Americas and Oceania Collections blog

Exploring the Library’s collections from the Americas and Oceania

247 posts categorized "Collections"

18 September 2024

From the Supreme Court to Cowboy Carter: “America Now!” events series launches at the Eccles Institute

Launching on Tuesday 24 September 2024, “America Now!” is a new series of live events exploring the current state of the USA and its place in the world. Book your free tickets and see the full programme on See Tickets 

Lead image for America Now Whole Season - Times Square, New York, showing American stars and stripes flag
Times Square, New York, showing US flag

 

In a world of hot takes these discussions will offer some much-needed deep dives, giving expert insight into some of the most pressing or peculiar aspects of modern American life - from the Supreme Court to Cowboy Carter. 
 
Organised by the British Association for American Studies and the Eccles Institute for the Americas and Oceania, “America Now!" takes place every other month in the British Library Knowledge Centre. 

Ahead of the first event, we took to the collections to share some suggestions of what can be found in the Americas holdings at the British Library which speak to the first topic we’ll be discussing: The Supreme Court.  

Courting controversy: What’s the Deal with the US Supreme Court? 

Tuesday 24 September 2024 | 18.30-19.30 

Book your tickets

From reversing the constitutional right to have an abortion to boosting the power of the President, the US Supreme Court has been making some headline-grabbing decisions over the past few years. With its judgments also potentially reshaping other major issues including gun control, environmental protections, and Indigenous tribal sovereignty, it seems we need to talk about the conservatism of the Supreme Court. How have we got here, and how will the court’s impact be felt on the ground for everyday Americans?   

Who sits on the Supreme Court? What are their backgrounds and specialisms that shape their interests and priorities in making decisions that impact a superpower like the USA? Consult this online resource, via US Federal Government Documents: The nomination of Judge Ketanji Brown Jackson to the Supreme Court, to find out more about the first Black woman to serve on the Supreme Court. While Being Brown: Sonia Sotomayor and the Latino Question (YC.2021.a.45) tells the story of the country’s first Latina Supreme Court Associate Justice’s rise to the pinnacle of American public life at a moment of profound demographic and political transformation. 

Official photograph of Associate Justice Ketanji Brown Jackson taken by Supreme Court Photographer Fred Schilling, 2022 and photo of Being Brown front cover
Official photograph of Associate Justice Ketanji Brown Jackson taken by Supreme Court Photographer Fred Schilling, 2022 and Being Brown picture from: https://impactolatino.com/la-jueza-latina-de-la-corte-suprema-sonia-sotomayor-inspira-un-libro-puntual/

Primary source ephemera documenting historical movements in America relating to gun control, abortion laws and environmental protections are also available in the collections to unpack these very relevant and ongoing topics. For example:  

  • a broadsheet by the People to Abolish Abortion Laws demonstrating against New York State Abortion Laws (YD.2014.b.915). This campaign poster, including the name of Betty Friedan, called for the repeal of all laws restricting abortion in the 1970s 
  • an interesting and illustrated 70s women's guide on self-defense can be seen in The woman's gun pamphlet: a primer on handguns, 1975 (RF.2018.a.2015).
Demonstrate Against n.y. state Abortion Laws broadsheet and The Women’s Gun Pamphlet by and for women, photo courtesy of Ulysses Books/Michael L. Muilenberg, Bookseller
Demonstrate Against n.y. state Abortion Laws broadsheet and The Women’s Gun Pamphlet by and for women, photo courtesy of Ulysses Books/Michael L. Muilenberg, Bookseller

And here are the event speakers’ ‘must read’ books, articles, and resources for anyone who's appetite for further exploration of the topic is whetted by the talk.  

Dr. Ilaria Di Gioia, an academic with expertise in the American Constitution, American federalism and intergovernmental relations at Birmingham City University, recommends:  

  • Jeffrey Toobin, The Nine: Inside the Secret World of the Supreme Court (Doubleday, 1st Ed., c2007), BL shelfmark: m07/.33898 
  • Stephen Breyer, The Authority of the Court and the Peril of Politics (Harvard University Press, 2021)
  • Bob Woodward and Scott Armstrong, The Brethren: Inside the Supreme Court (Simon and Schuster, c1979), BL shelfmark: 80/11640

Dr. Emma Long, Associate Professor in American History and Politics at UEA, recommends:  

  • SCOTUSBlog - arguably the single best online resource for studying the Court - largely written for those with some knowledge of the Court and its work, it's the best resource for keeping up with what the Court is doing and what people are saying about it 
  • National Constitution Center - not just about the Court, but about the broader role of the Constitution in American politics and society - runs an incredible programme of events, podcasts, and discussions (almost all available online) that are designed from all levels from primary school to professorial 
  • Linda Greenhouse, The US Supreme Court: A Very Short History (Oxford University Press, 2nd Ed., 2020) - a good, short introduction to how the Court works from the former New York Times' Court reporter 
  • David O'Brien, Storm Center: The Supreme Court in American Politics (W.W. Norton & Co., 2020) - available in multiple editions, one of the best academic introductions to the Court (previous editions in BL holdings available)

Dr. Mitch Robertson, Lecturer in US History at UCL, recommends:    

  • Geoffrey Stone and David Strauss, Democracy and Equality: The Enduring Constitutional Vision of the Warren Court (Oxford University Press, 2020), BL shelfmark: YC.2022.a.1168
  • Mary Ziegler, Roe: The History of a National Obsession (Yale University Press, 2023)
  • J. W. Peltason, Fifty-eight Lonely Men: Southern Federal Judges and School Desegregation (University of Illinois Press, 1971), BL shelfmarks: X6/2646, W55/6339
  • Anthony Lewis, Gideon's Trumpet (Random House, 1964), BL shelfmark: W28/9549

Some of these titles haven't hit the British Library's shelves yet but they should be available in other major libraries. Find items in libraries near you via WorldCat

Please note: we're continuing to experience a major technology outage as a result of a cyber-attack. Our Reading Rooms in London and Yorkshire are open, but access to our collection and online resources is limited. Visit our website for full details of what is currently accessible. 

