This is the final blog looking at Cherokee language printing. Previous posts introduced the topic of Sequoyah’s syllabary and the Cherokee Phoenix through Frank Brannon’s work- Cherokee Phoenix, advent of a newspaper: the print shop of the Cherokee Nation 1828-1834- and spoke to Frank about his experiences of printing in the Cherokee language.

Frank’s book led me to the wider holdings of Cherokee language materials at the British Library and helped me understand and follow the printing networks found across the materials. In his book on Sequoyah, Grant Foreman writes that ‘the most nearly complete file of this newspaper in existence is one of the prized possessions of the British Museum, in London’ and the British Library holds almost the entirety of this newspaper in microform. However, the library also holds materials tangential to the story of the Cherokee Phoenix.

It seems appropriate to begin with Sequoyah, the Cherokee inventor who completed his syllabary in 1821 and committed the Cherokee language to writing (see first blog). Whilst Sequoyah was driven by a fascination for the written word he was also an enchanting and powerful orator, a skill that never diminished in commitment to writing. In 1840, author and playwright John Howard Payne interviewed Sequoyah for his ‘true history’ of the Cherokees. The translator- so captivated by Sequoyah’s retelling- refused to interrupt and eventually forgot to translate anything. Sat in the corner with his ink, pen and paper, Payne was ‘entirely forgotten by the rest of the audience’. Payne (albeit briefly) features in events after the demise of the Cherokee Phoenix newspaper. On November 7th 1835, Payne was accidentally caught up in the arrest of Chief John Ross during a visit that was deemed suspicious. Payne’s name and interest can be found in the library’s copy of The Gospel of Jesus Christ According to John: Translated into the Cherokee Language (1838). The owner- a William Wrixon Leycester- writes in the front: ‘given to me on the 10th of Jan 1843 by my esteemed friend John Howard Payne’ (Fig 1, below).

Fig 1: The Gospel of Jesus Christ according to John. Translated into the Cherokee language by S. A. Worcester & E. Boudinot, printed by John Wheeler at Park Hill: Mission Press, 1838 (British Library shelfmark: 3070.de.13)

In 1834, the last Cherokee Phoenix was printed at New Echota. The printer for the newspaper, John Wheeler, moved westward, followed in 1835 by the missionary, Samuel Worcester and the printing apprentice John Candy. A new press was set up in Park Hill, where Wheeler, Worcester and Candy continued to work together. Boudinot arrived at Park Hill in 1837, but Worcester was wary of collaborating with him due to Boudinot’s support of the Treaty of New Echota.

Fig 2: The Gospel of Matthew (1832), The Acts of the Apostles (1883) and a book of Cherokee Hymns (1833) by S. A. Worcester & E. Boudinot printed by John Wheeler and John Candy at New Echota (British Library shelfmark: 3068.a.64)

The movement of the printing networks can be easily read across the collections. The library’s holdings of the earlier output from New Echota attributed to Worcester, Boudinot and Wheeler are bound together and include a second edition of The Gospel According to Matthew (1832), The Acts of the Apostles translated into the Cherokee Language (1833) and a fourth edition of Cherokee Hymns (1833) (Fig 2, above) The stamps indicate that the British Museum Library acquired these materials on the 2nd of August 1892. The library’s later holdings reflect the move to Park Hill and consist of later reprints of Boudinot and Worcester’s works as well as other outputs, such as a Cherokee Primer (1846) and the Swiss Peasant by Rev. Caesar Malan in Cherokee (1848) (Fig 3, below). The stamps indicate that the library acquired these materials in August and September of 1889, a few years before the New Echota materials.

Fig 3: Cherokee Primer (1846) printed by John Candy at Park Hill: Mission Press (British Library shelfmark: (884.a.13)

The Gospel of Matthew was one of the earliest printed materials in Cherokee. Translated by Major George Lowry and corrected by Worcester and Boudinot, two chapters were published each week in the Cherokee Phoenix. In 1829, the Cherokee Phoenix also reported that 200 copies were requested for the Cherokee Brainerd Book Society and Worcester sent a copy of The Gospel of Matthew to Georgia Governor Gilmour as proof of the ‘good work’ being done among the Cherokee. The library holds multiple editions. Most striking however, is a later fourth edition printed in 1844 at Park Hill by John Candy (fig 3, see below) which can be digitally accessed. The book is inscribed with Cherokee characters by Richard Taylor who was at one time Assistant Chief and delegate to Washington. It reads:

Presented, through Henry Stevens Esquire of Boston, to the Library of the British Museum London, by Richard Taylor of the Cherokee Nation. Washington, April 15th, 1848. The above is a translation of the Cherokee written on the opposite page by Mr Taylor.

Henry Stevens was book agent to the British Museum Library.

Fig 3: The Gospel According to Matthew. Translated into the Cherokee Language, Park Hill: Mission Press, 1844 (BL shelfmark 3070.a.15)

 

This blog includes a snapshot of the library’s holdings of Cherokee language materials. My hope is to keep exploring these collections.

 

- Rebecca Slatcher, Collaborative Doctoral Student (British Library & University of Hull)

This is the second blog looking at Cherokee language printing through the work of book artist and papermaker Frank Brannon. A previous post introduced Frank’s work, Cherokee Phoenix, advent of a newspaper: the print shop of the Cherokee Nation 1828-1834: a handmade letterpress book that tells the history of the first newspaper printed in an Indigenous language. After becoming interested in the materiality and creation of Frank’s book, he kindly spoke to me about his experience of printing in Cherokee as well as complex questions about what it means to have Indigenous language materials at the British Library.

Initially, Frank explained to me some of the technical difficulties of printing in Cherokee, such as ensuring the right spacing is on the type and watching for typos. We also spoke about the differences between Sequoyah’s syllabary, and the type-cast-

“To other eyes through time, just as you and I will see Roman letters, others will see Cyrillic if they have that background, or they might see Greek. They tend to look like other things. But Sequoyah’s original letters look nothing like the type-cast."

