October 19th, 2017

“Outrageous Attention to Detail”: The School-to-Work Program at Houghton

Cambridge Rindge and Latin graduate, Armanie Deleon, assists with the archival housing of the Theodore Roosevelt Collection: Political Cartoons: original cartoon drawings. pfMS Am 1895-1895.1

For the fifth consecutive year, we have had the opportunity to hire a paid intern from the Cambridge Rindge and Latin High School (CRLS) to learn about our work by helping end-process our collections. Through the School-to-Work program, (STW), the Harvard Union of Clerical and Technical Workers (HUCTW) coordinates with the Cambridge Office of Workforce Development, Harvard schools/departments, and Cambridge Rindge and Latin High School to provide job training as well as learning opportunities for high school students.

Joie Gelband (HUCTW) helps select students to work in departments for three afternoons a week as paid interns. Each student has a supervisor who is an HUCTW member. The supervisor gives the student an overview of the work and specific assignments. They explain how the student’s work fits in to the mission of the department, and check in regularly with updates and feedback.
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September 6th, 2017

Collections Now Available for Research: August 2017

Houghton Library is pleased to announce that the following collections now have descriptive finding aids and are available for research in the library’s reading room. 

Vera Allen papers, circa 1942-1986 (MS Thr 1670) – processed by Melanie Wisner

Harvard Theatre Collection of New York Yiddish Theater Playbills, circa 1880s-1890s (MS Thr 1655)  – processed by Adrien Hilton

Harvard Theatre Collection of clippings on theater-related subjects, circa 1800-2010 (HTC Clippings 6) — processed by Elizabeth Amos

Harvard Theatre Collection of playbills and programs from New York City theaters, circa 1800-1930 (TCS 65) — processed by Christine Jacobson and Hannah Spencer, with assistance from Adrien Hilton and Micah Hoggatt

Julian Marshall collection of broadside ballads, 1650-1800 (MS Mus 277) — processed by Dana Gee, with assistance from Andrea Cawelti and Adrien Hilton

Ludlow-Santo Domingo collection of photographs of drugs and drug use, circa late 1800s-2001 (MS Am 3143) – processed by Elise Ramsey

Photograph and Memorabilia Albums of Bella Prince and Walter Neiss, circa 1890-1947 (MS Thr 1656) – processed by Melanie Wisner

New England Science Fiction Association APAs, 1970-1999 (MS Am 3142) — processed by Melanie Wisner

I. A. Richards papers, circa 1930s-1970s (MS Eng 1811) — processed jointly by the Manuscript Section

Paul Maylor Sweezy papers, circa 1900-2004 (MS Am 3024) — processed by Adrien Hilton

September 5th, 2017

In Memoriam: John Ashbery

John Ashbery is gone. A pivotal figure in 20th– and 21st-century literature, few poets have been as honored as he: recipient of the Bollingen Prize, the National Humanities Medal, a MacArthur “genius” grant, and numerous other awards. His 1975 collection, Self-Portrait in a Convex Mirror, won the American book world’s triple crown: the Pulitzer Prize, the National Book Award and the National Book Critics Circle prize. Noted for his wordplay, for combining everyday expressions with high classical references, his poetry was sometimes described as elusive, challenging, puzzling, or surreal, but no one denied its brilliance, and it has proven deeply influential to the next generation of poets.

John Ashbery in Rome at the Villa Madama.

John Ashbery in Rome at the Villa Madama. Photographer unknown [possibly his friend Nardo], 1963. From the John Ashbery papers (*89M-58, box 49), Houghton Library, Harvard University.