Stay tuned for further blogs with reading lists related to “America Now!”, and book your tickets for Why Country Music Conquered the World in 2024 on Thursday 28 November and The Inauguration of a New President: Where Will American Politics Go From Here? on Tuesday 23 January 2025. Details of events for the rest of 2025 will be announced later this year. If you have any suggestions of topics that you’d like to see discussed, please email [email protected] with ‘America Now!’ in the subject line. 

10 September 2024

Moving Texts and Individuals between New England and England in the Mid-Seventeenth Century

Weiao Xing (PhD in History, University of Cambridge, 2023, @WeiaoX) is a visiting postdoctoral fellow at the Global Encounters Platform and Institute of Modern History, University of Tübingen in Germany. He works on cultural and literary history in early modern English-Indigenous and French-Indigenous encounters and was a 2022 Eccles Institute Visiting Fellow at the British Library.

Among the items I consulted at the British Library as an Eccles Institute Visiting Fellow was a 215-folio manuscript entitled ‘State papers of John Thurloe, Secretary of State, 1650–1658’ (Add MS4156).1 Its compiler, John Thurloe, made use of his intelligence network across Europe, playing a pivotal role in domestic politics and foreign affairs during the Interregnum (1649–1660).2 Within the manuscript, on its second folio, rests a copy of a letter that has traversed the Atlantic. Dated 2 October 1651, the original letter was sent from Oliver Cromwell to John Cotton, the esteemed pastor of the Boston church in New England. ‘I receaued yours a few days sithence’ [sic], as Cromwell commenced his letter in a continuing dialogue, the circulation of texts intertwined political and religious circumstances in England and New England.

This letter concisely conveyed the prevailing political situation in England. Just one month prior to its writing, the Battle of Worcester, a major event at the end of the English Civil War (1642–1651), witnessed the Parliamentarians defeating a predominantly Scottish Royalist force led by Charles II. In his letter, Cromwell celebrated this victory with Cotton – when Charles II and his ‘malignant party’ invaded England, ‘the Lord rained upon them such snares’.3 Moreover, Cromwell earnestly sought religious support from Cotton, emphasising the need for prayers ‘as much as ever’ given the recent successes, or ‘such mercies’ in his own words. This letter affirms Cotton’s interest in English politics and his significance among Puritans in England during the Interregnum.4

The transatlantic movement of texts and individuals unveils intricate connections within the political and religious realms of England and New England. In the summer of 1651, five Massachusetts ministers, including John Cotton, corresponded with their fellow ministers in England.5 They defended the embargo placed by the colony’s General Court on a theological book entitled The Meritorious Price of Our Redemption […], authored by William Pynchon, one of the founding figures of the colony.6 Pynchon had managed to publish and sell his book in London in 1650 while residing in the colony. At the British Library, a copy of this work, annotated with ‘June 2d’, is under the shelf-marked E.606.(3.). It was acquired from ‘Thomason Tracts’, a collection of imprints dated from 1640 to 1661, curated by the London-based bookseller George Thomason (c. 1602–1666). The provenance of this copy suggests that Pynchon’s work, albeit heretical in New England, entered the intellectual spheres amid the political upheaval in England. Facing religious tensions and sanctions, Pynchon relocated to England in 1652 and continued publishing books that reflected his theological views. Pynchon to some extent maintained his ‘New England’ identity; he identified himself as ‘late of New England’ in his The Meritorious Price reprinted in 1655.7

Between the 1640s and the 1660s, a convergence of political, religious, and economic motives prompted numerous English settlers in New England to return home. While this statement articulated by William Sachse in 1948 holds merit, it does not fully alter the prevalent presumption of seventeenth-century transatlantic migrations as one-way journeys from Europe to the Americas.8 Many returnees from New England embarked on careers in England while maintaining their transatlantic connections. Sir George Downing exemplifies this pattern. As an ambassador in the Hague from 1657 to 1665, he facilitated England’s acquisition of New Amsterdam from Dutch settlers – in 1642, he had previously graduated from Harvard College in its inaugural graduate cohort.The tapestry of transatlantic migration is also woven from ordinary lives. In the prologue of her monograph Pilgrims, Susan Moore zooms in on Susanna Bell (d. 1672), an English merchant’s wife who crossed the Atlantic twice. Bell’s testimony, published in London upon her death, encapsulates her experiences, rhetoric, and mentalities.10

A yellowing manuscript with writing in black ink, both horizonal and - on the left-hand side - vertical.
Fig. 1: Egerton MS 2519, folios 10 and 11.

Within the British Library’s holdings, a myriad of manuscripts unfolds stories of texts and individuals crossing the Atlantic. Egerton MS 2519, for instance, encompasses correspondence and papers of Samuel Desborough (or Disbrowe), who assumed the role of the Keeper of the Great Seal of Scotland from 1657 onwards.11 Desborough, after setting off for New England in 1639 and settling in Guilford, New Haven, returned to England in 1650 amid the Civil War before relocating to Scotland.12 In this manuscript, on folios 10 and 11, a letter dated 1654 from Guilford by William Leete appears (see Fig. 1).13 Leete, who would later become the governor of New Haven and Connecticut colonies, shared recent affairs in New England with Desborough, particularly his operation of Desborough’s colonial estate and several settlers who returned to England. This letter epitomises multiple connections between New England and England, ranging from personal careers and businesses to colonial affairs. As Moore suggests, it underscores the ‘delicate relation’ between those who remained in the settlements and those who returned to England.14 Additionally, as the letter tells, Desborough had addressed Cromwell, expressing his concern about potential threats from the Dutch on the settlement. Therefore, such transatlantic movements of texts and individuals repositioned overseas affairs of New England within the scope of domestic and European politics.

For the New Englanders who made the voyage back to England during the mid-seventeenth century, their ‘American’ identities were ill-defined as they ‘returned’ to their careers and lives in England, but many maintained connections with the settlements. Their experiences, in both New England and England, contribute to our comprehension of their engagement in and perceptions of transatlantic travels, mobility, Puritanism, colonisation, and English politics.

