August is Women in Translation Month, a 2014 initiative aimed at celebrating and promoting women writers in translation, as well as their translators and publishers. As in previous years, we are highlighting a selection of books from across the European collections that we have recently enjoyed. We hope you enjoy them too.

Lize Spit, The Melting, translated by Kristen Gehrman (London: Pan Macmillan, 2021) ELD.DS.611746.

Chosen by Marja Kingma, Curator Germanic Collections

‘It wasn't a good day, but at least there's a story in it.’ Lize Spit consoled herself as a child with writing when life was against her. After a long, hard struggle she entered the literary world in Flanders and the Netherlands with her debut novel Het Smelt, or The Melting. It is part coming-of-age novel, part thriller about a young woman who takes revenge on her childhood friends for things done to her 13 years before. Spit doesn’t pull any punches, doesn’t flinch from cruelty. Just how good it is can be seen from the number of languages Het Smelt was translated into: Arabic, Bulgarian, Catalan, Danish, German, French, Greek, Hebrew, Hungarian, Italian, Croatian, Norwegian, Polish, Spanish, Czech, Swedish and English. The English translation is by Kristen Gehrman, who translates from Dutch into English, German and French.

Contemporary Georgian Fiction, translated and edited by Elizabeth Heighway (Champaign, Ill., 2012), Nov.2013/1985

Chosen by Anna Chelidze, Curator Georgian Collections

Published in 2012, this volume brings together stories by 20 prominent contemporary Georgian writers. It affords a view into a vibrant literary world that has been largely inaccessible to English-speaking readers. Written over the last 50 years, the selection of stories offers a very broad mix of writers with different literary styles. Some of the writers are well known, while others have only recently entered the literary world. Among them are five female authors, all from different generations and backgrounds, and each with a distinct authorial voice. They have achieved success in a number of literary competitions and have been awarded literary prizes, both Georgian and international. Some have previously been translated into other languages, for others this is their first published translation. Their names are: Mariam Bekauri, Teona Dolenjashvili, Ana Kordzaia-Samadasvili, Maka Mikeladze, and Nino Tepnadze. They succeed in creating powerful images of Georgia and its inhabitants, seen from different perspectives. The variety of contexts reflects changes in Georgian society in recent years, while the variety of narrative styles highlights the challenges presented to the translator, Elizabeth Heighway.

Madeleine Bourdouxhe, A Nail, a Rose, translated by Faith Evans (London, 2019) ELD.DS.439385 and Marie, translated and with an afterword by Faith Evans (London, 2016) H.2018/.7905

Chosen by Sophie Defrance, Curator Romance Collections

After years of neglect, the fiction of Belgian author Madeleine Bourdouxhe is undergoing a revival with new editions of her work appearing in the UK, the US and Germany. In her stories, Bourdouxhe explores the themes of resistance, but also the life, routine, sexuality, and ennui of women in the 20th century. First rediscovered in France with the reissue of La femme de Gilles in 1985, she has since become something of a feminist icon. Faith Evans’s recent translations of two of Bourdouxhe’s books into English put her works into their historical, political and stylistic context. She also shares with us her translator’s impressions, feelings and reasoning; and perhaps even more surprisingly, as it is so rare, the author’s impressions at being translated.

Iryna Shuvalova, Pray to the Empty Wells, translated by Olena Jennings and the author (Sandpoint, Idaho: Lost Horse Press, 2019). Awaiting shelfmark

Chosen by Katie McElvanney, Curator Slavonic and East European Collections

Presented in dual-language format, Pray to the Empty Wells is Ukrainian poet Iryna Shuvalova’s first book-length collection of poems in English. Drawing heavily on Ukraine’s folk culture and themes ranging from memory, the natural environment and Russia’s war in Ukraine, Shuvalova’s poems are meditative, intimate, unflinchingly direct and often visceral. The collection is beautifully translated from Ukrainian by Olena Jennings and Shuvalova, and forms part of Lost Horse Press Contemporary Ukrainian Poetry series.

