures displayed in the album show the Peacemakers making tiles, gardening, farming, ranching, baking bread, and performing a host of other duties (images two and three). There was also a school, baptismal house, community center, and worship facility, among other structures (image four).
The picture album is a part of a separate subseries which also contains loose and mounted photographs, correspondence, receipts pertaining to the construction of the commune, programs, posters, and other materials. Collectively, they offer a rich history to researchers, and encourage scholars to ask new questions about the Rev. Henry, the Peacemakers, and their legacy.
“Rev. Henry Picture Album,” Robert A. Hill Collection, David M. Rubenstein Rare Book & Manuscript Library, Duke University.
“Rev. Claudius V. Henry and the Radicalization of the Rastafari Movement in Jamaica, 1957-1960,” Interview with Professor Robert A. Hill by Boris Lutanie, Reggae Vibes, Paris, France.