Notes

1. John Thurloe, ‘State Papers of John Thurloe, Secretary of State, 1650–1658 (Especially 1654–1655)’ (1658), Add MS 4156, British Library, https://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_MS_4156.
2. Timothy Venning, ‘Thurloe, John (Bap. 1616, d. 1668)’, in Oxford Dictionary of National Biography, 2008, https://doi.org/10.1093/ref:odnb/27405.
3. In his letter, Cromwell enclosed a short narrative (possibly available on 26 September), see C. H. Firth and R. S. Rait, eds., ‘Table of Acts: 1651’, in Acts and Ordinances of the Interregnum, 1642–1660 (London: His Majesty’s Stationery Office, 1911), British History Online, http://www.british-history.ac.uk/no-series/acts-ordinances-interregnum/lxxxii-lxxxvii.
4. John Cotton, The Correspondence of John Cotton, ed. Sargent Bush (Chapel Hill: University of North Carolina Press, 2001), 458–61.
5. Cotton, 454–58.
6. William Pynchon, The Meritorious Price of Our Redemption, Iustification, &c. Cleering It from Some Common Errors (London: Printed by J.M. for George Whittington, and James Moxon, and are to be sold at the blue Anchor in Corn-hill neer the Royall Exchange, 1650); Michael P. Winship, ‘Contesting Control of Orthodoxy among the Godly: William Pynchon Reexamined’, The William and Mary Quarterly 54, no. 4 (1997): 795–822.
7. William Pynchon, A Farther Discussion of That Great Point in Divinity the Sufferings of Christ (The Meritorious Price of Our Redemption [...]) (London: Printed for the Author, and are to bee sold at the Signe of the three Lyons in Corn-hill, over against the Conduit, 1655).
8. William L. Sachse, ‘The Migration of New Englanders to England, 1640–1660’, The American Historical Review 53, no. 2 (1948): 1640–1660.
9. Jonathan Scott, ‘Downing, Sir George, First Baronet (1623–1684)’, in Oxford Dictionary of National Biography, 2008, https://doi.org/10.1093/ref:odnb/7981.
10. Susan Hardman Moore, Pilgrims: New World Settlers & the Call of Home (New Haven: Yale University Press, 2007), 1–15; Susanna Bell, The Legacy of a Dying Mother to Her Mourning Children Being the Experiences of Mrs. Susanna Bell, Who Died March 13, 1672 (London: Printed and are to be sold by John Hancock, Senior and Junior at the three Bibles in Popes-Head Alley in Cornhill, 1673).
11. Samuel Desborough, ‘Correspondence and Papers of Samuel Disbrowe, or Desborough, of Elsworth, Co. Cambridge, Keeper of the Great Seal of Scotland, 1651/2–1660’ (1660), Egerton MS 2519, British Library, http://searcharchives.bl.uk/permalink/f/1r5koim/IAMS032-001983482.
12. Susan Hardman Moore, Abandoning America: Life-Stories from Early New England (Woodbridge: The Boydell Press, 2013), 90–91.
13. Bruce P. Stark, ‘Leete, Williamunlocked (1613–16 April 1683)’, in American National Biography, 2000, https://doi.org/10.1093/anb/9780198606697.article.0100511.
14. Hardman Moore, Abandoning America, 91.

 

30 October 2023

Tales from the Philatelic Crypt: The ‘Haunted Canada’ Postage Stamp Series

Halloween’s origins remain obscure, yet it is the calendar event where humanity’s fascination with the supernatural is openly celebrated. Millions of individuals commemorate Halloween every year by attending fancy-dress parties, going trick or treating, watching horror movies, visiting ‘haunted’ sites or narrating ghost stories. Whether a believer or sceptic, the supernatural is in reality an economically significant cultural phenomenon generating millions of pounds each year for the tourist, publishing, merchandising and entertainment sectors. As central component of humanity’s visual, material and print cultures, postage stamps are unsurprisingly replete with depictions of ghosts, creatures, myths and legends. Canada Post leads the way having issued several visually striking, innovative stamp sets as mini-sheets chronicling the nation’s rich heritage of hauntings and ghostly sightings (Figure 1). Not released for Halloween, the content of these ‘Haunted Canada’ stamps is nevertheless a perfect accompaniment to a Halloween blog.

A Canada Post mini-sheet showing 5 stamps on Haunted Canada
Figure 1: Canada Post's mini-sheets of Canadian hauntings

The first series released on Friday 13th’ June 2014, comprises five separate designs developed by Lionel Gadoury and Terry Popik from the illustrations of Sam Weber and C. H. J. Snider. Manufactured by the Canadian firm, Lowe-Martin using a lithographic printing process two stories centre upon particular sites rather than specific individuals. One, labelled ‘Ghost Bride’ depicts a veiled woman and candles in the background. It refers to reported sightings of a ghostly figure wearing a long flowing dress descending the staircase of the Fairmont Banff Springs Hotel (Figure 2). Many believe she is the apparition of a bride who tripped and fell to her death from the staircase on her wedding day. The second, ‘Ghost Train’ illustrates a steam-train with a ghostly spectre in the background and takes inspiration from sightings of a ghostly glowing light known as the ‘St Louis Light’ in the Saskatchewan River Valley (Figure 3). This unexplained phenomenon is locally associated with the tale of a long dead Canadian National Railway Conductor decapitated by a passing train whilst examining the track-line with a lantern during the 1920s.

Two illustrated stamps. Figure 2 is on the left showing a ghostly female figure. Figure 3 on the right shows a steam train with ghostly spectre in the background
Figure 2 and Figure 3

A second series was issued on 14 September 2014, all printed by the Canadian Bank Note Company using a lithographic printing process. The set includes five stamps designed by Lionel Gadoury and Kammy Ahuja using illustrations from Sam Weber as well as Photography from Peter Bregg. Two stamps chronicle hauntings centred on particular individuals from local history. One depicting a woman standing above a gibbet with two phantom trees refers to the spirit of Marie-Josephte Corriveau (Figure 4). Executed for murder in 1763, her remains went on public display in Levis, Quebec as a warning to others. Local residents have encountered her sprit walking the road at night, frightening unwary travellers. Moving on, the ‘Caribou Hotel’ stamp reveals a clothed skeleton representing the ghost of Bessie Gideon, one-time owner of the historic gold-rush era hotel situated in Carcross, Yukon (Figure 5).