His Harvard ties were deep, beginning with his time as an undergraduate (class of 1949), where he began life-long friendships with fellow poets Frank O’Hara, Kenneth Koch, Barbara Guest, and Robert Creeley. His interest in poetry was nurtured by attending campus poetry readings by W.H. Auden, William Carlos Williams, Marianne Moore, T.S. Eliot, and Wallace Stevens, and he chose to write his senior honors thesis on Auden. And Auden just happened to be the judge who awarded Ashbery the Yale Younger Poets Prize for Some Trees, an award that launched Ashbery’s career. Perhaps remembering his own undergraduate experience, he was generous in giving many readings on campus as his fame grew. He gave the prestigious Norton lectures at Harvard in 2000, and received an honorary doctorate from the University in 2001. He was awarded the Harvard Arts Medal in 2009, and the Harvard Film Archive celebrated “John Ashbery at the Movies” with the poet’s commentary on some of his favorite films.

At Houghton, Ashbery’s papers are one of the pillars of the Library’s American poetry collection, along with T.S. Eliot, Wallace Stevens, and Robert Lowell. Papers of his artist friends, Jane Freilicher and Nell Blaine, provide added depth in considering Ashbery’s relationship with the contemporary art scene. He was a noted art critic, and allusions to art, and the subject of art, recur throughout his poetry.

In some ways, Ashbery’s poetry is resistant to the efforts of the Library to document his work through his papers—although Karin Roffman’s recent biography, The songs we know best: John Ashbery’s Early Life, makes good use of the archive. The poet should have the last word. “I don’t find any direct statements in life,” Ashbery explained to the London Times. “My poetry imitates or reproduces the way knowledge or awareness comes to me, which is by fits and starts and by indirection. I don’t think poetry arranged in neat patterns would reflect that situation.”

David Kermani and John Ashbery. Photograph by Clarice Rivers, Summer 1977. © Clarice Rivers. From the John Ashbery Papers, (*89M-58, box 49), Houghton Library, Harvard University.

Leslie A. Morris, Curator of Modern Books and Manuscripts, contributed this post.

August 28th, 2017

Proto-Maus

This post is part of an ongoing series complementing the upcoming exhibition Altered States: Sex, Drugs, and Transcendence in the Ludlow-Santo Domingo Library on display in the Edison and Newman Room from September 5 – December 16, 2017.

Art Spiegelman is best known for Maus, his graphic novel based on interviews with his father, a Polish Jew and a Holocaust survivor. Serialized in Raw beginning in 1980, the first volume was published as a graphic novel in 1991.

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Panel from “The Slithery Slibb,” Bijou Funnies #2

Spiegelman was a part of the San Francisco underground comix scene in the 1970s. bijouThrough the Ludlow-Santo Domingo Library, Houghton holds a sizeable collection of underground comics. Among them are many featuring Spiegelman’s work. Some of these shed light on Spiegelman’s artistic path to the creation of Maus.

Spiegelman moved to San Francisco in 1971, where he quickly became active in the local counterculture movement and comics scene. He was a regular contributor to such underground publications as Bijou Funnies, Young Lust, and Bizarre Sex, often using various pseudonyms such as Joe Cutrate, Skeeter Grant, and Al Flooglebuckle. In 1975, with Bill Griffith, he co-found and co-edited Santo Domingo Underground Comics Collection Arcade: The comics review.

In 1972, he was asked by fellow comic artist Justin Green to contribute to a comic anthology Green was editing. The idea was that the artists would create stories featuring anthropomorphized animals. The comic was called Funny Aminals. Spiegelman struggled with a concept for his contribution. While visiting a friend in upstate New York, Spiegelman sat in on this friend’s film class. The class included a viewing of old cartoons. While showing Mickey Mouse in Steamboat Willie, Spiegelman’s friend spoke of Mickey Mouse as a form of minstrelsy, “just Al Jolson with funny round ears on top.” (Conan interview)
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August 25th, 2017

What Do Those Archivists Do? An Inside Look at Creating Titles

DACS Bingo This post is part of a new series, “Behind the Scenes at Houghton” giving an glimpse into the inner workings of the library’s mission to support teaching and research. Thanks to Adrien Hilton, Head, Manuscript Section, for contributing this post.