Shuvalova will be appearing in the Worldwide Reading of Ukrainian Literature event at the British Library on 7 September, along with a host of other award-winning Ukrainian writers and translators. The event is free to attend and will also be live streamed on the LKN website.

August is Women in Translation Month, a 2014 initiative aimed at celebrating and promoting women writers in translation, as well as their translators and publishers. As in previous years, we are highlighting a selection of books from across the European collections that we have recently enjoyed. We hope you enjoy them too.

Bianca Bellova, The Lake, translated by Alex Zucker (Cardigan: Parthian, 2022) ELD.DS.698424
Chosen by Olga Topol, Curator Czech, Slavonic and East European Collections

The Lake won the Czech Magnesia Litera Book of the Year Award and the EU Prize for Literature in 2017. It is a surreal coming of age story that questions the relationship between humans and nature. In a fictional world set somewhere in between a post-apocalyptic future and the post-USSR past, a boy is trying to uncover the mystery of his mother’s disappearance. It is a vivid tale about a devastated, cruel world in which a child is growing into a man while searching for his identity. Dark and beautiful.

Stefania Auci, The Florios of Sicily: a novel, translated by Katherine Gregor (HarperCollins, 2020). Awaiting shelfmark
Chosen by Valentina Mirabella, Curator Romance Collections

Stefania Auci’s bestselling novel The Florios of Sicily tells the story of an entrepreneurial family that, starting from poverty in the early 19th century, built a fortune exporting Sicilian products such as Marsala wine and invented canned tuna as we know it. This is a well-documented saga, linking decades of Italian history to the Florio dynasty, which shook the feudal immobility and introduced industrialization in Sicily. Auci is particularly good at describing the places and underlining the role of women. We owe the English translation to Katherine Gregor who, impressively, is a literary translator from Italian, French and, on occasion, Russian.

Kiki Dimoula, The Brazen Plagiarist: Selected Poems, translated by Cecile Inglessis Margellos and Rika Lesser (New Haven, Conn.; London: Yale University Press, 2012), YC.2013.a.11561
Chosen by Lydia Georgiadou, Curator Modern Greek Collections

The Brazen Plagiarist is the first English translation of a wide selection of poems from across Kiki Dimoula’s oeuvre bringing together some of her most captivating and poignant works. The highly-praised and multi-award winning Greek poet embarks on a journey to a ‘magnificent’ though ‘unknown to her’ language, ‘filled with apprehension’ but grateful to be ‘accompanied by an excellent letter of introduction – their translation’. Award-winning translators Cecile Inglessis Margellos and Rika Lesser, whom Dimoula herself considers ‘heroic’, indeed rise to the challenge of recreating the poet’s mysteriously uncanny yet inexplicably familiar writing.

On 24 August 1991, Ukraine declared independence from the Soviet Union by passing the Act of Declaration of Independence of Ukraine. On this day, we are exploring our collection of works by Ukrainian historians who contributed to Ukrainian scholarship and Ukrainian identity.

Samiilo Velychko and Hryhorii Hrabianka could be considered the first named historians of Ukraine. Although they still wrote their works in a chronicle style, they are distinctly different from the earlier anonymous work Litopys Samovydtsia (‘The Eyewitness Chronicle’) that described events in Ukraine from the outbreak of the Khmelnytsky revolt in 1648 until 1702. All three authors had their social roots in the Cossack officer class and their works are often referred to as ‘Cossack chronicles’. However, Samovidets’ (‘the eyewitness’) was the only one who had personal knowledge of the Khemelnitsky era. Both – Velychko and Hrabianka – came from the next generation. Their narratives include not only annual accounts of events, but also their own interpretations, memoirs and documents. The manuscripts of Velychko’s Litopys show that it is a unique example of historical reflection on the past. This is no longer a chronicle, or a collection and compilation, but a historical study, united by a common idea, approach and methodology.

The Cossack chronicles have been published several times since 1840s, and the British Library holds some of the most important editions.