Two illustrated Canada Post stamps. Figure 4 is on the left and shows a woman (Marie-Josephte Corriveau) between two haunted trees. Figure 5 is on the right and shows a clothed female skeleton and is labelled as Bessie Gideon
Figure 4 and Figure 5

On 8 September 2016, the third ‘Haunted Canada’ series lithographed by Colour Innovations in Toronto went on sale. Lionel Gadoury developed each stamp, from Sam Weber’s illustrations and Peter Bregg’s photographs. The ‘Lady in White’ Stamp presents the evocative image of a woman standing in a lake with a skeletal reflection (Figure 6) in reference to the tale of Mathilde-Robin, whose spirit haunts Montmorency Falls, Quebec. Following the death of her fiancé during the Battle of Montmorency in 1759, she committed suicide. Finally, 'Dungarvon Whooper’ narrates the legend of a cook brutally robbed and murdered at a logging camp near the Dungarvon River in Renous, New Brunswick (Figure 7). Upon discovering the body, some lumberjacks buried the remains within a shallow grave. That night they were horrified by hideous screams and whooping sounds emanating from the new grave during a snowstorm.

Two illustrated Canada Post stamps. Figure 6 shows a woman in a lake with a skeleton reflected and is anntoaed as being Mathilde-Robin. Figure 7, on the right, shows a man with an axe above a cooking pot over a fire, with a hand rising out of the pot. It is annotated as being Dungarvon Whooper.
Figure 6 and Figure 7

Contemporary to the release of these stamps was the publication of a series of books titled ‘Haunted Canada,’ recounting some of these tales. Beyond their entertainment value, each stamp is also inherently didactic, showcasing Canada’s topography, histories, myths and legends. In doing so, they buttress national identity within Canada whilst becoming ambassadors for the nation’s wider cultural diplomacy. The British Library’s Philatelic Collections would like to wish everybody a fun, spooky and scary Halloween!

By Richard Scott Morel

Curator, British Library’s Philatelic Collections

08 August 2023

Cold War Whiteness: Literature and Race between Canada and Czechoslovakia

Františka Schormová is a post-doc researcher at the Institute of Czech Literature, Czech Academy of Sciences and an Assistant Professor of American Studies at the University of Hradec Králové and was a 2023 Eccles Centre Visiting Fellow at the British Library.

To be a scholar outside of US/Canadian studies outside of North America means a transcultural perspective is a part of what we do and who we are. It allows us to think about the culture and region afresh and to reflect on our positions as mediators as scholars, educators, and public intellectuals. To be a scholar of US/Canadian studies from Central Eastern Europe and other regions outside of the usual trajectories of prestige might also mean that sources for our research are more difficult to obtain. This is why I went to the British Library to research Czech immigration to Canada.

In my previous research project, Translation and the Global Fifties: When the African American Left Went to Prague, I looked at the transnational journeys, exchanges, and allegiances between the African American Leftist intellectuals and early Cold War Czechoslovakia. One of the translators and mediators of African American literature in the 1950s and early 1960s, the Czechoslovak writer Josef Škvorecký, later became one of the almost twelve thousand people who fled to Canada after the Soviet-led Warsaw Pact invasion to Czechoslovakia in 1968. Following Škvorecký and his wife, Zdena Škvorecká-Salivarová to Canada opened up a new set of questions for me some of which I tried to answer during my time in the British Library.

Škvorecký was awarded the Governor General's Award for English Language Fiction for The Engineer of Human Souls, a novel translated by Paul Wilson. This cultural moment became my entry point in the Canadian cultural field in the 1970s and 1980s. I explored magazines and journals I found out about in the United States and Canadian Newspaper Holdings in the British Library Newspaper Library (for example, Nový Domov: The New Homeland)1, conference proceedings from the time, fictional and autobiographical accounts of the Škvorecký’s and other Czechoslovak authors, diverse secondary sources on culture and politics of the era, multilingual sources published in various places. What I was looking for were interconnections between Canadian literature, quickly developing at this time as its own discipline tightly linked to the nation state, the official politics of multiculturalism, and the position of the so-called ethnic writers within this cultural field.

These interconnections support my broader project in the framework of which I look at how the notion of whiteness has operated within the Canadian cultural field in the late Cold War in connection to various immigrant groups coming to the country. It builds on critical whiteness studies but also asks whether these concepts can be applied and/or translated to Central Eastern European contexts. The ambiguous status of the Slavic and other groups in and from this region has been noticed by scholars such as Ivan Kalmar or Zoltán Ginelli; the historians of immigration have also noted the various ways racial discourses have transformed throughout the 20th century. The Cold War has introduced new challenges, trajectories, and allegiances, race refigurings, and vocabularies of whiteness that has shaped how both the immigrants and the domestic populations in Central Eastern Europe were perceived.

I found some of the answers I was looking for: yet I left with further questions. The British Library is its own little universe. In the weeks of the fellowship, one wanders in awe through the various reading rooms and the packed hallways. As a visiting researcher, one is not left to navigate this world on one’s own: the fellowship also gives one the opportunity to talk to the Eccles staff, people who work and research in the British Library and know many of its secrets. And while they are incredibly helpful, it is better to come prepared (the sheer quantity of the material at your fingertips can get intimidating!) but also keep one’s eyes open for surprising turns the research route might take.

The cover of a piece of sheet music, with a Black man in profile and writing that includes a couple of title words decorated with stars and stripes.
Image 1: Dvořáček, Jiří. I, too, am America : 7 songs on the poems of Langston Hughes, for a woman's voice, a man's voice, the trumpet and the piano (1966). Panton 1978. British Library shelfmark: Document Supply MUSIC H01/3169.

Searching through my keywords one day, I found sheet music based on the poetry of Langston Hughes, the African American poet, novelist, playwright, translator, and social activist . It was a 1966 composition by the Czech composer Jiří Dvořáček with lyrics in Czech, English, and German, published in 1978 (Image 1, above). Despite having dealt with Hughes’s Czechoslovak connections extensively, I have never known this sheet music existed and I could not help but hum the melody (albeit very quietly). Hughes was one of the writers Josef Škvorecký also translated before emigrating to Canada. This multilingual, translational, transmedial cultural artifact reminded me that it is important that our scholarship can cross the linguistic, cultural, and national borders in a similar way.

