Do Your Research, Featured, News and Features, Renovation, Research Tips, Rubenstein Move

We’re on the Move!

January 16, 2015 Katrina Martin 1 Comment

While we at the Rubenstein were unable to commemorate the New Year with a ball (or perhaps pickle?) drop, we do have a lot to be excited for in this newest of years. After a stint on the third floor of Perkins, we’re finally making the trek to our permanent location—a location that while physically close, has occasionally felt as though it were light years away. In July 2015, the staff and collections of the Rubenstein will move (ourselves) home.

Perhaps because we conquered a move once before, we’re feeling ambitious, even a little daring. In addition to moving nearly 18,000 linear feet of onsite material (plus offsite material!), we’re also reclassifying our entire print holdings into a single, unified system: the Library of Congress classification. No longer will we have 120+ different call number systems, ranging from Riess C246I to E F#1275. Now, all our call numbers will follow the same alphanumeric system, one that is used by the larger Duke Libraries system. Here’s how the two call numbers above might be classed in the future:

A brief lesson about Library of Congress classification: those lines of alphanumeric text all have specific meanings outlined the Library of Congress classification schedules and its associated texts. The first lines of letters and numbers (e.g., HV6533) always refer to the subject of the work. In case you were wondering, HV refers to the subject “Social pathology. Social and public welfare. Criminology.” The subsequent lines are then used to provide additional clarity, narrowing in on topics, geographic locations, authors, title, and even formats. The LC classification thus packs a huge amount of information into a scant amount of space.

So how will this help the Rubenstein (and you)? By moving to a single system, we’re making our collections more browsable, both for staff and for researchers. Since every call number has a subject associated with it, we can conduct both granular and broad searches in our catalog (and if you’re staff, in the stacks). We’re also making it easier for our staff to pinpoint the locations of items. With 120+ call numbers, there are lots of pockets in the stacks where an item might live. Library of Congress will not only unify our call number system but will also create stronger shelving practices. There will be a place for everything, and everything in its place.

Some of these advantages won’t be felt until we move into our new space and finish out the reclassification project. Others are already making their presence known. Because our call numbers are now tied to specific subjects, we can use our current data to pinpoint collection strengths, weaknesses, and gaps. We’ve been able to develop some very cool data visualization:

While we knew (and probably could have guessed) that a substantial proportion of our print work falls into Language and Literature, other topics are a little more surprising. Who knew we had works about general Agriculture (S), Plant Culture (SB), and Animal Culture (SF)? I certainly didn’t, but now that I know, I might just be tempted to brush up on my knowledge of farm life.

There’s still a lot to do, but we’re making steady progress in our reclassification project and our many other move preparation projects. And we’re very happy to say the Rubenstein Library is on the move!

A special thanks to Noah Huffman and Angela Zoss in Data Visualization for creating the incredible visualization featured in this blog post. It’s a real beauty.

Post contributed by Liz Adams, Collections Move Coordinator at the Rubenstein.

Featured, Franklin Research Center, From Our Collections

ABC’s of John Hope Franklin – (B) Brooklyn College

January 16, 2015 John Gartrell 1 Comment

In 1956, John Hope Franklin was appointed Professor and Chair of the History Department at Brooklyn College, a predominantly White institution. Franklin’s appointment marked the first time that an African American was appointed chair of any department at a traditionally White institution. The New York Times found Franklin’s appointment so newsworthy that on February 15, 1956, they published an announcement with his photograph on the front page. The headline read: “Negro Educator Chosen to Head Department at Brooklyn College. Howard University Professor Will be First of Race to Hold That Rank Here.” The article noted that Franklin was the first African-American chair of any academic department in the New York State college system.

JHF_R7_FranklinPublicityClippings1950s_1_021_crop — Washington Evening Start Article, 1956

Franklin was a professor at Brooklyn College from 1956 to 1964 and served as chairman of the History Department over that period. During his tenure at Brooklyn College, Franklin published three important books: The Militant South, 1800-1860 (1956), Reconstruction after the Civil War (1961), and The Emancipation Proclamation (1963).

JHF_P3_JHFscrapbook_001a_crop — John Hope Franklin describes his experiences living as an African American in Brooklyn. Brooklyn College Newsletter, 1963

After leaving Brooklyn College, Franklin maintained strong ties with the institution. In 1981, he was invited to be the commencement speaker, and in 1990 he delivered the second Charles R. Lawrence II memorial lecture of the Department of Sociology and President’s Office of Brooklyn College.