The Eyewitness Chronicle - facsimile of the manuscript folio

A page from the 2001 edition of Hrabianka’s Historiia (Hystoriia ... H. Hrab’ianky ; Lietopis kratkii. Zhytomyr, 2001. YA.2003.30504)

Title page of the first edition of Velychko’s Litopys (Kyiv, 1848). Ac.7870/5.

Facsimile of the title page of the manuscript

Facsimile of one of the images in the Velychko’s manuscript – portrait of Hetman Bohdan Khmelnytskyi

Like in many other countries in Europe, Ukrainian scholarly historical research reached a new level in the 19th century. Mykola Kostomarov was a historian by training. He graduated from Kharkiv University and in 1846 was appointed assistant professor at Kyiv University. We have numerous editions of his works, including the beautifully printed Slavianskaia mifologiia (‘Slavonic mythology’).

Kostomarov’s Slavianskaia mifologiia (Kyiv, 1847) 4504.h.20

Some important aspects of Kostomarov's life and work can be studied through the Endangered Archives Programme collection (EAP657), as digitised copies of archival Russian Imperial polices files on the Brotherhood of Saints Cyril and Methodius can be accessed from anywhere in the world. The original documents are held at the National Taras Shevchenko Museum in Ukraine. Kostomarov’s involvement in the Brotherhood resulted in his arrest and exile.

Case relating to the forbidding and withdrawal from sale of some works by Shevchenko, Kulish and Kostomarov [30 Jun 1847 - Mar 1849] 

If Kostomarov laid the foundations for Ukrainian national historiography, the researcher and prominent political and civic leader Mykhailo Hrushevsky made the most fundamental contribution to Ukrainian scholarship by writing a 10 volume history of Ukraine. Thanks to another EAP project (EAP900), free open access to the full run of the Papers of the Shevchenko Scientific Society in Lviv, where Hrushevsky was an active member, is also available from the British Library website.

Many prominent historians of Ukraine contributed to the Harvard series in Ukrainian studies and other publications by Harvard University, which, of course, would be easier to find in our online catalogue, and the most recent works are available as e-books from our Reading Rooms, like, for example, Serhii Plokhy’s The Gates of Europe: A History of Ukraine.

Cover of Serhii Plokhy’s The Gates of Europe: A History of Ukraine (London, 2015). YC.2017.a.1703 and ELD.DS.188427

This is probably the most popular English-language book about Ukraine today. Whichever book you choose, let us mark Ukrainian Independence Day by learning about Ukraine’s rich history and by celebrating the brilliant scholars who studied it.

Katya Rogatchevskaia, Lead Curator Central, East European and Slavonic Collections

Further reading:

M. IU Braichevsʹkyi, Annexation or reunification: critical notes on one conception; translated and edited by George P. Kulchycky (Munich, 1974) W39/2929

Dmytro Doroshenko, History of the Ukraine; translated from the Ukranian and abridged by Hanna Chikalenko- Keller ; edited and introduction by G.W. Simpson (Edmonton, 1939) YA.2003.a.10952

Ivan Dziuba, Internationalism or Russification? A study in the Soviet nationalities problem, 3rd edition (New York ; London, 1974) X.709/30122

Hryhorij Hrabjanka, The great war of Bohdan Xmelʹnycʹkyj, with an introduction by Yuri Lutsenko. ([Cambridge, Mass.], 1990) YC.1993.b.1849

M. Hrushevsʹkyi, Istoriia Ukrainy-Rusy : v odynadtsiaty tomakh, dvanadtsiaty knyhakh. (Kyiv, 1991-2000). ZA.9.a.8256

Kostomarov's “Books of Genesis of the Ukrainian People,” with a commentary by B. Yanivs'kyi. (New York, 1954). 10293.e.11/60.