Notes:

Nový Domov: The New Homeland. Toronto. Vol. 9, no. 19 etc. (10 May 1958 - 21 March 1970). Imperfect. British Library shelfmark: General Reference Collection Microform MFM.MC271.D

02 August 2023

Antislavery Print Culture in Nineteenth Century Canada West

Nina Reid-Maroney is Professor of History at Huron University College and was a 2021 Eccles Centre Visiting Fellow at the British Library.

In the summer of 1861, the physician, editor, and Black abolitionist, Dr. Martin Delany returned from a scientific expedition in west Africa to his home Chatham, Canada West. Immersed in the news of the American war, preparing for a lecture tour, and at work on the second section of his serialized antislavery novel, Blake, or The Huts of America, Delany found time to oversee a corrected edition of his Official Report of the Niger Valley Exploring Party, first published in 1860. His preface reviewed the work’s publication history, noting that the previous edition, left in the hands of a friend in England who had subsequently taken ill, found its way into print without important endorsements, editorials, and the table of contents. Delany’s attention to the details of the text and his concern that “many things of much importance, which should have been included, were omitted” speaks to his engagement in abolitionist print culture not only as an author, but as an editor and publisher who understood the activist power of print across a transatlantic network that he had helped to build.1

The 1861 Official Report of the Niger Valley Exploring Party is part of a significant body of British Library material - including scientific writing, ethnography, literature, freedom narratives, sermons and memoir - created by Black abolitionists and their antislavery allies based in nineteenth century Canada West. Starting from the recognition that each book is an archive, my Eccles Centre fellowship focused on the material history of abolitionist texts linked to Canadian abolitionist communities. The project examined copy-specific features, variations among editions, endorsements, advertisements, illustrations, and typography. Using the insights of history of the book and a comparative approach to copies of texts on both sides of the Atlantic, the project helps to reframe Canada’s antislavery history by tracing Black activist networks constituted in print.

From this perspective, familiar texts and authors appear in a new light. The 1851 London edition of Josiah Henson’s narrative is one of three versions and multiple editions of Josiah Henson’s autobiography published between 1849 and 1883. The British Library’s copy of the London edition, part of the third thousandth print run, varies significantly from the Boston edition of the text on which the 1851 edition was based. The London edition includes an account of the Black abolitionist community and school that Henson helped to found, placing Henson’s emancipation narrative in the context of the activist network of underground railroad and the practical resistance to the Fugitive Slave Law of 1850. Introductory material from its editor, the Congregationalist minister and antislavery reformer, Thomas Binney, focuses on Henson’s visit to Britain as an exhibitor at the Great Exhibition at the Crystal Palace. The paratextual materials of Preface and Appendix and advertisements help to situate Henson in British antislavery networks a year before the publication of Harriet Beecher Stowe’s Uncle Tom’s Cabin and the subsequent long and tortuous association of Josiah Henson with that work’s title character.

Title page of a book; black print on white paper.
The Life of Josiah Henson, formerly a Slave, as narrated by himself with a Preface by T. Binney. London: Charles Gilpin, 1851. British Library shelfmark: 10880.a.7.

Ephemeral texts from the Library’s collections add depth and detail to the study of antislavery print culture, revealing connections between the aural culture of Black abolitionist work in Britain and the antislavery networks of the Great Lakes borderlands.2 In 1861, the Reverend Thomas Kinnaird, Black abolitionist and minister in the British Methodist Episcopal Church in Hamilton (Canada West) produced a four-page pamphlet distributed in support of his lecture tour in Britain, raising funds for a new church building and school. The pamphlet, one of only two extant copies, gathered recommendations from a long list of antislavery supporters in Canada West, London, and Glasgow. Its content maps an antislavery network grounded in small Canadian communities and extended across the Atlantic world, while its physical form, creased as though folded and tucked into a pocket and carried home, speaks to its material history and circulation as an antislavery text.

Title page of a book; black print on white paper.
Thomas Kinnaird, Fugitive Slaves in Canada. [An appeal on behalf of Mr. Kinnaird's mission.] 1861. British Library shelfmark: 8175.l.17.

Other works draw attention to the period beyond the 1850s and 1860s, and to the continued conversation across the Black Atlantic in which a new generation of Black authors amplified and gave fresh resonance to voices of the antislavery movement. In 1889, Black activist S. J. Celestine Edwards met the Canadian Bishop of the British Methodist Episcopal Church, Walter Hawkins of Chatham. Hawkins’ time in the UK working on behalf of the BME Church brought him into the activist circles of Edwards, who used his activist platform as a writer, lecturer, and editor to address contemporary issues of race, civil rights, and identity. Edwards’ biography of Walter Hawkins (From Slavery to a Bishopric: The Life of Bishop Walter Hawkins, 1891) is often discussed in relation to the traditional genre of “slave narrative”; when placed alongside Edwards’ other writings in the British Library’s collections, the Hawkins biography can be read in new ways. A fragile copy of Edwards’ lecture titled “Political Atheism”, delivered, as the title page announces, to an audience of 1200 people and published in 1890, helps to situate From Slavery to a Bishopric in the context of Edwards wider political work, and points to an emerging historiography in the post-Emancipation Black Atlantic, in which Walter Hawkins narrative spoke with a voice of resistance that reached beyond the geographic, temporal, and ideological scope usually afforded early narratives histories of the underground railroad.

Title page of a book; black print on white paper with a decorative surround.
S.J. Celestine Edwards, Political Atheism, A Lecture. London: J. Kensit, 1890. British Library shelfmark: 4018.c.18.(2.).