Fig 1: Binding of Frank Brannon’s, Cherokee Phoenix, advent of a newspaper: the print shop of the Cherokee Nation 1828-1834, with a chronology, Tuscaloosa, Ala: Speakeasy Press, 2005 (British Library shelfmark: RF.2007.a.36

In creating the book, Frank also described how he visited the University of Alabama special collections library to model the book on those of the 1820s:

"I wanted to put the person in the time. The 1820’s is a time of transition from handmade to machine-made books. Books would be encased in a cheap cover, and they weren't really meant to last long in the publisher’s binding before they became something else. At the special collection's library, you would open the books and the backs would be breaking. So, The Cherokee Phoenix book really wants to fall apart- it was made for a better binding" (Fig. 1 above)

In speaking to Frank, what is notable is the book’s grounding in materials and place. On asking him what drew him to the topic, he replied that “it was the papermill and it was Sequoyah”. The historic materials used to print the Cherokee Phoenix were excavated from the site of the original printing office in New Echota (now Calhoun, Georgia) and those materials extend into the narrative and creation of Frank’s book. Given the (sometimes) difficult history of printing in Cherokee and the current endangerment of the language, I asked Frank if he felt a sense of responsibility in the work today. In his response he recalls returning to New Echota-

"I felt early that we had a responsibility to get it right, and I still feel that responsibility today. I was able to take some of the printing type and print at the historic site of New Echota in what is now North Georgia, and I actually taught a class in the reconstructed print shop there. When my friend- who was a member of the tribe- and I, would go and print in New Echota you could just kind of feel the weight of that event. It was almost like a dream. It's prescient, it's superseding your regular day, and I would have to admit there are not that many times in life it happens. It was the reality and the depth of that experience. The manager of what is now a Georgia state historic site understood the importance of us coming there and doing that work, also. And as a white person trying to support the revitalization the Cherokee language, you have to try a little bit harder."

This reminds us also of the gap between language on the page and language in the world as lived, happenstance and imperfect. Frank retells how when teaching at the Southeastern community college in western North Carolina, he labelled drawers of coloured paper with their Cherokee names. There is a sense of immediacy, in a place where all understand the importance of language revitalization-

“It was immediate for people from that community who did not know the language at the time to start using those words. I never told anyone in the class that I would like for them to use the names, but they did, every time. It’s not like you have to teach them, its osmosis, it’s in them.”

When considering the poignancy of printing in New Echota, we spoke about different sense of place presented by the British Library. What does it mean for Frank’s work and wider Indigenous language materials to be in the British Library? Much of the library’s holdings - and its history as an institution - speak to a North American context whereby Indigenous languages were taken, classified and denied to peoples in service of historic and ongoing settler colonial projects that sought to eradicate languages and cultures. These contexts have legacies in the ways languages are misrepresented and accessed in library systems today -

“The idea that one might need to verify who they are to access the language of their own people, things that they have been denied the ability to speak or say themselves, in a boarding school for example. The indignity of being pressed to follow someone else’s rules, to access their own knowledge”

“It’s hard to think in general about doing a fine letterpress book and having anyone upon it. There are a lot of questions here, and it has to with ownership, and it has to do with possession.”

This brought us to a discussion on the issues with the label of ‘Indigenous languages collection’ and the narratives those collections claim to tell -

“That’s the key - that process of ‘collecting’ them, ‘acquiring’ them. The parallel for me as an artist is that question of - when looking at the larger picture of European history - whose books are in those libraries? It’s mainly male, it’s mainly Anglo. Is that the entire history of the European experience? Well, we know that the answer is no. My artists’ statement says that I wish to tell the story of those that are less told, and to ask: what is the library of 500 years and what will it look like?"

I found the Frank drew between languages and institutional approaches to curating books very insightful in reflecting on some of these questions. In many contexts, Indigenous languages were viewed as ‘exotic’ objects and brought into an institutional setting, to collect and to study or observe. Such a view can persist in the ways people may approach or ask questions about the subject today. As Frank says, ‘it’s just a group of people who have their own language and they would like to use it, it’s as simple as that’. Some of these ideas inform Frank’s work as a book artist-

“For one of the art projects me and my friend Jeff Marley did in Cherokee, I wanted to do an outdoor installation- an exhibition for everything other than people. I did no advertising, and we documented through photography and film. That’s a larger response to the bigger questions you’re asking, because many days I’m not sure if I want to put it in ‘that’ library. A lot of artists books, or book arts, are now shown in a very display like manner. They’re fetish objects and it’s very much ‘over there’. I always struggle when they are behind glass."

By extension, Frank’s artistic process challenges and expands how we interact with books-

“With an artists’ book, you know immediately from the cover that something is different. I would love for the person to recognise that something different is going on long before they even get to the book, and so with the idea of installation or performance artwork to surround the object I am trying to expand the epi-text of the book. All those little things that go with the book, I want them to come out and be alive and blow through the cover. To think of the book as an epi-textual environment that best represents the thoughts and ideas of the individuals or group”

Perhaps in the context of the British Library, this approach can be used to think about how language materials are there, how they have been decontextualised and how Indigenous creators and representation has been written out of the record-

Image: North American Indian (Other) from British Library catalogue record

“How you describe books, that is part of that epi-textual environment. The stuff that floats around it, is about it, is of it. And how is that presented.”

As a result of Frank’s work, the printing type is out in the world and the story continues. It’s clear that Frank misses this work, and I am incredibly grateful to him for talking to me. The conversation made me think on the importance of place and ask important questions of collecting practices: what are we trying to preserve, and for who? Above all I love the materiality of the book, and its layers and relationship to the historic materials and contemporary questions. There is something poignant in the 1820’s style book that ‘wants to fall apart’ as the used and accessible artists’ book (as opposed to the displayed and distant artists’ book), and the used, imperfect and grounded use of the Cherokee language (as opposed to the collected and exotic ‘Cherokee language’ materials). Additionally, it begins a very crucial questioning of the difficult ‘epi-text’ of the British Library.

 

- Rebecca Slatcher, Collaborative Doctoral Student (British Library & The University of Hull)

 

This is the first of a series of blogs looking at Cherokee language printing.