Oleksander Ohloblyn, Arkadii Zhukovsky and Serhiy Bilenky. ‘Historiography’ in Internet Encyclopedia of Ukraine 

Omeljan Pritsak, Istoriosofiia ta istoriohrafiia Mykhaila Hrushevsʹkoho. (Kyiv, 1991) YA.1996.a.7702

The Eyewitness Chronicle, with an editor’s preface by Omeljan Pritsak (Munich, 1972) X.0800/445(7/1)

Under the auspices of the German Studies Library Group in association with the British Library, the fourth Graham Nattrass lecture, Wittenberg 1522: Print Culture and Soundscape of the German Reformation, will be delivered on Tuesday 20 September 2022 at the British Library by Professor Henrike Lähnemann.

Her lecture will take us back five centuries to September 1522, when the Wittenberg printers had a bestseller on their hands: the German New Testament translated by Martin Luther over the summer. It sold so quickly that in December they produced a second edition.

Title-pages from the editions of Luther’s New Testament translation published in Wittenberg in September (above, C.36.g.7.) and Deccember (below, 1562/285) 1522

The lecture will contextualise this publication in the print culture and soundscape of its time. A particular focus will be on Reformation pamphlets from 1522 in the British Library and contemporary hymn production to spread the biblical message. The British Library and British Museum Singers will provide practical examples.

Title-page of Martin Luther, Das Huptstuck des ewigen und newen testaments, [(Wittenberg, 1522?]) 3905.c.68., one of the pamphlets that will be discussed in the lecture.

Before the lecture there will be a performance of music in the Library’s main entrance hall by the British Library and British Museum singers, conducted by Peter Hellyer, including pieces by Bach, Brahms, and Mendelssohn.

The timetable for the event is as follows:

17.00: Music in the main entrance hall

17.30: Refreshments served in the Foyle Suite

18.00: Lecture in the Foyle Suite

Graham Nattrass (1940–2012) enjoyed a long and distinguished career at the British Library and its antecedents, starting at the National Central Library at Boston Spa in 1971. He became Head of the British Library’s Germanic Collections in 1996 and retired from the Library in 2005, as Head of West European Collections. He was Chair of the German Studies Library Group from 2003 to 2007, and a founding member of the group, which in 2016 instituted an annual lecture in his memory.

Henrike Lähnemann is Professor of Medieval German Literature and Linguistics at the University of Oxford and Professorial Fellow of St Edmund Hall, Oxford. Her research interests include medieval manuscripts, the relationship of text and images, and how vernacular and Latin literature are connected, currently mainly in late medieval Northern German convents.

Both concert and lecture are free to attend and open to all, but places for the lecture are limited, so if you wish to attend please contact the Chair of the German Studies Library Group, Dorothea Miehe ([email protected]).

A while ago I was alerted by a colleague to a German item in our collections that appeared to have no catalogue record. It was bound with a list of books censored by the Austrian Empire in the late 18th century, so when I ordered the volume up, I assumed that the uncatalogued item would be something similar, perhaps even a continuation of the previous list.

However, when it arrived, it was obvious that, although only a fragment of a larger work, it was not at all similar, let alone related, to the other work in the volume. It began with a half-title page bearing the title ‘Zusätze, Verbesserungen und Druckfehler’ (‘Additions, improvements and printing errors’), so it was obviously an appendix to a larger work, and from the first two pages of text it was clear that the larger work was a guide to a spa town.

Opening of the mysterious fragment (818.d.9.(2))

Since the town was not named anywhere in the few pages of text, it might have been impossible to identify the place and therefore the book. However, a long-ago cataloguer had obviously had a better knowledge of spa culture than I did as there was a pencil note reading ‘K Carlsbad’. The letter K was used in the British Museum Library to indicate that an item had been catalogued, and the word after it denoted the heading used for it in the catalogue. So this was presumably a guide to the famous spa at what was then known as Karlsbad (anglicised as Carlsbad), and is today Karlovy Vary in the Czech Republic. From the look of the typeface and the style of writing – and based on the date of the other item in the volume – it seemed likely that it dated from the late 18th or early 19th century.