The project has implications for teaching antislavery history in my home institution of Huron University College, which has links to evangelical Anglican antislavery work, and is situated close to historical abolitionist communities in places such as London, Buxton, Chatham, Dresden, Amherstburg, Lucan (Wilberforce) and Windsor. In February 2023, I was able to share research with Huron students and colleagues, as part of a transatlantic undergraduate research project on colonialism, slavery, and resistance in history and memory. Following in the footsteps of Martin Delany, Samuel Ringgold Ward, Josiah Henson, and William Howard Day, whose activism brought them from London (Canada) to London in the years leading up to the American Civil War, students used methodologies of place-based history and history of the book to trace the complex transatlantic world of Black activists. In a workshop facilitated by the Eccles Centre and Huron colleague Scott Schofield (English and Cultural Studies, Huron University) students were able to compare editions and copies of antislavery texts at the British Library with works they had consulted in the Archives and Research Collections Centre at the University of Western Ontario. Steven Cook, Curator of the Josiah Henson Museum of African Canadian History in Dresden, Ontario, accompanied Huron students and faculty on the research trip, and spoke of the importance of the workshop in reconnecting community memory to the complex textual history of Josiah Henson.

Students and teachers around a table looking at books.
Huron University College students and faculty at a workshop on antislavery print materials in the British Library, February 2023. Image, author's own.

The Eccles Fellowship has also laid the foundation for a new research partnership with the Chatham-Kent Black Historical Society, Scott Schofield (Huron) and Deirdre McCorkindale (University of Guelph). Using research from the British Library as well as ongoing work with the Archives and Research Collections Centre at Western University, we are building a comparative database of rare antislavery books linked to nineteenth-century Chatham. The Fellowship demonstrated the significance of reconnecting books - material artefacts of the nineteenth-century's greatest struggle for human freedom - with the historical communities and context in which they were written, published, read, reprinted, and circulated.

Notes

1. Martin Delany, Official Report of the Niger Valley Exploring Party. New York, Thomas Hamilton; London, Webb, Millington & co; Leeds, J.B. Barry, 1861.
2. R.J.M. Blackett, Building an Antislavery Wall : Black Americans in the Atlantic Abolitionist Movement, 1830-1860. Baton Rouge: Louisiana State University Press, 1983; Hannah-Rose Murray, Advocates of Freedom : African American Transatlantic Abolitionism in the British Isles. Cambridge: Cambridge University Press, 2020.
3. Douglas A. Lorimer, “Legacies of Slavery for Race, Religion, and Empire: S.J. Celestine Edwards and the Hard Truth (1894).” Slavery & Abolition 39 (2008): 731–55. https://doi.org/10.1080/0144039X.2018.1439670.

26 July 2023

Spiritualism, Creatively Reimagined

Lesley Finn is a writer and artist based in New Haven, Connecticut, and was a 2022 Eccles Centre Visiting Fellow at the British Library. 

A library is an excellent place to connect with the dead. After all, many of its books, papers, and artifacts were made by those no longer living. But what about really connecting with the dead?

I came to the British Library to research Spiritualism, a religious movement with the core precept that the soul survives physical death, and that the living can communicate with the spirit world those souls inhabit. As a writer working on ghost stories and a visual artist working with text and book arts, I was fascinated by the drama of Spiritualism’s séances, the concepts explored by the movement, and the possibilities of visually interpreting its archival material. Much of what I write and make is concerned with how relationships endure barriers of material, time, and distance, and Spiritualism offers a unique way to think through this concern.

One distance that Spiritualism bridged was the Atlantic Ocean. Though the religion originated in the United States in the 1840s, it came to Great Britain soon after, and many of the movement’s notable practitioners crossed back and forth on visits. Transatlantic exchange shaped this spirituality—one that has been marginalised in the historical imagination as occult and other, though it was a popular religion for nearly a century, replete with churches and published hymnals.

The cover of a songster; black text on white paper..
Image 1: H.A. Kersey and S.M. Kersey, The Spiritual Songster (1924). British Library shelfmark: Music Collections E.1636.a.

At the same time that households across the US and Britain were establishing practices to communicate with the dead, the technology of the telegraph, another practice of communicating across space and time, spread in usage. The telegraph, a mechanism that relied on magnetic fields and electricity to transmit words from one person to another, had much conceptual overlap with the séance, which communicated disincarnate messages from the dead through the magnetic field and electricity of the human body, specifically that of a spiritual medium. This parallel was embraced by Spiritualists of the time, who called the séance a spiritual telegraph, and titled a periodical that circulated in the US in the 1850s with the same name.

The majority of Spiritualism’s history in the US and Britain takes paper form: in addition to periodicals like The Spiritual Telegraph, there are books published by The Spiritualist Press and other houses, along with photographed and written documentation of séances by groups like The Ghost Club (British Library Add MS 52258-52273) or by investigators (more on that later). The British Library contains a noteworthy addition to this history: the Dan Zerdin archive, which contains a rare 1934 recording of what was at the time considered the world’s largest séance. The Zerdin recording offers a first-hand, unfiltered experience of the historical Spiritualist movement.

With support from the Eccles Centre, I launched a project to study the archive and transcribe the recorded spirit messages from the séance into another form: telegrams. My idea was to take this documentation from an understudied religious movement and creatively reimagine it, with the goal of disrupting fixed narratives of “archives we are inclined to overlook,” to quote historian Tina Campt. Dominant culture is quick to dismiss the veracity of these spiritual communications, but what happens when we see them in a material form accepted by dominant culture? Perhaps changing the material encounter with an archive can shift our thinking and cultivate space for alternative accounts of experience.

Fictional telegram; pinkish paper with both pre-printed text and the 'additional' telegram text in capital letters on a white background.
Image 2: Lesley Finn, Tonight is the Beginning (2023) [sourced from BL 1LL0000819, 1LL0000817, and 1LS0000673].

I came to the work not knowing what I would find, expecting to be a bit disturbed. After all, years of watching horror films had taught me to be afraid of voices from the beyond. But what I found was a recording that documented a gathering of people working toward the common end of love, understanding, and community. Joyful messages rise above the static of the record. Fight the good fight. You’ll have all the help you want. Bless you. The 564 people in the London audience laugh and gasp, as do the 36 people participating in the séance on Aeolian Hall’s stage. At one point unexplainable piano chords drift through the recording; the sound is soothing, not haunting.

If contemporary attitudes towards séances and mediums are shaped by fear and othering, the same is true of past attitudes. The shadow of skepticism looms large in the history of Spiritualism, and I glimpsed it often in my research. In the catalogue listing of the Zerdin archive, for example, spirit voices are noted with the grammatical equivalent of a raised eyebrow, the scare quote. In contrast, the Zerdin archive includes a document that lists the people in spirit who communicated through the medium as attendees alongside the living, no distinction whatsoever.