Whilst exploring the British Library’s North American Indigenous language materials as part of my PhD research, I came across Frank Brannon's Cherokee Phoenix, Advent of a Newspaper: the print shop of the Cherokee Nation 1828-1834 (Fig 1, below). The book tells the fascinating story of the first newspaper printed in an Indigenous language at the Cherokee Nation's capital of New Echota (near what is now Calhoun, Georgia). As a papermaker, printer and book artist from Knoxville in East Tennessee, Frank grew up not far from both the birthplace of Sequoyah (the Cherokee inventor of the syllabary that enabled printing in the Cherokee language) and the papermill that supplied the paper for the first edition of the Cherokee Phoenix.

Fig 1: Frank Brannon, Cherokee Phoenix, advent of a newspaper: the print shop of the Cherokee Nation 1828-1834, with a chronology, Tuscaloosa, Ala: Speakeasy Press, 2005 (British Library shelfmark: RF.2007.a.36)

In 1809 Cherokee speaker Sequoyah embarked on committing the Cherokee language to paper. He was fascinated by books (or 'talking leaves') and the power of the written word, but not all shared in this fascination. On the 18th of August 1828, the Cherokee Phoenix reported that Sequoyah had been 'strenuously opposed by all his friends and neighbours' in his task. In response, 'he would listen to the expostulations of his friends and then deliberately light his pipe, pull his spectacles over his eyes, and sit down to his work, without attempting to vindicate his conduct', an account that wonderfully evokes the famous image of him (Fig 2, below).

Fig 2. Image of Sequoyah taken from Grant Foreman, Sequoyah, Norman: University of Oklahoma Press, 1938 (British Library shelfmark: W.P.14865/16).

Sequoyah initially created a character for every word in Cherokee. He may have been influenced by other alphabets and reportedly had an English spelling book in his possession. Finding that this yielded too many characters, he separated the words into parts and assigned a character to each component: hence, a syllabary (Fig 3, below).

Fig 3: Cherokee syllabary written out and signed by Sequoyah taken from The Handbook of North American Indians. Volume 17, Languages, Smithsonian Institute: Washington, 1996 (British library shelfmark: 98/10211)

Sequoyah listened, remembered and added, and in 1821 he completed his 86-character invention. It took some effort to convince Cherokee speakers to use it, but learning was quick once persuaded. This was because it was made by and for native speakers (unlike the Roman orthographies imposed by missionaries at the time), and once a speaker learnt 'the alphabet', they could read. Within seven years, Cherokee literacy had accelerated, and a national press had been established. Even before the characters appeared in print, they became a tangible part of life and the landscape. An observer in a later newspaper, the Cherokee Advocate, wrote that when travelling through the Cherokee Nation in 1828 'I frequently saw as I rode from place to place, Cherokee letters painted or cut on the trees by the roadside, on fences, houses and often on pieces of bark or board, lying about the houses.' Whilst Sequoyah was not directly involved with the Cherokee Phoenix, he would regularly travel to the Dwight Mission in Oklahoma to collect the latest issue sent to him from Georgia.

Cherokee Characters in Frank Brannon’s Cherokee Phoenix, advent of a newspaper

In Frank’s book, we follow printers John Foster Wheeler and Isaac Harris as they journeyed together in 1827 from Jasper, Tennessee to the printing office made of 'hewed logs' in New Echota. There, they met editor and Cherokee Elias Boudinot and missionary Samuel Worcester. The materials - the paper, typecast and press - arrived from Boston in early 1828 and the first edition appeared on 21st February 1828. A fifth of the four-page newspaper was printed in Cherokee, reflecting the difficulties of translating and printing between English and Cherokee.

The potential input of US type casters and Worcester in designing the typecast alters how the characters appear in print. Worcester also re-arranged Sequoyah’s characters to reflect the sounds expressed through Roman letters (Fig 4, see below). Despite this, the syllabary was a Cherokee initiative in its creation and use.

Fig 4: Cherokee syllabary in Worcester ‘systematic arrangement’ from The Handbook of North American Indians. Volume 17, Languages

Frank writes that "the complexities in the purpose of the newspaper should connotate the difficulties of the era: a true crucible where no one purpose may be clearly stated". This captures the turbulent history the newspaper shared in, seen through its engagement with debates on forced removal and Cherokee sovereignty, and in the newspapers eventual demise. Frank’s quote also captures the complex context of print as a technology tied to the ‘civilising’ mantra of colonialism. Through the story of the Phoenix however, we can understand how print also existed (and exists) as a tool of Indigenous agency, used and expanded to meet Indigenous motives and intellectual traditions.

The last edition of the Phoenix appeared on the 31st of May 1834. In the following year the printers moved westward, the State of Georgia, at the behest of the US Federal Government, seized the printing press and the editor of the newspaper, Elias Boudinot, signed the controversial 1835 Treaty of New Echota - the precursor to the mass forced removal of Cherokees in the 1838 Trail of Tears.

Map of land taken from the Cherokee Nation in Daniel Justice Heath, Our Fires Survive the Storm: A Cherokee Literary History. Minn: University of Minnesota Press, 2006 (British Library shelfmark: YC.2006.a.19286)

In 1954, the typecast was excavated from a well nearby to the original printing office. Frank’s work includes reproductions of hand impressions of this type which he uses to make conclusions on printing activities at New Echota in the early nineteenth century (Fig 5, see below).

Fig 5: Reproductions of Hand Impressions in Frank Brannon’s Cherokee Phoenix, advent of a newspaper

Frank’s book brings together the history of the materials and people joined in the creation of the Cherokee Phoenix and uses those historic materials within its own creation. Through it, we encounter a handmade letterpress book that both emulates and extends the story of the historical materials used to print the Cherokee Phoenix. It is form and content connecting and reaching back through time, speaking to the afterlives of those materials and extending the story of Cherokee language printing.

 

- Rebecca Slatcher, Collaborative Doctoral Student (British Library & The University of Hull)

 

Catherine Eccles is an international literary scout and council member of the Eccles Centre.

'Every library is a journey; every book is a passport without an expiry date.'
Irene Vallejo

It was through the good fortune of my involvement with the Eccles Centre that last month I found myself sitting in the arcaded courtyard of the Santa Clara Hotel – originally built as a convent in 1621 - in Cartagena, Colombia. Tall palm trees and an array of the healthiest tropical plants crowded the central space, while a variety of birdsong reminded me that I was in one of the most biodiverse countries in the world.

