By Emily Walhout, Reference Assistant, Public Services and
Christine Jacobson, Assistant Curator of Modern Books and Manuscripts
Around this time of year, Team Cake’s thoughts turn toward fruitcake. Emily Dickinson’s “black cake” to be precise—a 20-pound cake darkened by molasses and boasting 8 pounds of combined raisins, currants, and citron. The original manuscript of the recipe for this hefty cake, written in Miss Dickinson’s own hand, is housed in Houghton Library’s Emily Dickinson Collection.
Now, fruitcake is not a word that generally elicits delight or happy memories. A more common reaction might be skepticism or even a gasp of alarm. But Emily Dickinson’s black cake is not your average fruitcake. Along with the molasses and brandy, an assortment of aromatic spices goes a long way in giving this cake its memorable flavor.
For the past five years, Team Cake—a troupe of brave and curious bakers at Houghton—has recreated this cake, rigorously adhering to the poet’s recipe, and served it up to colleagues and friends at celebration of the poet’s birthday on December 10. Fruitcakes are traditionally steeped in brandy and stored away for months to mature and ripen, so September is the time to get a cake underway if it’s to be shared in December.
By Vicki Denby, Manuscript End Processor, Technical Services Department, Houghton Library
This past spring, Houghton Library Technical Services had the superluminous pleasure of working with Zoe Padilla, a senior at Cambridge Rindge and Latin School (CRLS). This is the seventh consecutive year we been able to hire a paid intern from CRLS to learn about our work by helping end-process our collections.
Through the School-to-Work (STW) program, the Harvard Union of Clerical and Technical Workers (HUCTW) coordinates with the Cambridge Office of Workforce Development, Harvard schools/departments, and CRLS to provide job training and learning opportunities for high school students. Joie Gelband of HUCTW helps select students to work in departments for three afternoons a week as paid interns. Each student has an HUCTW member as a supervisor the student an overview of the work and specific assignments. They explain how the student’s work fits into the mission of the department, and check in regularly with updates and feedback.
By Jeffrey F. Hamburger, Department of Art & Architecture, Harvard University
Edmund Bishop, the famous historian of Catholic liturgy, once posed the question: “Is the subject ‘An Old Prayer Book’ a ‘dull’ one?” Tongue-in-cheek, he replied that he would prefer the dullest form possible, namely, a tabulation of its contents, adding that “any subject is sure to prove dull to somebody.” By Bishop’s definition, a Liber ordinarius, which offers little more than a list constituting the ordo or order of the liturgy for a given church or community, would be a very dull book indeed. However, the Liber ordinarius of Nivelles (which has been fully digitized and now bears the Houghton call number MS Lat 422) demonstrates the contrary.
By Vicki Denby, Houghton Library Technical Services
Houghton Library’s manuscript of “Paul Revere’s Ride” [center], from the Henry Wadsworth Longfellow papers (MS Am 1340 ), on display at the Concord Museum. Photo by Laura Larkin, Houghton Library.
A Houghton Library manuscript, on loan as part of the exhibition Beyond Midnight: Paul Revere
, will once again be on public view when the Concord Museum reopens on August 6, 2020.
Paul Laurence Dunbar is one of the most celebrated American poets of the late 19th century. Dunbar was raised in Dayton, Ohio by formerly enslaved parents who were emancipated after the Civil War. He began writing poetry at the age of six and published his first poem at 16. Though he died young, Dunbar published over a dozen collections of poetry, four novels, several short story collections, and an original play before succumbing to tuberculosis at age 33. Dunbar’s work, enjoyed by presidents William McKinley and Theodore Roosevelt, centers the everyday experience of Black men and women in fin de siècle America.
Dunbar collaborated with the Hampton Institute Camera Club to illustrate six of his poetry collections. The Club’s affirming portraits of Black Americans became some of the mostly widely distributed images of African American visual culture in U.S. history. Dunbar’s 1901 work, Candle-lightin’ Time is a prime example of their partnership. The collection’s first poem, “Dinah Kneading Dough,” tenderly describes Dinah’s breadmaking accompanied by images of a Black woman elbow-deep in flour in her kitchen.