After Franklin’s death, in an obituary published in The New York Times, Senator Barbara Boxer, Democrat of California, one of Franklin’s former students, said of him: “Having John Hope Franklin at Brooklyn College in the 1960’s was like having a real star in our midst. Students who were lucky enough to get into his class bragged about him from morning until night.”

This series is apart of Duke University’s John Hope Franklin@100: Scholar, Activist, Citizen year-long celebration of the life and legacy of Dr. John Hope Franklin

Submitted by Gloria Ayee, Franklin Research Center Intern

Audiovisual Materials, Digital Collections, Featured

H. Lee Waters Now Online

January 14, 2015 Katrina Martin

The Rubenstein Library, in partnership with the Duke Libraries Digital Projects team, announce today the online debut of the H. Lee Waters Film collection. The evolution of this long-awaited website, featuring Waters’ “Movies of Local People” shot in towns across the region from 1936 to 1942, is detailed here on the Digital Projects Bitstreams blog.

Featured, From Our Collections, Human Rights Archive

Jewish Voices from the Selma-to-Montgomery March

January 14, 2015 Kate Collins

“For many of us the march from Selma to Montgomery was about protest and prayer. Legs are not lips and walking is not kneeling. And yet our legs uttered songs. Even without words, our march was worship. I felt my legs were praying.”

Rabbi Abraham Joshua Heschel wrote these words soon after returning from participating in the Selma-to-Montgomery March on March 21, 1965—indelibly connecting his activism with his faith. According to Professor Eric Meyers, Director of the Center for Jewish Studies at Duke, “The participation of so many Jews in the civil rights movement was formative for an entire generation of American Jews. It is a shame that the movie Selma and associated celebrations overlook this element in the movement. It was the participation of Rabbi Abraham Joshua Heschel, a leading Conservative theologian, and close friend of Rev. King, that gave further momentum to the march in Selma after which Rabbi Heschel famously proclaimed that as a result he had learned to ‘pray with his legs.’ Rabbi Heschel’s writings before and after the march espousing human rights for all still inspire and Duke is proud to have his writings housed at the University in the David M. Rubenstein Rare Book & Manuscript Library.”

Rabbi Heschel saved accounts written by several of the rabbis and laypeople who had also answered Dr. King’s call to come to Selma. These accounts are now part of the Heschel collection at Duke. All were written and published within weeks of the march. The accounts emphasize fear and danger in equal measure with exhilaration and gratitude. Rabbi William Frankel (Wilmette, Illinois) remembered that the night before he left for Alabama, “a Synagogue officer called me to inform me, in the name of the Board of Directors, that I would be going south not merely as an individual but as a representative of my congregation.” This support pleased him, but he recognized that racism was not found solely in the South. In words that sound prescient today, he asked, “How will we [in Illinois] react when the battleground will not be in distant Alabama but in our own backyard, even in the suburbs of Chicago?”

In another account from the Heschel collection, Barbara R. Krasner, a mother of five from Radnor, Pennsylvania, who had been jailed in North Carolina for participating in a sit-in one year earlier, writes that she was under no illusions about what lay ahead. She went despite being told that women were being discouraged from going to Selma. She remembered the ways in which the march, confronted by violence, resulted “in the communion of black and white, Christian and Jew, believer and non-believer, as our hearts linked together in prayer.”

The rabbis were easily identified among the protestors. Albert Hoschander Friedlander (then the rabbi for students at Columbia University) noted in his account, “Since the ministers generally wore ‘collars,’ we wore yarmulkes. But a problem presented itself: the yarmulke was becoming fashionable! Called ‘freedom cap’ by the Negroes, it became a mark of distinction in Selma—and the hottest item on the market.” Several of the rabbis remembered Sabbath services with particular warmth. Rabbi Herbert D. Teitelbaum (Redwood City, California) described one service in his journal: “Toward evening, as the Sabbath approached, my fellow rabbis appointed me to conduct the shabbat service we had planned to hold in Brown’s Chapel. As we worshiped, I was amazed at the extent of the participation. Quite a few of the people, it turned out, were Jewish. We sang the closing hymn, Adon Olam, to the melody of ‘We Shall Overcome.’” Many of the rabbis remember services attended by people of all faiths—some in jails.