I was there to attend the Hay Festival, which through the year holds three Latin American book festivals – one in this fortressed former colonial port town on the Caribbean coast, the others in Peru and Mexico. More specifically, I was there to talk about the Eccles Centre Hay Festival Writer’s Award.

Signage for the Hay Festival, Cartagena, Colombia, 2022. Image, author's own.

The award was established ten years ago, set up for authors whose works-in-progress would benefit from research in the British Library’s American collections. Initially the focus was on the North American and Caribbean collections. Then, three years ago, we journeyed south - heralded, as it turned out, by previous winner Andrea Wulf’s prize-winning biography of Alexander Humboldt - to include Spanish language writers and research in the library’s Latin American collections.¹ Along with running the Writer’s Award, the Eccles Centre sponsors an event at each Latin American Hay Festival. This year the topic across the Eccles’ sponsored festivals is ‘The Value of Libraries’ - in a time when libraries have never been more relevant across the world.

'The Value of Libraries' - the Eccles sponsored event at the Hay Festival, Cartagena, Colombia, 2022. Image, author's own.

The event in Cartagena took place just outside the walls of the old town of narrow streets and whitewashed houses with colourful balconies drooping with bougainvillea, in the Sala Barahona at the Centro de Convención. Cartagena is known as a party town, but at ten o’clock on a Sunday morning the room was full. Many in the audience were librarians, keen to hear from the panellists: Irene Vallejo, author of El infinito en un junco (Infinity in a Reed), and librarians and campaigners Martín Murillo, Silvia Castrillon and Luis Bernado Yepes. Murillo is a cult figure in Colombia, famous for taking books to the people in the streets in a cart similar to those used by the country’s fruit sellers. Yepes grew up in a large family in the barrios of Medellin and says books saved him from a life of crime and violence; and Castrillon creates book clubs to transform how people read. The discussion was moderated by famous children’s author and journalist, Yolanda Reyes.

Colombian book-cart. Image, author's own.

Over the four-day festival I learnt there cannot be a discussion on any subject without taking into account the legacy of decades of violence suffered by the Colombian people and the sociopolitical landscape that has emerged since peace agreement was signed in 2016. Books might be seen as a privilege, but the panel at Cartagena discussed them as something essential: a tool to save the world, a reminder of humanity especially in a time of violence and a gateway to knowledge that will help close the inequality gap. There was a suggestion that access to books and libraries should be a human right and there have been attempts to legislate for this in Colombia, so far unsuccessful. The work of libraries is an ethical as well as a political responsibility. Revolution is not always dramatic. It can be slow and writers and libraries can play a part in that, gradually changing the world. Libraries hold and keep knowledge safe, persevering history and memory and serving to thwart the circle of violence. Another event I attended at the festival was a discussion about the degradation of war and the importance of breaking silence and bearing witness in order to move on without forgetting for communities caught in the crossfire of warring factions. This is at the centre of a reconciliation process that in Colombia remains fragile

While I was there I read two books to help me understand this captivating but troubled country, one fiction and one non-fiction. The first was Evelio Rosero’s hallucinatory novel Los ejércitos (The Armies).² This is set in a community beset by violence and is narrated by an old man whose grip on the horrific reality being played out on the streets of his town is slipping. The other was honorary Colombian Wade Davis’ Magdalena: River of Dreams, a journey down the great river that runs from south to north of the country.³ The book encompasses a history from pre-Colombian times, through Spanish occupation, independence and recent times. If there is one book to read to comprehend Colombia, Magdalena is a very good bet, but it was the searing ending of Los ejércitos that reminded me of how vital fiction can be in exploring difficult subjects in a way non-fiction cannot. Each has its essential role, which is reflected in the fact that the Writer’s Award is open to both. Writers and librarians are the custodians of narratives and testimony as well as ideas for the future across the world. Books indeed can save and transform lives.

Endnotes

1.  Andrea Wulf, The Invention of Nature: the adventures of Alexander von Humboldt, the lost hero of science. London: Hodder & Stoughton, 2015. British Library shelfmark: General Reference Collection DRT.ELD.DS.39324.

2.  Evelio Rosero, Los Ejércitos. México, D.F.: Tusquets Editores México, 2007. British Library shelfmark: General Reference Collection YF.2009.a.34322; The Armies. London: MacLehose, 2010. Translated from the Spanish by Anne McLean. British Library shelfmark: General Reference Collection DRT.ELD.DS.10242

3.  Wade Davis, Magdalena: River of Dreams. London: Vintage Digital, 2020.  British Library shelfmark: General Reference Collection DRT.ELD.DS.495199.

This fourth instalment of our Americas e-resources blog series focuses on women in the US, both historic and contemporary, but may also prove a useful starting point for exploring women’s lives and experiences in other parts of the Americas and Oceania.¹ 

Having recently curated a large exhibition on women’s rights in the UK at the British Library, we are well aware of the challenges involved in organising a topic as varied, contested and capacious as ‘women.’ It has been interesting to see, therefore, how some of the major digital recourses have been organised into different thematic strands.

On Adams Matthews's Gender: Identity and Social Change, for instance, themes include women’s suffrage, feminism and the men’s movement as well as employment and labour, education and the body.

'Gender: Identity and Social Change'; an e-resource available at the British Library.

Drawing from collections in the US, Canada, UK and Australia, the resource offers full text access to monographs, periodicals and archives from the early nineteenth to the early twenty-first century. Among other riches is the archive of Betty Friedan, feminist activist and co-founder of both the National Organisation for Women and the National Abortion Rights League (digitised from the Schlesinger Library). The archive includes Friedan's survey and accompanying notes about the satisfaction of female graduates in 1957, a piece of work which informed her seminal 1963 publication The Feminine Mystique. As letters sent to Freidan shortly after the book’s publication reveal, some readers objected strongly to the notion of ‘the problem which has no name’, the existence of women’s malaise which The Feminine Mystique identified.

Letters from original readers of The Feminine Mystique, 5 January - 24 December 1967, © Schlesinger Library on the History of Women in America. Betty Friedan. Republished by permission of Curtis Brown, Ltd. Accessible at the British Library on the e-resource 'Gender: Identity and Social Change'.