Items brought up by a search on the British Library Sound and Moving Image Catalogue.
Image 3: Screenshot of British Library Sound and Moving Image Catalogue entries for Dan Zerdin collection.

I wonder about these subtle frames of doubt, how they shape our encounter with the archive. I repeatedly saw scare quotes in my research into other mediums, especially with the American medium who went by the name of Margery. In the decade before the Aeolian Hall séance, Margery visited London and became the subject of an extensive investigation by the Society for Psychical Research. Malcolm Bird, an American parapsychologist, authored a portion of the investigation’s outcomes, including the book “Margery”. Seeing her name on the cover and title page in quotation marks—regardless of how Bird or the publishers intended to use them—primes the reader to approach the material through the lens of doubt.

The hardback cover of a book; the slightly textured cover is beige and the lettering is yellowy-gold.
Image 4: J. Malcolm Bird, "Margery," the Medium. Boston: Small, Maynard & Co., [1925]. British Library shelfmark: General Reference Collction 08632.ee.4.

It's hard not to see the skepticism of Spiritualist experience as tethered to gender. Male mediums existed but women were the majority. Male mediums were investigated, but the archives are not filled with that documentation; instead we have accounts of vaginal searches that preceded Margery’s sittings, of photos of her in various restraints that would test her validity. Let’s not forget this was a religion, a belief system. Imagine an archive documenting Catholic mass, the priests required to prove transubstantiation as empirical, scientific fact!

The desire for proof is understandable, but can be limiting and misguiding, especially in the case of connecting with the dead. By rejecting an aim to falsify Spiritualist practices, we might create room for observation and insight that opens rather than shuts down possibility. British Library holding C1080/21 offers a practical tip.1 Here the medium of the Aeolian Hall séance, Florence Perriman, is asked to describe what it felt like to channel spirit voices. Her reply: “It’s a peculiar sensation at the back of my neck. It seemed to come both from the back of my neck and from the throat—can you imagine a tooth being drawn? Well, it’s just as though something was being drawn out of the back of my neck.” Being alive to sensation, to the peculiar, to our own processes of drawing out—Perriman’s note on communing with the dead sounds like research advice to live by.

References:
Interview with Florence Perriman. 1934?. British Library, Sound and Moving Image shelfmark: C1080/21. 

18 May 2023

Tracked Changes: Looking for Migrant Editors in Publishing Archives

Ben Fried was a 2022 Eccles Visiting Fellow at the British Library; he recently completed his PhD at Cornell University and is currently a British Academy Newton International Fellow at the Institute of English Studies in the University of London, where he is working on 'Migrant Editors: Postwar Migration and the Making of Anglophone Literatures, 1967-1989.'

I came to the British Library in search of publishing archives—the records of how books come into the world and reach their readers. As an Eccles Centre Visiting Fellow, I was beginning a new project on 'migrant editors,' on the postwar immigrants to London who created and reinvented the capital’s literary institutions. How did migrant-led publishing houses and magazines develop through the decades of decolonization and shape later twentieth-century fiction, both British and more broadly Anglophone? I was hungry to understand the extent to which these editors harnessed and redirected London’s cultural and commercial power. I wanted to learn how their own hybrid identities influenced the writers they cultivated and the works they released. I knew the answers lay in letters, memos, pleas for money, and the margins of manuscripts.

And so I spent my month sifting through three archives in particular: the Virago Press records,1 Carmen Callil’s personal archive,2 and the files of Granta magazine (which are still being catalogued).

White background with an image of a green apple with a bite taken out of it on the right, with the word Virago above.
Promotional pin badge for Virago Press; part of the Virago Press Archive (Add MS 88904).

The famed feminist Virago Press was founded in 1973 by the Australian Callil and later led by a Canadian, Lennie Goodings. Sitting in both the Manuscripts and Maps Reading Room, I opened folder after folder of author correspondence, business plans, reader reports, all of them illustrating the fates of individual works and the larger sweep of an upstart publisher’s progress. Callil died just a few months ago, in October 2022, and her courage (not to mention her crackling wit and energy) is everywhere apparent in these archives. The picture they paint is not a solitary portrait, however, but a scene of collective literary labour, illuminated by the sparks that fly off creative relationships. Callil was a necessary node in a much wider network of readers, professional and lay, mobilizing to bring women’s stories to the centre of literary life.

Take, for instance, the folders devoted to Angela Carter, perhaps the most emblematic of Virago’s contemporary authors.3 They reveal a Carter who was as important a reader to Virago as she was a writer. You can track not only the agonizingly slow development of Carter’s Sadeian Woman (1978)—a study of the Marquis de Sade and 'the culturally determined nature of women'4—but her backstage interventions on other writers’ behalf. She submitted reports on manuscripts; she connected aspiring authors to an ambitious publisher. She acted as a go-between, and practically a second editor, for her former student Pat Barker, passing along Barker’s first novel with twelve pages of luminously insightful notes. On 8 January 1981, Callil replied that 'I’m deeply grateful to you for getting the book to me; I’ve offered for it and asked at the same time that they will let me work with her incorporating your alterations and suggestions.'5 Barker’s revised Union Street was published in 1982 and quickly became one of Virago’s biggest sellers, proof that a press famous for reprinting forgotten classics could also launch startlingly original fiction.

Granta was similarly electrified by a fresh arrival’s energy. A venerable undergraduate magazine at Cambridge which ran out of steam in the 1970s, it was relaunched by the American graduate student Bill Buford in 1979. Initially a channel for American literary influence—its first issue purveyed 'New American Writing' and its third proclaimed 'The End of the English Novel'—it became over the course of the 1980s a much broader magazine for writing in English, one that has exhilarated generations of writers and readers. The Granta records open a window onto the alchemical process of bringing an issue together. Along with his co-founders Peter de Bolla and Jonathan Levi, Buford began by working his academic connections and wielding his university’s clout, coaxing established authors to contribute and letting would-be writers down gently, hustling for grant money and blowing past unpaid bills. Given such ingredients and such results, it’s rather fitting that Buford followed up his celebrated editorial career with an equally ravenous second act as a cooking-mad writer.