I knew from the pencil note that there had been a catalogue record made for the fragment, so went to the version of the printed catalogue published between 1979 and 1987 (known as BLC) to check it out. Perhaps it had been one of those odd records that had somehow fallen off the radar when the printed records were converted to an online format. But there was no heading in the catalogue for ‘Carlsbad’. There was one for the German spelling ‘Karlsbad’, which was a cross-reference to ‘Karlovy Vary’, but there was nothing there that could conceivably match the item in question.

So I had to go further back in time, to the first general catalogue of the British Museum Library, published in the 1890s and known as GK1. Here there was a heading ‘Carlsbad’ with a number of mainly anonymous works listed, including the item in hand. However, the record didn’t get me much further in identifying the book the fragment came from, describing it simply as ‘a fragment of some work on the mineral waters of Carlsbad’ with a speculative date of 1803.

At this point I had two options. I could either create something similar to the GK1 record on our current catalogue, giving approximate details and date, or I could see whether I could find an item that would match our fragment by searching online and create a fuller record. I thought I would try the latter and turned to one of my all-time favourite websites, the Karlsruhe Virtual Catalogue, which can be used to search a wide range of German and other library catalogues. By typing in ‘Carlsbad’ along with other keywords that might conceivably appear in the title of a German travel guide I found various possibilities, and the increasing availability of digitised editions enabled me to check for matches in most cases.

I was on almost my last attempt when I finally found what looked like a match in the collections of the Austrian National Library. Ironically, this copy didn’t have the ‘Zusätze, Verbesserungen und Druckfehler’ to make a direct comparison, but by cross-checking the corrections and additions with the page references from the original given in our fragment I was able to confirm that I had indeed found the right book, and to create a full catalogue record for it with a note explaining that we only hold a small part of the whole.

Engraved title-page of the complete work, from a copy in the Austrian National Library

Although I’m rather proud of myself for having solved this little bibliographical mystery, I doubt anyone will ever know why two such different items ended up bound together. But at least the fragment that we have is now identifiable.

Susan Reed, Lead Curator Germanic Collections

The Ukrainian Institute London in partnership with PEN Ukraine and the Ukrainian Institute is currently running Ukraine Lab, an online residency for six emerging writers based in the United Kingdom and Ukraine (or displaced by the war). Sasha Dovzhyk, curator of Ukraine Lab, writes:

The ongoing successful resistance to Russia’s war of aggression on an unprecedented scale has made the value of Ukrainian knowledge and experience undeniable. The urgency to learn from Ukraine is now existential for the rest of the world, and Ukraine Lab presents such an opportunity.

Working in cross-cultural pairs, the participants of Ukraine Lab will produce creative nonfiction pieces tackling global challenges in the areas of modern warfare, disinformation, and environment through the prism of Ukraine. Ukraine Lab is supported by the British Council as part of UK/UA Season.

Oleksandr Khvostenko-Khvostov’s set design for Mob (adapted from Upton Sinclair’s novel They Call Me Carpenter), 1924. Mystetskyi arsenal, Kyiv, Ukraine.

As part of the project, the writers took part in an online workshop with Katie McElvanney, curator of Slavonic and East European collections at the British Library. We encouraged the participants to engage critically and creatively with the Library’s rich Ukrainian collections, and to record their responses to some of the items they encountered.

Front page of Ukrainian Peace News, no. 3/4 (London, 1987). ZK.9.d.258

Jonathon Turnbull (United Kingdom)
Cultural and environmental geographer at the University of Cambridge researching the return of nature to the Chornobyl Exclusion Zone