 

Programme for the 6th Men and Masculinity Conference, 17 September - 25 October 1979. Content compilation © 2017, by the MSU Library. All rights reserved. Accessible at the British Library on the e-resource 'Gender: Identity and Social Change'.

For an analysis of women and popular, commercial culture, Proquest’s Vogue Archive is hugely illuminating. With full of coverage of American Vogue from the magazine’s first issue in 1892 to the current month, the archive showcases evolving fashions, photography and design as well as being a record of culture, society and aspiration over more than a century. The subject search engine allows for close analysis and the outline statistics for coverage across years provides both a snapshot of topics and their popularity at any given time. A search for ‘abortion', for instance, reveals a peak of 158 mentions between 1990 and 1999, compared to 74 between 1970 and 1979, and 9 from 1960 to 1969. Careful indexing and high-resolution colour page images render the magazine accurately and allow for detailed searches as well as providing evidence of the frequency fashion, style, photography.

Beverly Johnson, the first African American woman to be photographed on the cover of Vogue. Vogue; New York Volume 164, Issue 2, (1 August, 1974): C1. Copyright Conde Nast Publications. Accessible at the British Library on the 'Vogue Archive' e-resource.

Everyday Life & Women in America is published by Adam Matthews and supports the study of American social, cultural and popular history. Offering access to rare primary source material from both the Sallie Bingham Center for Women’s History at Duke University and The New York Public Library, it includes fully searchable monographs, pamphlets, periodicals and broadsides addressing 19th and early 20th century political, social and gender issues, religion, race, education, employment, marriage, sexuality, home and family life, health, and pastimes. One of the periodicals on offer is Town Topics: The Journal of Society (1887 – 1923). In its day, this was an essential source of articles and commentary on art, music, literature, society, gossip and scandal not only for the socially ambitious, but also for established families like the Vanderbilts and Astors. Today, this full-run of issues provides a unique insight into the Gilded Age.

Everyday Life & Women in America is also rich in guides to social conduct and domestic management literature. One example from a vast selection is American Ladies' Memorial; an indispensable home-book for the wife, mother, sister; In fact, useful to every lady throughout the Unites States (1850). This covers topics such as embroidery and painting as well as etiquette and behavioural advice. In ‘A few Rules for the Wise’ the author advises ‘ladies’ should ‘Control the temper’ as well as ‘use but little ceremony, else your guests will not feel at ease.’

American Ladies' Memorial; an indispensable home-book for the wife; mother; sister; In fact; useful to every lady throughout the Unites States. Boston, MA. Accessible at the British Library on the e-resource 'Everyday Life & Women in America'.

For the records pertaining to suffrage and women’s rights organisations as well as women at work during the World War II, a good place to start is the History Vault women’s study module Struggle for Women's Rights: 1880-1990, Organizational Records. This includes financial records, letters, papers, diaries and scrapbooks and more taken from the University Publications of America Collections. Records include those from the National Women’s Party, League of Women Voters and the Women’s Action Alliance, the Women’s Bureau of the U.S. Department of Labor and the correspondence of the director of the Women’s Army Corps. A recent addition are the birth control campaigner, sex educator and nurse Margaret Sanger’s papers.

Three platforms worth exploring, despite being somewhat challenging to navigate, are The Gerritsen Collection, Travel Writing, Spectacle and World History, and North American Women’s Letters and Diaries. The latter contains the first-person experiences of 1,325 women through 150,000 pages of diaries and letters, while Travel Writing, Spectacle and World History brings together hundreds of accounts by women of their travels across the globe from the early 19th century to the late 20th century. A wide variety of forms of travel writing are included, from unique manuscripts, diaries and correspondence to drawings, guidebooks and photographs. The resource includes a slideshow with hundreds of items of visual material, including postcards, sketches and photographs.

Spanning four centuries, The Gerritson Collection draws together content from Europe, the US, the UK, Canada and New Zealand. This archive of books, pamphlets and periodicals on suffrage, women’s consciousness and feminism was originally collected by the nineteenth century Dutch physician and feminist Aletta Jacobs Gerritsen and her husband. Today, the collection contains more than 4,700 publications including a substantive body of material pertaining to anti-suffrage, for example Carrie Chapman Catt's Ought Women to Have Votes for Members of Parliament? (1879) and Anti-Suffrage Essays by Massachusetts Women (1916).

Anonymous : Front Cover; Anti suffragist, devoted to placing before the public the reasons why it is inexpedient to extend the ballot to women. Volume 4, Issue 2 (1912) pg. 0_1. Accessible at the British Library on the e-resource 'The Gerritson Collection'.

This is the tiniest snapshot of the material available via the Library’s electronic resources pertaining to women in the US, but hopefully it demonstrates the wealth of primary and secondary source material that have been collated from archives and libraries around the world and made available through single-access platforms.

Later this month, we will look at the Library's Americas literary e-resources!

Polly Russell, Head, The Eccles Centre

Endnotes:

1. All of the databases referred to here are full-text and need to be consulted on-site at the Library.

In October 2021 the British Library was delighted to welcome – albeit virtually – Inuit Environment, Cultural and Human Rights Advocate Sheila Watt-Cloutier to an ‘In Conversation’ event with Polly Russell, Head of the Eccles Centre.

Watt-Cloutier’s account of the impact of climate change upon Inuit communities during her own lifetime was utterly compelling. Extraordinarily – and perhaps in defiance of audience expectations in the run-up to COP26 – her perspective on the future was startling optimistic, evincing as it did an absolute conviction in our capacity to bring about the necessary changes at this critical time.

This hour-long conversation, which includes a powerful contribution from proud Inuk youth, Ashley Cummings, can now be viewed in full on the British Library Player; please do take a look – it will leave you moved, informed and inspired.