A type written letter from Susan Sontag to Bill Buford, 13 February 1979.
Letter to Granta from Susan Sontag, 13 February 1979; copyright, The Estate of Susan Sontag.

One of the most famous of all Granta issues—the Spring 1983 number devoted to 'The Best of Young British Novelists'—shows how vision and opportunism, readerly recognition and marketing flair, could combine in the editorial act. Buford neither initiated nor chose this list of promising young writers. Rather, the 'Best of British' began as a promotional ploy by the Book Marketing Council. But Buford and Granta seized the potential of the list as an issue-shaping, generation-defining, audience-enticing format.6 They built on the Council’s own marketing push, selected excerpts from each author’s work, and made the list palpable to the reading public. Buford’s textual suggestions were not universally welcome. William Boyd embraced the idea of shifting a story’s pronouns, while Maggie Gee 'rejected every one of the [editor’s] 47 emendations.'7 Nevertheless, the magazine reaped the reward. Its cachet as a cultural arbiter immeasurably enhanced, Granta has returned to the format every ten years to anoint a new cohort (its latest 'Best of Young British Novelists' issue dropped just weeks ago).

I think of editors like Callil and Buford as readers with power—the power to select, revise, and reject. Editorial reading can be a generous force, releasing the creativity of others and realizing the potential in the text. By the same token, it may also be damaging, turning the tap off as well as on. Insofar as they can be recovered in archives such as those held by the British Library, the editor’s contributions tell us a great deal about writers, readers, and publishing institutions—about where and how power and creativity intersect.

Notes

1. Add MS 88904.
2. Add MS 889178.
3. In the 1970s and 80s, Virago was primarily known for reprint publishing: recovering and reissuing the works of neglected women writers. The Virago Modern Classics series, with its beloved green spines, introduced a generation to the books of Sylvia Townsend Warner, Stevie Smith, Christina Stead, Rosamond Lehmann, and many, many others. See D-M Withers, Virago Reprints and Modern Classics: The Timely Business of Feminist Publishing (Cambridge: Cambridge UP, 2021).
4. The Sadeian Woman and the Ideology of Pornography (London: Virago 1978), 1.
5. Add MS 88904/1/60.
6. See Myles Oldershaw, “Granta and the Advent of the Contemporary,” Journal of Modern Literature 43.1 (Fall 2019), pp. 150-168.
7. Deposit 11183 L. in 44.

 

04 April 2023

Why Research is Good for the Artist's Soul

Bobby C. Martin was a 2021 Eccles Centre Visiting Fellow at the British Library.

I am not a researcher in any traditional sense of the word. I am a visual artist—my practice consists of primarily painting and printmaking. So even applying for an Eccles Centre Visiting Fellowship was an act of stepping outside my comfort zone. When I received word that I had been accepted, it made me realize even more that I had no idea what I was getting into. My non-art faculty colleagues in the U.S. (researchers all) were so impressed that I was going to be able to spend several weeks in London at the British Library doing research. All the while, I was battling imposter syndrome—was I even going to be allowed in the building? What was I supposed to do when I got there? How does one go about doing ‘real’ research? Are there YouTube videos for that?

I can now report that all my fears and doubts were totally unfounded. The Eccles Centre staff were incredibly helpful and generous with their time and knowledge and the Library’s Maps team went out of its way both to make space for my untrained questions and to make the collection as accessible as possible. The process of requesting materials was fairly painless to learn and actually became wonderfully exciting as I stumbled upon many items that were well beyond what I had expected or even knew existed. I actually started getting into this whole ‘research’ thing! The time spent in the various Reading Rooms—touching, smelling, experiencing historic maps and materials—allowed me the opportunity to deeply explore items that have already made a tangible difference in the way I approach my art practice.

A coloured map of North America overlaid with the head and shoulders of an Indigenous woman; silhouetted figures on are either side.
Bobby C. Martin: Granny in North America. Encaustic and collage on antique map mounted on birch panel, 2022. 17.25 x 13.75 inches. Image, artist's own.

I came to the Library (I thought) to research the Library’s map collections, specifically maps related to the Southeastern United States. Georgia and Alabama were part of my Mvskoke tribe’s ancestral homelands. Ultimately, I found much more than maps—books, hand-written journals and photographs that helped flesh out my research in ways I hadn’t anticipated. These materials have already found their way into my current work, and informed a large mural project I recently completed that drew from much of the material I discovered during my fellowship.

A colourful wall mural of a tree with small black silhouetted figures underneath it; two men stand in front of the mural.
Section of installed mural with Alex Martin (left) and Bobby C. Martin, Council Oak Healthcare facility, Tulsa, Oklahoma, USA. Image, artist's own.

While I might have been able find the material I needed for this large history mural project online, the research experience of being in the presence of the actual documents themselves deeply informed every design decision I made, and the resulting installation is a work that would not have been as rich and personally satisfying otherwise.

A wall mural that includes a map as its background, the face and shoulders of a woman as well as other figures; a painted tree branch runs along the top of the mural.
Section of installed mural with Stephanie Martin (left) and Bobby C. Martin, Council Oak Healthcare facility, Tulsa, Oklahoma, USA. Image, artist's own.

So does my experience as an Eccles Centre Visiting Fellow make me an official ‘researcher’? I don’t rightly know the answer, but I do know that it was a game-changer for the way I approach my art practice going forward. I have a new appreciation both for the wealth of material that is available to anyone with a British Library Reader Pass and its accessibility for even the most unskilled of researchers. I appreciate the desire of the Library staff to share their amazing storehouse with all comers. I have a new-found interest in going down rabbit trails that lead to the most unexpected of discoveries that then find their way into my work. Poring over (and enjoying the smell of) centuries-old documents and hand-engraved maps brings me a real (if unexpected) joy. If this is what research is all about, then I am most pleased to call myself a researcher. Thank you to the Eccles Centre and the British Library for the opportunity!

To see images of new work and the mural project that was informed and influenced by my British Library  research, please visit my Instagram page @bobbycartist.

 

 

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