From original copies of CIA-sponsored radical newspapers born from the Chornobyl nuclear disaster to a traditionally-bound book celebrating the history and culture of the Hutsuls, the British Library’s Ukrainian collections are packed with gems. Equally well-preserved are the stories behind these items, whose histories were richly conveyed by Katie McElvanney, curator of Slavonic and Eastern European collections. In the collection, we can trace the history of Russia’s imperialistic attempts to erase Ukrainian culture and language, an endeavour which is more apparent than ever since February 24th 2022. But equally, we can find the perseverance and strength of the Ukrainian resistance to Russian imperialism. We were shown, for instance, a rare pocket-sized edition of Taras Shevchenko’s famous poetry collection Kobzar, published in Geneva and designed to be easily smuggled into Ukraine at a time when Ukrainian language was prohibited by Russian colonialism. Some editions were even disguised as cigarette papers to avoid detection. Items like this remind us of the power of literature, poetry, and other documentary forms in fostering community, protecting culture, and enabling resistance. It was a privilege to access such items and to learn about their history from Katie McElvanney who gave a wonderful insight into the British Library’s Ukrainian collections.

Front cover of Mariika Pidhiryanka’s children’s book, Brysko, huska i lysychka [Munich, 1949]. Awaiting shelfmark

Olena Kozar (Ukraine)
Journalist, editor, and copywriter

The book that stood out for me was Mariika Pidhiryanka’s children's book, Brysko, huska i lysychka, published in 1949 in a displaced persons camp in Germany and doodled by a kid’s hand. I couldn’t help thinking back to a cramped school library which I frequented and where doodling in books was strictly forbidden. Of course, it was. But after all, what else can bring a book to life and closer to us if not a mischievous message sent through time? I hope that the young reader of Pidhiryanka’s book didn’t witness or remember World War II and doodled care-free in a world where the evil was defeated. I salute you, little monkey, from the new Europe, torn apart by a new war. The evil came back but we are fighting.

Title page of the British Library’s copy of the 1881 Kobzar (volume one). 1451.a.42.

Kris Michalowicz (United Kingdom)
International volunteer and writer focusing on Eastern Europe

I was struck by the wealth of history and human experience contained in the collections. The eclectic range of items made a powerful impression on me, and made my connection to Ukrainian history all the more vivid. One item that stood out to me was the portable copy of Shevchenko's Kobzar, designed to be smuggled. It highlighted the ingenuity, determination, and bravery Ukrainians have needed to preserve their culture across the centuries under the threat of imperialism.

Page from Poetics of Endangered Species: Ukraine (Kyiv; Tallinn, 2007), YF.2017.b.1282

Kateryna Iakovlenko (Ukraine)
Luhansk-born visual culture researcher and writer exploring cultural and artistic transformation during the war and violence

I have always been fascinated by library collections: how they are formed, how curators distribute and catalogue books. It was interesting to observe how carefully the staff treated each book as a separate independent story. But among all that Katie McElvanney spoke about, I was most inspired by the collection of environmental sound recordings. While we grow up surrounded by the sounds of birds, frogs, and animals, it seems that nothing can change, that they will always be with us. Unfortunately, however, climate change and wars affect the environment. Some plants and animals are on the verge of extinction. For this reason, it's crucial to preserve them by all possible means.

Cover of the Ukrainian translation of Animal Farm by ‘Ivan Cherniatynskyi’, Kolhosp tvaryn: kazka, with an introduction by George Orwell. ([Munich, 1947?]) 12593.f.40.

Phoebe Page (United Kingdom)
University of Cambridge Languages and Literature graduate, preparing for a Masters degree in Political Sociology

I was blown away by the breadth and variety of the collection, spanning so many styles, genres, places, and periods in history. I was particularly struck by the story each piece told, and the layers of experience you could divine from items which must have passed through several different hands, and which still bear the marks of previous owners. We were shown a rare edition of Orwell’s Animal Farm, translated into Ukrainian in 1947 and distributed throughout the displaced persons camps at the end of the Second World War. It was incredible to learn that Orwell wrote a special introduction for the Ukrainian version of Animal Farm, which became a message of hope for Ukrainians in the DP camps. Political independence was a matter of survival for Orwell and for Ukrainians facing Soviet oppression, and that such an iconic author would write a special introduction personally addressed to a tiny audience (only around 2,000 copies of this edition were distributed) is to me incredibly powerful.