Fuller details about Sheila, Ashley and Polly can be found below:

Sheila Watt-Cloutier was born in Nunavik, Québec, and has for decades represented the issues pertaining to the protection of Inuit culture and the Arctic. In 1995 she was elected President of the Inuit Circumpolar Council (ICC). As its spokesperson, she played a critical role in the UN negotiations to ban the use of Persistent Organic Pollutants which had been polluting the Arctic food chain. More recently, she has focused upon the impact of climate change on Inuit communities. As Chair of ICC representing the four countries of Canada, Alaska, USA, Greenland and Russia where 165,000 Inuit reside, in 2007 she launched the first legal petition to the Inter American Commission on Human Rights, linking climate change to human rights. That same year, Watt-Cloutier was nominated for the Nobel Peace Prize. In 2015 she received a 2015 Right Livelihood Award for her work on climate change in the Arctic and has been awarded the Aboriginal Achievement Award, the UN Champion of the Earth Award, and the prestigious Norwegian Sophie Medal. Her book The Right to be Cold: One Woman’s Story of Protecting Culture, the Arctic and the Whole Planet (Toronto: Allen Lane, 2015; British Library shelfmark YD.2016.a.285) was published in 2015.

Ashley Cummings (she/her) is from Pangnirtung, Nunavut and is currently living in Whitehorse, Yukon. She is working for the Training Policy Committee and studying Indigenous Governance at Yukon University. She is a graduate fellow with the North American and Arctic Defense and Security Network, and is a leading voice for climate advocacy. As a previous member of the Prime Minister’s Youth Council, Ashley advised the Prime Minister on issues that have included (but are not limited to) rural and northern health/well-being, supporting ethical and Indigenous-led tourism, mental health and other issues affecting youth across Canada. Her colourful background living in Nunavut, Yukon, Nova Scotia, Quebec and New Brunswick has given her a comprehensive perspective on life for Indigenous young people from coast to coast to coast.

Polly Russell is Head of the Eccles Centre for American Studies at the British Library. Polly read American & Commonwealth Arts at Exeter University, was awarded a Masters in Journalism at Louisiana State University and holds a PhD in Human Geography from the University of Sheffield. Her research focusses on twentieth century women’s activism and feminism as well as the history and politics of food. Since 2012 Polly has had a column in the Financial Times Saturday magazine, The History Cook and she is the historical presenter on the BBC2 history series Back in Time.

 

Aboriginal and Torres Strait Islander peoples should be aware that this post contains names, images, and voices of deceased persons.

 

First day of the Aboriginal Tent Embassy, outside Parliament House, Canberra, 27 January 1972. Left to right- Billy Craigie, Bert Williams, Michael Anderson and Tony Coorey. Image courtesy of Mitchell Library, State Library of New South Wales and Courtesy SEARCH Foundation. Creative Commons Attribution 4.0 BY International Licence

On the evening of 26 January 1972, four men set up a beach umbrella on the lawn opposite Parliament House (now known as Old Parliament House) on Ngunnawal Country in Canberra and established the Aboriginal tent embassy. The four men, Michael Anderson, Tony Coorey, Billy Craigie, and Bert Williams, erected a handmade sign claiming the site as the 'Aboriginal Embassy' and became the first occupants of the longest continual protest site for Indigenous sovereignty and land rights. Numerous, and often violent, attempts since 1972 to remove the embassy have ultimately failed and it remains a site of continued resistance. In recognition of its significance to Australian history, the site was included on the Commonwealth Heritage List in 2015. This blog will look at some of the poetry and prose which inspired or was inspired by the Aboriginal tent embassy.

 

We are going: poems by Kath Walker (now Oodgeroo Noonuccal). Brisbane : Jacaranda Press, 1964. British Library shelfmark X.900/2567.

In 1962, the poet, educator and activist, Oodgeroo Noonuccal, prepared a poem for the 5th Annual General Meeting of the Federal Council Aboriginal Advancement in Adelaide. Entitled Aboriginal Charter of Rights, the poem gave voice to the feelings of Aboriginal people, articulating them in 44 lines for the rest of Australia in a way that they had not heard before. Noonuccal, a descendant of the Noonuccal people of Minjerribah (North Stradbroke Island), uses short, sharp, repetitive lines to make clear the disparity between demands of basic human rights and the current conditions imposed on Aboriginal people:

We want hope, not racialism,

Brotherhood, not ostracism,

Black advance, not white ascendance:

Make us equals, not dependants (Noonuccal, 1962).

Aboriginal Charter of Rights was subsequently published in her first book of poems We are going: poems (Jacaranda Press, 1964, shelfmark X.900/2567.); the first collection of verse published by an Aboriginal poet. The poem reverberated in the Aboriginal rights demonstrations of the 1960s, fueling a growing civil rights awareness amongst students and leading to the 1965 Freedom Ride.  Aboriginal Charter of Rights nears an end with Noonuccal asking "Must we native Old Australians, In our own land rank as aliens?".

 

The Aboriginal tent embassy : sovereignty, black power, land rights and the State / edited by Gary Foley, Andrew Schaap and Edwina Howell. 2014. British Library shelfmark YC.2013.a.13107

Noonuccal's words were revisited by Gary Foley, the Gumbainggir activist and academic, who played a key role in the establishment of the Aboriginal tent embassy. In the 2014 edited collection of writing on the tent embassy, The Aboriginal tent embassy : sovereignty, black power, land rights and the State (Routledge. Shelfmark YC.2013.a.13107), Foley recalls the decision to name the protest site an embassy was to reflect how Aboriginal people were treated as "aliens in their own land" and so, like other aliens, needed an embassy of their own.  However this embassy wouldn't be a grand government building like the one across the lawn, but one which would reflect the living conditions of Aboriginals; a simple tent which Bobbi Sykes designated "Hope's ragged symbol" in the liberal newspaper Nation Review in 1972.

 

Sykes, R. (1998). Snake dancing. French Forest, N.S.W. : Allen & Unwin. British Library shelfmark YA.2000.a.1826

Bobbi (or Roberta) Sykes was a writer, activist, and the first Black Australian to attend Harvard University in the US. She became the executive secretary of the Aboriginal Tent Embassy in 1972. Her piece in the Nation Review begins by outlining the symbolism of the tent:

From the first, the Aboriginal embassy represented the people. It was an embarrassment to the government same as the people are. It was poor and shabby just like the people. For many of the residents who passed through and stayed for a while it was more luxurious than their own homes despite the cold, the lack of facilities, the constant need for money, for food. The embassy was everything that the people still are (Sykes, 1972, 165).

and continues with her personal account of the multiple, violent clashes with police who attempted to remove the protesters and tent from the site; "I was hurled to the ground on several occasions, and walked over by heavy cop boots. 'The whole world's watching, the whole world's watching' we chanted". Sykes later revisits these struggles from 1972 in a haunting description of the tent being torn down in the second volume of her autobiography, Snake Dancing (1998, Allen & Unwin. Shelfmark YA.2000.a.1826). Bobbi Sykes was instrumental in publicising the fight for Aboriginal rights to an international audience and inspired many others to do the same.