Rabbi Friedlander noted that the participation of the rabbis in the protests rekindled an interest in Judaism among some of the students. He recorded his surprise in an article he wrote for The Reconstructionist (April 30, 1965): “Students crossed the street to talk to us! For years they had stayed away from synagogues, had thought of them as ‘bar mitzvah factories,’ having no relevance to their lives. Now they saw their rabbis in Selma; and they felt a deep pride in this. Their religion, after all, was still relevant. And we would sit down on the doorsteps of ramshackle houses and talk about a living Judaism that had dealt with these problems since the days of Amos.”

Dan Bockman, editor of The Voice of Temple Beth Jacob (Redwood City, California), introduced excerpts from Rabbi Teitelbaum’s Selma journal by reminding readers that the Selma march was part of a longer struggle: “We suggest that you make this edition of the VOICE available to your children. This struggle will soon be theirs.”

“Reading these contemporary accounts adds nuance to our understanding of the motivations and experiences of those who participated,” writes Naomi Nelson, Director of the Rubenstein Library. “We are pleased to be able to make these accounts available to the public as the nation recognizes the 50th anniversary of this historic protest.”

For more information about the Abraham Joshua Heschel papers please visit http://bit.ly/1u20k3z.

In photograph, leaders of the third Selma-to-Montgomery March being interviewed by the press. Front row: Ralph David Abernathy; Martin Luther King, Jr.; Ralph Bunche; Rabbi Abraham Joshua Heschel; Frederick Douglas Reese. Photographer unknown. Abraham Joshua Heschel papers.

Archive of Documentary Arts, Featured, From Our Collections, New at the Rubenstein Library, New Finding Aids, Technical Stuff

Divine Works: Expressions of Faith in Two Religious Communities as Seen in the Photographs of Kristin Bedford

January 13, 2015 Katrina Martin 1 Comment

A body of color photography by Kristin Bedford recently acquired as part of the Rubenstein Library Archive of Documentary Arts offers striking images of religious practices in two very different communities of faith, and at the same time challenges cultural stereotypes of African-American worship. The two projects that came out of her experience are titled “Be Still: A Storefront Church in Durham,” and “The Perfect Picture.”

While an MFA student at Duke University, Bedford visited and photographed adults and children in the urban congregation of the Apostolic Deliverance Rebirth Outreach Ministries in Durham, North Carolina for a period of ten months. During worship, she sat in the pews among the congregants, capturing in these rich color portraits what she calls “stillness, contemplation, and the moments between the moments.”

Bedford-B-eStill-Cario — Cario, September 30, 2012

Bedford-Be Still-Larya — Larya, March 17, 2013

Bedford-BeStill-Quadir — Quadir, February 10, 2013

Credit: Kristin Bedford photographs, David M. Rubenstein Rare Book & Manuscript Library, Duke University

Bedford’s approach to joining these worshippers while photographing them also informed her stay with a utopian community founded by Father Divine in the 1930’s, whose members call themselves the “International Peace Mission Movement.” Bedford lived and worked with the community for five weeks in the summer of 2013 at their estate near Philadelphia, Pennsylvania. She documented their faith as it is lived out in everyday acts of racial harmony and guided by the divine nature of work: a form of the medieval commandment of “ora et labora.” Bedford came away with extraordinary views of a community that remains devout and committed to the movement despite a declining membership. She titled this project “The Perfect Picture,” an acknowledgment of Father Divine’s credo that the act of taking a photograph is akin to the faith-driven act of striving for unity and perfection in life.

Bedford-PerfectPicture — The Perfect Picture

Bedford-PerfectPicture-Ornaments — Mother and Father Divine Ornaments for “American Christmas”

Bedford-PerfectPicture-FathersEstate — Father’s Estate, “The Mountain of the House of the Lord”

Credit: Kristin Bedford photographs, David M. Rubenstein Rare Book & Manuscript Library, Duke University

The photographs and supporting materials in “Be Still: A Storefront Church in Durham,” and “The Perfect Picture,” are available for research use in the David M. Rubenstein Rare Book & Manuscript Library. An online guide has been prepared for the collection. Please contact a reference archivist before coming to use this collection.