I started as the Head of the Manuscript Section at Houghton Library in February 2016. As a unit, we consist of seven archivists and manuscript cataloguers and function as the group to accession, arrange and describe, and make accessible online descriptions of Houghton’s manuscripts and archives, this includes single items as well as multi-box collections. We are part of the Technical Services Department comprised of book catalogers, acquisitions and end-processing, and metadata librarians.

The library and special collections landscape is rapidly changing. In Technical Services, like other functional areas in the profession, we can no longer afford to rely on traditional ways of thinking and doing. What may have worked 50 years ago or even 5-10 years ago is already obsolete. There are new theories that embrace more equitable and open access to our library spaces, collections, and collection descriptions. Navigating this ever-evolving environment is one of the most exciting challenges about being an information professional today. We must continually learn and engage with both the theory and practice of archives.
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August 20th, 2017

Solar Eclipses and Citizen Science

As you’ve probably heard, a solar eclipse will be visible in the U.S. today from coast to coast. The PBS television program NOVA will air a special episode tonight including live footage of the eclipse, and talking about the history and scientific significance of solar eclipses. Back in April, a film crew visited Houghton in preparation for the episode to take a look at some historic eclipse images from the collection.

Edmond Halley is probably best remembered for his prediction of the return of the comet now named for him, but he made crucial contributions to the study of eclipses as well. In 1715, Halley published a map predicting the path of an eclipse passing over England with exceptional accuracy, a triumph for Newtonian physics.

Description of the passage of the shadow of the moon
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August 16th, 2017

A Real Old Devil

This post is part of an ongoing series featuring items from the exhibition Open House 75: Houghton Staff Select on display in the Edison and Newman Room from May 8 – August 19, 2017.

Refashioning, revising, re-reading, restoring: the adaptation of musical works was a perennial source of fascination for Harvard University music professor John Milton Ward. Consequently, the John Milton and Ruth Neils Ward Collection at the Harvard Theatre Collection is rich in editions, arrangements and translations. Evidence of these multiple versions can help us understand, quite precisely, how music was circulated and performed, heard and loved.

Consider Franz Lehár’s Die lustige Witwe, known in English as The Merry Widow. Since its Viennese premiere in 1905 it has never really been off the stage, traveling the world and usually getting translated into the local language once it arrives. There are scores and librettos of the work in the Ward collection that have English, French, Italian, Danish and Polish words.

Several parodic reinterpretations of the work may be found in the Ward collection as well. These mostly date from early-twentieth-century America. An excerpt from one of these parodies is the short and snappy tune, “Toot! Toot! I’m a Real Old Devil!,” purportedly sung by Walter Jones in The Merry Widow and the Devil, which was first performed in New York at the West End Theatre on November 16th, 1908.

Cover of "The Devil As Sung By Walter Jones", with image of devil leaning back in tilted chair in red top hat, coat, and tails.

M1508.G423.M4 1908b, The John Milton and Ruth Neils Ward Collection, 2004

Many libraries own copies of the commercial vocal score of The Merry Widow and Devil, but only the Harvard Theatre Collection is known to have this edition of this song. It was printed as a supplement to the December 13th, 1908 edition of the now-defunct Boston Sunday American and was intended to be cut out and sewn together to make a booklet. This is just what the unidentified former owner did, taking care to slice the page neatly from the newsprint sheet and using white thread to bind the score together. From the New York stage in November to a Boston home in December, eventually on to Professor Ward’s collection and then to this library as his gift, it is a small but unique specimen of the domestication of art.

Christina Linklater, Houghton Music Cataloger, contributed this post.

August 14th, 2017

Interpreting History Through Art: The Kelmscott Chaucer, William Morris

This post is part of an ongoing series featuring items from the exhibition Open House 75: Houghton Staff Select on display in the Edison and Newman Room from May 8 – August 19, 2017.