In her 1998 speech for International Women's Day in Sydney, the Wiradjuri woman and activist Isobel Coe declared:

Now the Aboriginal tent Embassy is all about Sovereignty, this is Aboriginal land, always was and always will be and we are there to tell the truth about Sovereignty. [...] The time has come for us to sit down, we’re mothers, we’re grandmothers aunt’s we’re sisters and we all have a common goal and we all have a stake in this country because we all have children and if we are to go into the next century in peace and harmony we have to address the sovereignty issue. That dirty word that no-one wants to talk about, Aboriginal Sovereignty (Coe, 1998).

Another 'dirty' word in her speech that Coe, a prominent figure at the Aboriginal tent embassy, wanted to get people to talk about was genocide, "We are the first people, not just of this country but of the world and that recognition hasn’t come [...] and when there is another genocide you people [...] will be a part of the conspiracy to commit genocide now!". In 1998 Coe, along with three others, applied to the Supreme Court of the Australian Capital Territory to get the crime of genocide recognised as a crime in Australian law. The application was dismissed and the words in her speech here reflect the shared frustration among Aboriginal people that 26 years have passed since the embassy was established and little progress has been made.

One year later in 1999, that frustration is echoed by the essayists Felicia Fletcher and John Leonard in Australia Day at the Aboriginal tent embassy; an evocative account in the literary journal, Meanjin, of the corroboree ceremony for Aboriginal sovereignty which took place on Australia Day at the embassy in 1999 (58 (1), 10-17. Shefmark P.P.5126.gbn.). The piece oscillates between descriptions of the ceremony itself, which involved merging water and fire; "All day the smoke continued to billow out over Parliamentary Triangle; fragrant wood-smoke blowing over the non-native trees and formal gardens", and bitter humour:

'Dear Aboriginal people/s, I hereby enclose your citizenship rights. I have retained my rights to dispossess you of your land. Making a fuss will not prove worthwhile because we are many and you are few. Our God is now your God. Enjoy. Goodbye erstwhile companions of my explorers, and thanks for all the land' (Fletcher & Leonard, 1999, 13).

Canberra poet, Paul Cliff, who has co-published with Oodgeroo Noonuccal, similarly employed a particularly ignorant, non-Indigenous voice to great effect in his poem, Tent Embassy, Winter (Parliament House Lawn, Canberra) which features in his 2002 collection The Impatient World (Five Islands Press. Shelfmark YA.2003.a.48502). In this short but striking poem, Cliff takes the position of an outsider looking in: "Frost grips the tents [...] 9am: and no one's stirred. Is that -- traditional?". This question brings us to one of the final writers to feature in this blog; Lionel Fogarty.

 

 

Mogwie-Idan : stories of the land / Lionel George Fogarty, 2015. British Library shelfmark YD.2018.a.3977

The poetry of Lionel Fogarty, Murri poet and activist, subverts the question of what might be considered 'traditional'. Described by poet, John Kinsella as ‘the greatest living Australian poet’, Fogarty's work is abstract, radical, and at times indecipherable through his mutinous approach to traditional grammatical structures. His poetry draws inspiration from Oodgeroo Noonuccal and is directly informed by his involvement in Aboriginal activism since the 1970s. His 2015 collection Mogwie-Idan : stories of the land (Vagabond Press. Shelfmark YD.2018.a.3977) includes the poem Tent Embassy 1971-2021 as well as number of his own drawings which push and pull at the reader. Mogwie-Idan ends with the poem Power Lives in the Spears:

    Power live in the spears

    Power live in the worries

    Power air in the didgeridoo

    Power run on the people heart

    Bear off the power come from the land (Fogarty, 2015)

 

Gilbert, K. (1994). Black from the edge. South Melbourne, Vic. : Hyland House. British Library shelfmark YK.1995.a.1312

Fogarty's words here are reminiscent of the closing lines of Winter Camp, Aboriginal Tent Embassy, a poem from the Wiradjuri poet, playwright, printmaker and activist, Kevin Gilbert, which features in his award-winning 1994 collection Black from the edge (Hyland House. Shelfmark YK.1995.a.1312.). Gilbert was instrumental in the continual occupation of the tent embassy site and spent the final year of his life there. A memorial was held at the embassy for him following his death in 1993. Gilbert's poem, Winter Camp, Aboriginal Tent Embassy, begins with the lines; "We see them, shoulders hunched, standing in the rain", and pays homage to the undiminished, and vital, flames of anger and hope in those who have kept the Aboriginal tent embassy site running for fifty years. The poems ends with the following lines which feel an appropriate way to conclude this blog post:

human spirit flames for love

to light the pages of history

with their heroic form (Gilbert, 1994, 30).

 

Pay attention,"The whole world's watching."