Post contributed by Lisa McCarty, Curator of the Archive of Documentary Arts, and Paula Jeannet Mangiafico, Visual Materials Processing Archivist.

Archive of Documentary Arts, Events, Featured, From Our Collections

Event: The Archive of Documentary Arts Photobook Club

January 12, 2015 Katrina Martin

Tuesday, January 27, 6:00-7:30 p.m.
Center for Documentary Studies Library, 1317 W Pettigrew Street, Durham, NC 27707

Join us for the second meeting of The Archive of Documentary Arts Photobook Club where we will be discussing Helen Levitt’s first photobook, A Way of Seeing.

Book Discussion Group, Free and Open to the Public, byo beverage and/or snack.

HL new york 1940 — New York, 1940 (Fraenkel Gallery)

Three editions are on reserve for public use prior to the meeting in the David M. Rubenstein Rare Book & Manuscript Library.

Examine these editions for yourself in person, and/or read more about the book and Ms. Levitt online at the links below:

NY Times Lens Blog, The Telegraph, Fraenkel Gallery

**Please note – Discussion will take place at the Center for Documentary Studies while the books themselves are held at The Rubenstein Library.**

Contact: Lisa McCarty, Curator of the Archive of Documentary Arts | lisa.mccarty@duke.edu

Audiovisual Materials, Featured

How the DPC Magically Digitizes Old Formats for Rubenstein Researchers

January 9, 2015 Kate Collins 1 Comment

Here in Rubenstein Library Research Services, we always strive to fulfill our researchers’ wishes to use our inspiring materials in their work. However, rare materials often come in formats that pose a challenge to standard modern imaging equipment. We frequently receive requests from researchers to digitize books and maps that are too big or too tightly bound for our scanning equipment. Researchers also seek digital files of obsolete audio and A/V formats, such as records, VHS tapes, and audio reel tapes, but our ancient VHS players and reel tape decks went the way of the dinosaur, even as we kept pace with the latest technology for imaging paper, discs, and microfilm.

There’s valuable archival content on that long, slowly degrading strip of plastic film.

Thankfully, the buck doesn’t stop here in Research Services. We have an amazing digitization resource right here in the Libraries: the Digital Production Center, or DPC, as it is fondly known. DPC staff are highly-trained digitization experts, and their lab is filled with the latest digitizing technology. Mostly they digitize collections (hence our wonderful online Digital Collections!), but when we have a Rubenstein request that can’t be imaged on our equipment, the DPC takes up the challenge and works their magic.

I was invited to train with the DPC wizards recently, studying how they fulfill these challenging requests. Although I learned a lot about how the digitization process works, I still think it’s partly magical.

For visual images such as maps or books, the DPC’s computer monitor must first be calibrated to render the colors with absolute accuracy, or the scanned image might end up with an undesirable color cast. This is done using a color target, X-rite Photo Pro software, and the i1 PhotoPro 2 spectrophotometer, which optically “reads” the colors on the monitor in a magical fashion, just by touching the screen.

Like St. Patrick with the snakes, Mike Adamo casts out those slithery color casts

The lighting in the lab uses true full-spectrum daylight bulbs. Even the walls in the imaging areas are painted the exact shade of 18% grey used by photographers to achieve accurate white balance; in this case it also helps to prevent color casts from affecting the image.

For most paper originals, the DPC uses a Phase One camera capable of producing 1200 dpi images. Softboxed sidelighting on two sides provides even illumination. To capture large items, the camera must be raised high on a stand. Too high, and the image will be too pixelated; too low, and the edges of the image could get clipped. Like Goldilocks’ porridge, the height has to be just right.

Zeke Graves adjusts the camera height. Maybe the Phase One should be named Goldilocks.

The DPC can also digitize the many obsolete audio recordings on reel tape, records, or cassettes found in our twentieth-century and newer collections. This kind of magic is especially astonishing: sound vibrations are captured as magnetic density on the tape, which the audio analog-digital interface then samples electronically and translates into 1’s and 0’s. The computer then renders this data visually on the monitor, before assembling it back into sound as an mp3 or wav file.

reel to reel deck — Old technology made recording a lot less spur-of-the moment than lifting up an iPhone

VU meter — Volume Unit meter: the audiophiles’ way to view perceived loudness

Of course, we can’t forget about the ever-popular medium of video. Rubenstein collections include video on several types of exotic tape cassettes, such as VHS, U-matic, Betacam and Hi-8. The DPC rises to the challenge, with media capture decks that play obsolete tape formats and send their signals through analog-to-digital converters to create a tidy video file.