Sofia Cheliak (Ukraine)
TV host, Programme director at the Lviv International BookForum, translator from Czech

I was surprised by the approach to the process of collecting items and the very diversity of the Ukrainian collection. I studied Ukrainian Philology (Literary Studies) for my degree and only read about the books that were published by Mykhailo Drahomanov. At the British Library workshop, I was able to actually see them, at least online.

Edited by Sasha Dovzhyk, Curator of Ukraine Lab and special projects curator at Ukrainian Institute London 

As part of the events programme accompanying our current exhibition, ‘Breaking the News’, curators from the European, Americas and Oceania Collections department took part in an online 'Meet the Curators' event to introduce some stories about news media in the countries they cover. This blog post is based on one of the talks given at that event.

‘Breaking the News’ also means reporting events of historical importance. Battles often are. The Battle of Trafalgar was one of the most famous battles in British naval history, worth reporting internationally. On the 21st of October 1805 the victory of the British fleet, led by Admiral Lord Nelson, contained Napoleon’s ambitions to invade Britain. Lord Nelson was mortally wounded during the battle and the official despatch was written by his second, Admiral Collingwood.

How was this event reported in European news? How long it did it take for the ground-breaking news of the victory to circulate, in an age of slow-travelling information?

Cover of Relazione della battaglia navale seguita ne’ giorni 22 e 23 del passato Ottobre 1805 nanti Cadice, tra le squadre combinate Gallo-Ispana e l’Inglese (Genoa and Turin, 1805). Awaiting shelfmark

We have recently acquired a very rare Italian account of the battle, a bifolium published in Italy, by the Frugoni printing-house in Genoa and by Carlo Bocca in Turin, in 1805. It is titled Relazione della battaglia navale seguita ne’ giorni 22 e 23 del passato Ottobre 1805 nanti Cadice, tra le squadre combinate Gallo-Ispana e l’Inglese [...]. Not many other copies of this account are recorded in Italy, and this is the only one in the UK.

Last page of the Relazione with a list of the English ships and the imprint details

The account opens with a description of the composition of the Royal Navy fleet against the combined fleets of the French and Spanish navies, followed by a report of the circumstances in which Lord Nelson lost his life. The description is in accordance with Admiral Collingwood’s despatch from the battle, published in the London Gazette on the 6th of November 1805. This proves that the author of this document read Collingwood’s despatch. Perhaps the news arrived by postal ship from Spain to Genoa and from there it was carried by horse to Turin, where it was translated to Italian and then printed. The only thing we know for sure is that this account was published in the same year 1805, so sometimes between November and December.

The age of the Napoleonic wars was the moment communication started to become global; transmitting information and news from various corners of the empires become essential for the European powers.

I would like to draw your attention on my favourite element of this document, which you can see in the image above. This is an illustration showing, by means of typographic elements, the order of battle of the two sides, and their two successive changes of formation, for a total of three positions. I find this a rather clever use of typography, which visualizes Nelson’s strategy better than prints, or his manuscript memorandum that is held in our collections [https://www.bl.uk/collection-items/admiral-nelsons-trafalgar-memorandum].

Valentina Mirabella, Curator Romance Collections

Further reading
https://blogs.bl.uk/untoldlives/2015/10/trafalgar-and-the-death-of-nelson.html
https://www.qdl.qa/en/london-basra-twenty-two-days

Valentina Mirabella, Curator Romance Collections

One of the most influential artists of the last century, Christian Boltanksi, died one year ago today. Although, he would have had you believe he actually died many times before: ‘When you are asked to make a retrospective, it basically means you’re dead’ (from an interview with Alexis Dahan for the Brooklyn Rail). The son of Holocaust survivors, Boltanski was born in 1944 in Paris, where he continued to be active throughout his life. His work was often preoccupied with memory, memorialisation and the archive, using everyday objects, personal or administrative material, and the concepts of listing and cataloguing to evoke the profundity of what is lost by displaying the infinity of what we know, have and record.