The iconic Kelmscott Chaucer—this copy being one of only three printed on vellum and bound in full pigskin—is the crowning achievement of William Morris and Edward Burne-Jones’ ventures into book production. As a practicing artist with a background in medieval studies, I’m fascinated by recreations of historical artistry. I held my breath when, in my first weeks on the job, one of the Kelmscott books found its way to my desk to be measured for a new box. Since then, I’ve had the opportunity to explore many Kelmscott books in Houghton’s collection: some on paper and some on vellum, some bound simply and others highly adorned, though none as breathtaking as The Works of Geoffrey Chaucer.

First page of the prologue to the Canterbury Tales.

The Works of Geoffrey Chaucer Now Newly Imprinted (London, 1896)
Typ 805K.96.274, Gift of Henry Arthur Jones, 1906

William Morris was an English artist and designer, and a major figure in the 19th century Arts and Crafts Movement. He was also an active socialist and an admirer of medieval art. He strove to bridge the divide between fine arts and crafts by creating beautiful, useful decorated objects. In 1891, he founded the Kelmscott Press, where he spent the last several years of his life producing illuminated-style printed books in high quality, limited editions.

In creating objects that look medieval, Morris made a statement on his own time period. His art is a reaction to industrial modes of production, which he decried as dehumanizing. Instead, he promoted an idealized vision of medieval craftsmanship. His love for the Middle Ages strikes me as curious, given the era’s reputation for ruthless hierarchy. On the other hand, these clashing interpretations remind me that no account of history can be objective or unbiased. All of us – historians included – bring our personal and cultural biases to the table when we interact with the past.

Morris’s business practices, though idealistic, are also mired in contradiction. He envisioned a socialist utopia in which everyone lived comfortably, and no one desired luxury. In his imagined future, beautiful objects such as the Kelmscott Chaucer would be owned by public institutions. In Morris’s reality, however, he depended on the wealthy to support his creative endeavors. Perhaps he wished that in the future, his works would find their way into public view, where they could be widely enjoyed. In this regard I fully agree with him; works of art have the greatest value when they can be used and admired by all.

Robin Harney, Library Assistant, contributed this post.

August 7th, 2017

A Curious Manuscript

This post is part of an ongoing series featuring items from the exhibition Open House 75: Houghton Staff Select on display in the Edison and Newman Room from May 8 – August 19, 2017.

Melesinda Munbee’s Miscellany found its way into my hands one day  in 2002 when I was browsing our stacks, looking for manuscripts to show to a class. This miscellany consists of  two handwritten volumes of poems inscribed in 1749 by a five-and-a-half-year-old girl and dedicated to her father, Valentine Munbee, who taught her how to write. That’s what the dedicatory poem says, and maybe that’s just what it is. But I was intrigued by it from the moment I opened up the first volume and read the title-page:

munbeetp

MS Eng 768 v. 1 A collection of various kinds of poetry : title-page.

That handwriting looked much too practiced and elegant for such a young girl. Keep reading →

July 31st, 2017

All power to the people! Black Panther Party

This post is part of an ongoing series featuring items from the exhibition Open House 75: Houghton Staff Select, on display in the Edison and Newman Room from May 8 – August 19, 2017.

In September of 1966, Hunters Point, a predominately black neighborhood in San Francisco, erupted after the murder of sixteen-year-old Matthew Johnson by police. The riots were a catalyzing event for activist Huey Newton, who realized that the black community and its anger, if properly channeled, could be a powerful instrument against police brutality and other forms of institutional racism. With fellow activist Bobby Seale, Newton formed The Black Panther Party with the intent to counteract (or even subvert) police violence through armed patrols by local citizens. Two years after its founding, new chapters opened in cities across the United States – from Boston to Seattle. As the organization grew, its mission expanded to embrace social programs, such as free breakfast for children and community health clinics – a point largely forgotten by the organization’s critics then and now.

Cover of The Black Panther commemorating Bobby James Hutton.

All images f AC95.B5665.969c.

Instrumental in spreading the party’s message was The Black Panther, a weekly newspaper that soon became its official voice. Keep reading →

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