Alex Marsh operates the video deck bank. Tellingly, the digital conversion decks are made by the ‘Blackmagic’ company — Alex Marsh operates the video deck bank. Tellingly, the digital conversion hardware is made by the ‘Blackmagic’ company

After stringent quality control checks, logging of the work done, and backing up to the server, the digital file is uploaded and shared via a media sharing service, and Abracadabra! The millions of zeros and ones reassemble themselves on the researcher’s computer into a perfect facsimile of the original object.

Now, that’s just plain magic.

To see the DPC’s take on the training sessions, check out the Digital Project Team’s Bitstreams blog post.

Post contributed by Megan O’Connell, Reproduction Services Manager

Featured, Franklin Research Center, From Our Collections

ABC’s of John Hope Franklin – (A) Aurelia

January 2, 2015 John Gartrell

Aurelia Whittington and John Hope Franklin first met in 1931 when they were students at Fisk University in Nashville, TN. Aurelia was introduced to John Hope by his sister, Anne Franklin, who was her classmate. They remained college sweethearts throughout their time together at Fisk. Aurelia and John Hope were married on June 11, 1940.

JHFpapers_p1_002 — Aurelia Whittington Franklin, 1950s

Aurelia Elizabeth Whittington was born in Goldsboro, North Carolina in July 1915. Her father, Samuel W. Whittington was a U.S. Postal railroad clerk, and her mother, Bertha Kincaid Whittington, was a piano teacher. After graduating from Dillard High School in Goldsboro in 1931, she enrolled as a student at Fisk University, where she majored in English. Following her graduation in 1935, Aurelia taught English in schools around eastern North Carolina, and further pursued her education. She graduated from Hampton Library School in 1939, and later earned a Master’s degree in Library Science from Catholic University.

Aurelia was a devoted homemaker, but also served as John Hope’s adviser and editor, and was often by his side helping him navigate the library stacks when he was doing research.

John Hope and Aurelia Franklin attend a banquet in Durham, NC, 1940s — John Hope and Aurelia Franklin attend a banquet in Durham, NC, 1944

Aurelia and John Hope had one biological son, John Whittington Franklin, in 1952. The couple fostered Bouna Ndiaye, a student from Senegal.

John Hope and Aurelia Franklin in Cambridge, England,1962

In her later years, Aurelia faced many health challenges and her husband took an active role in providing care for her. Aurelia passed away in 1999 in Chapel Hill, North Carolina.

This series is a part of Duke University’s John Hope Franklin@100: Scholar, Activist, Citizen year-long celebration of the life and legacy of Dr. John Hope Franklin.

Submitted by Gloria Ayee, Franklin Research Center Intern

Featured, From Our Collections, Just for Fun, Rubenstein Library Test Kitchen

Doris Duke’s Bittersweet Chocolate Ice Milk

December 26, 2014 Meghan Lyon

Long live the Rubenstein Library Test Kitchen! We’ve had so much fun trying out recipes from our collections that we have decided to continue the series on the last Friday of each month.

Christmas is over, but that doesn’t mean that you have to stop eating. If you have room in your life for a little more dessert, I highly recommend trying Doris Duke’s Bittersweet Chocolate Ice Milk, one of hundreds of recipes available in the Doris Duke Papers.

Doris Duke’s collection includes boxes and boxes of recipes and menus from each of her houses — Duke Farms (Somerville, New Jersey), Rough Point (Newport, Rhode Island) , and Shangri-La (Hawaii). Duke appears to have collected a lot of her recipes during her travels (Thai and Hawaiian recipes were favorites), but her books also have plenty of American-style comfort food. Looking through the recipes was really fun, and it was hard to choose just one. I found a great one called Wine Jelly, which appears to be Doris Duke’s take on jello shots — except with sherry.

I wanted to make something to share with the Rubenstein Staff Holiday Party, so I went with the chocolate ice milk. It’s not quite as wild as some jello shots, but does have a ridiculous amount of chocolate, as well as espresso and a bit of cognac. And don’t worry about your New Year’s resolutions: it’s ice milk, not ice cream, so it’s totally healthy!

dd3 — Doris Duke’s Bittersweet Chocolate Ice Milk, from Box 177 (Folder 2) of the Doris Duke Papers.