Lucy Rowland, Oceania Curator

 

References:

Cliff, P. (2002). The Impatient World. N.S.W. : Five Islands Press. Shelfmark YA.2003.a.48502

Coe, I (1998). Speech for the virtual tour Sydney 1998 IWD. [Online] Available at: http://www.isis.aust.com/iwd/docos/tour98/coe.htm

Fletcher, F., & Leonard, J. (1999). Australia Day at the Aboriginal Tent Embassy. Meanjin, 58 (1), 10-17. Shefmark P.P.5126.gbn. Also available online in Reading Rooms at: https://search.informit.org/doi/10.3316/informit.898736456225388

Fogarty, L. (2015). Mogwie-Idan : stories of the land. Newtown, NSW : Vagabond Press. Shelfmark YD.2018.a.3977

Foley, G. (2014). A reflection on the first thirty days of the embassy. In: Foley, G., Schaap, A., & Howell, E. (eds.). (2014). The Aboriginal tent embassy : sovereignty, black power, land rights and the State. London : Routledge. Shelfmark YC.2013.a.13107

Foley, G., Schaap, A., & Howell, E. (eds.). (2014). The Aboriginal tent embassy : sovereignty, black power, land rights and the State. London : Routledge. Shelfmark YC.2013.a.13107

Gilbert, K. (1988). Inside Black Australia : an anthology of Aboriginal poetry. Harmondsworth : Penguin, published with the assistance of the Literature Board of the Australia Council. Shelfmark YH.1989.a.6

Gilbert, K. (1994). Black from the edge. South Melbourne, Vic. : Hyland House. Shelfmark YK.1995.a.1312

Sykes, R. (1972). Bobbi Sykes 'Hope's ragged symbol' Nation Review, 29 July-4 August 1972. In: Foley, G., Schaap, A., & Howell, E. (eds.). (2014). The Aboriginal tent embassy : sovereignty, black power, land rights and the State. London : Routledge. 165-168. Shelfmark YC.2013.a.13107

Sykes, R. (1998). Snake dancing. French Forest, N.S.W. : Allen & Unwin. Shelfmark YA.2000.a.1826

Walker, K. (1964). We are going: poems. Brisbane : Jacaranda Press. Shelfmark X.900/2567.

Watson, I. (2000). Aboriginal Tent Embassy: 28 years after it was established [Interview with Isobell Coe by Watson, Irene.]. Indigenous Law Bulletin, 5(1), 17–18. Available online in Reading Rooms at: https://search.informit.org/doi/10.3316/ielapa.200104820

 

 

 

Today we celebrate the 30th anniversary of Dr Roberta Bondar blasting off from the John F. Kennedy Space Center and becoming Canada’s first female astronaut and the world’s first neurologist in space!

Bondar had dreamt of this moment from an early age. As a child she showed an aptitude for science and when she was around 12 years old her father built her a laboratory in their basement. Following high school, she obtained a Bachelors degree in Zoology and Agriculture, a Masters degree in Experimental Pathology, and a PhD in Neurobiology. She became a medical doctor in 1977 and was admitted to the Royal College of Physicians and Surgeons of Canada (in neurology) in 1981.

When Canada's National Research Council set up the Canadian Astronaut Program, Bondar immediately signed up. She was selected in December 1983. In 1986 the Challenger disaster threatened the entire space shuttle programme. However, a three-year investigation resulted in its revival and in 1990 Bondar learned she would be the next Canadian astronaut to go into space. ¹

48c stamp by Canada Post celebrating astronaut Roberta Bodnar. It was issued in 2003 as part of a series of eight stamps honouring Canadian astronauts and the space programme that made their work possible. The British Library's Philatelic Collection: General Collection.

Along with six colleagues, Bondar was on board the Space Shuttle Discovery from 22 - 30 January 1992 as part of the first International Microgravity Laboratory mission - the precursor to the International Space Station. The main goal of the mission was to study the effects of microgravity on a variety of organisms and the physiological changes that occur in a weightless environment. As ‘Payload Specialist 1’, Bondar conducted over 40 advanced experiments for 14 countries. Many of these focused upon the effect of weightlessness on the human body - for example, on eye motion, the inner ear, the elongation of the spine and back pain, and energy expenditure during a spaceflight. Others explored the effects of microgravity on other life forms, including shrimp eggs, lentil seedlings, fruit fly eggs and bacteria. 

Dr Roberta Bondar using a Doppler ultrasound during her 1992 flight on board Space Shuttle Discovery; Stephen Oswald, the pilot, volunteered for this experiment for Bondar's own research into blood flow to the brain. Image courtesy robertabondar.com

 

Dr Roberta Bondar - a former Girl Guide - juggling Girl Guide cookies during her 1992 flight on board Space Shuttle Discovery. Image courtesy of the Archives of Sault Ste. Marie Public Library, Sault Ste. Marie, Ontario.

Bondar's ground-breaking work enabled NASA to better prepare its astronauts for long stays on the International Space Station. Following her career as an astronaut, she collaborated with NASA and led a space medicine research team investigating the neurological symptoms seen after spaceflight and their connections to neurological illnesses on Earth, including Parkinson’s disease and stroke. 

After many years working as a scientist, Bondar forged a new path and became an Honours student in Professional Nature Photography at the Brooks Institute of Photography in California; here, she was profoundly influenced by the work of renowned American photographer, Ansel Adams. She later created the Roberta Bondar Foundation and writes of this transition:

It took time, considerable reflection and detailed planning to build a Foundation focused on two of my passions, the environment and education. Following the razor-sharp focus and discipline involved in being an astronaut and scientist, I chose to apply my love of photography to foster sustainable development. Few get to view our earth from space. It puts unimaginable perspective on life and our stewardship of the planet. I made it the catalyst to a new career. My camera lens is my way of giving back in exhibits, seminars, schools across Canada and overseas.

For her book Passionate Vision: Discovering Canada’s National Parks (Vancouver: Douglas & McIntyre, 2000; British Library shelfmark LB.31.b.21551), Bondar photographed Canada’s 41 national parks from Gwaii Haanas in the west to Terra Nova in the east, and Point Pelee in the south to Quttinirpaaq in the north; the book includes 100 of her photos as well as six images from space.

Now in her mid-70s, Roberta Bondar remains tireless in her commitment to environmental and scientific education and to deepening humanity's love for planet Earth. She is an Officer of the Order of Canada, a Specially Elected Fellow of the Royal Society of Canada, holds the NASA Space Medal and has her own star on Canada’s Walk of Fame. 

Coastal and Marine Biome - Blue Haiku - Kouchibouguac National Park, New Brunswick, Canada. Photo by Roberta Bondar; courtesy The Roberta Bondar Foundation.

 

Forests Biome - Boreal Fall - Prince Albert National Park of Canada, Saskatchewan. Photo by Roberta Bondar; courtesy The Roberta Bondar Foundation.

Footnotes:

1. On 5 October 1984, Marc Garneau became the first Canadian to go into space; he went on two further missions in 1996 and 2000. Roberta Bondar was the second Canadian in space.