The recipe dates from the early 1990s, so I found it fairly easy to make. The “bittersweet” part of the title is misleading — although the recipe has a cup of unsweetened cocoa powder, it also has a full 2 pounds of semi-sweet chocolate. I used chocolate chips to save myself the effort of chopping chocolate. I also used homogenized skim milk, which seemed to work fine.

The trickiest part for me was tempering the eggs, which involves pouring some of the warm chocolate into the yolk mixture, and then reuniting all of it back on the stove top. Do not expect any drastic change in the chemical composition of your mixture. When I finished heating everything and was ready to let it chill for 30 minutes, it basically looked like a giant bowl of chocolate milk. I was worried I would have to serve it with a straw.

After chilling for 30 minutes, a loose film had started to appear on the top of the mixture, which was reassuring. I put it in my ice cream maker for about 20 minutes, which thickened it up nicely. After an overnight in my freezer, it was ready for the party.

Verdict: This dish reminded me of hot chocolate, except it was frozen. It is extremely rich and pairs well with cake. Don’t skip the cognac. Just think: what would Doris do? (I know what you’re thinking. She’d also make the Wine Jelly. Here’s that recipe.)

Post contributed by Meghan Lyon, Technical Services Archivist.

Featured, From Our Collections, Just for Fun

Wonder Woman’s Wintry Foe: The Blue Snowman

December 22, 2014 Kate Collins

We write a lot about Wonder Woman. We write about her role(s) in nation making and myth making, her background tinged with exceptionalism and her femininity. We write about her big-screen potential, her small-screen potential, and any other mediums she might translate well to. (A serialized podcast, anyone?) What we don’t write about, or at least what we don’t write about often, are her foes—those vanquished, occasionally obliterated super villains who dared to mess with the princess of the Amazon. They are pushed to the periphery, partly hidden behind Diana Prince’s bright sun. Sometimes, however, a villain grinds his/her way back into the orbit, demanding that we take notice. The Blue Snowman is one of those villains.

First appearing in Sensation Comics #59, the Blue Snowman treads a very literal path: he is blue; he is a snowman, albeit one with very bushy eyebrows; and he puffs away at a pipe while plotting mayhem in Fair Weather Valley. A special “blue snow,” a chemical concoction designed to freeze everything and anything, is his weapon of choice. Money is his passion, and blackmail his way of obtaining it. That is, it would be if Wonder Woman hadn’t received a distress call from a friend in Fair Weather Valley, begging for the “marvelous Amazon resistance (4),” Wonder Woman. A swift kick, a lasso of truth whipped into action, and some near misses later, the Blue Snowman is apprehended and all is well.

A tried and true story, perhaps a throw-away story, except for one small twist that you had to know was coming: the Blue Snowman is not really a snowman at all. Behind the snowman suit of iron is Byrna Brilyant, the daughter of a scientific genius who intended to use his blue snow invention to somehow save humanity. (The mechanics of using a blue snow-like substance for good are left up to the readers’ imaginations. I imagine non-melting ice cream is somehow involved.) This game-changer occurs in the penultimate panel of the comic, and yet, to Wonder Woman and crew, it is not actually a game changer. Byrna’s story thus ends not with a bang, not even with a whimper, but with the slightest sound of a pin dropping hundreds of miles away.

Although the reasoning can be guessed, we never learn why Byrna disguises herself as a man; why she chooses to go into crime instead of following in her father’s footsteps; or even why the Blue Snowman’s eyebrows are so bushy. Perhaps we learn her origin story in later comics, but perhaps we don’t. Like so many other super villains (and heroes, for that matter), it seems she can be found mostly in the white gutters between the comic panels. She is liminal, pushing boundaries and existing between boundaries.

She and her brethren don’t have to, though. Within the Edwin and Terry Murray Comic Book Collection, there are over four hundred boxes of comic books and counting. And within those comic books, there are thousands of characters ripe for synthesis, dissemination, and massive extrapolation. So here’s to those characters, those slightly quirky, serviceable villains who seek the limelight but somehow still fall short.

Post Contributed by Liz Adams, Research Services Library Assistant

Dispatches from the David M. Rubenstein Rare Book and Manuscript Library at Duke University