For an exhibition at Malmö Konsthall in 1994, Boltanski made the artist’s book Les Habitants de Malmö, a copy of which has recently entered the British Library’s collections. It comprises the city’s real telephone directory from 1993 only with a new cover displaying its new title and a four-page insert of errata that Boltanski introduces with the line: ‘You can’t reach these inhabitants of Malmö on the phone anymore. They died in 1993.’

Cover of Christian Boltanski, Les Habitants de Malmö (Malmö, 1994) YF.2022.b.994

Looking at it now, this directory (if not all phone directories) has lost its functionality in the internet age, as its function is more aesthetic and metaphorical. However, Boltanski’s point was that its pragmatic function was already in question in 1994 when he issued a bunch of them with his front cover. As Ernst van Alphen has suggested, ‘the finiteness of pragmatic listing is illusionary’, the directory is merely ‘the temporary fixation of an ongoing process’, which soon ‘over time […] becomes a memorial of all the former inhabitants of Malmö’. Besides, when removed from its original context, the 90s Malmö phone box say, the hundreds of pages of names and numbers lose any referentiality. We simply take stock of a long list of people who may now have joined the ranks of the errata list of deceased. This is what van Alphen terms the ‘Holocaust effect’, an experience of a certain aspect of the Holocaust, here evoked somewhere between the sheer mass of names (like public memorials that list the names of the deceased in full) and the memorialisation of these former inhabitants.

Title Page of an 18th-century Danish auction catalogue for the possessions of …, 821.b.11.(4.)

As Boltanski’s work stages the archival, making once functional lists into memorials, we might ask ourselves at the library about the endless lists and catalogues housed in our collections. For example, some 17th- and 18th-century catalogues for auctions of the estates of deceased persons have recently come to light via our collection audit colleagues. Cataloguing these lists of personal effects, whose title pages list every single category of item for sale, you can’t help imagining them in a Boltanski exhibition. With their referential function lost in time and space, we might see these lists more symbolically as the things that represented someone’s life as opposed to items for sale. At the very least, Boltanski’s lists allow us to dwell on the natural imperfection of our own archives, lists and catalogues, reminding us of the ongoing process of describing our items for new times and new readers.

Pardaad Chamsaz, Curator Germanic Collections

References

Ernst van Alphen, Staging the Archive: Art and Photography in the Age of New Media (Chicago: 2014) YC.2016.a.1489

As part of the events programme accompanying our current exhibition 'Breaking the News' curators from the European, Americas and Oceania Collections department took part in an online 'Meet the Curators' event to introduce some stories about news media in the countries they cover. This blog post is based on one of the talks given at that event.

Living in 1980s Poland meant being surrounded by a graphic persuasiveness of visual communist propaganda. However, in this forest of policy-inspired art and slogans a perceptive passer-by could notice discrepancies: a leaflet handed over discreetly, posters popping up mysteriously during the night, often offering the familiar red discomfort of the favourite communist colour, but conveying a rebellious message. If you were curious and brave enough to risk your own comfort, and sometimes life, you could have access to a clandestine news network which functioned as an alternative to the official one-sided narrative of the communist government. A lot of these samizdat productions were prepared by members of Solidarity.

This organisation started as a trade union in the then Polish People’s Republic and evolved into a broad anti-authoritarian social movement that helped to build the foundations for overthrowing communist rule in Eastern Europe by means of civil resistance. One of the goals for Solidarity’s members was raising the nation’s civil awareness by fighting censorship and providing access to independent media.

A poster advertising the University of Poznań Solidarity journal Serwis Informacyjny Komisji Zakładowej NSZZ «Solidarność» przy UAM w Poznaniu.  Sol. 764

This advertisement for the Solidarity journal edited by the students of Adam Mickiewicz University in Poznan is the perfect example of such civil resistance. The image of a man sitting on a clearly useless TV set reading the Solidarity magazine was self-explanatory to Polish citizens of the era. At the time television had only two channels and the state-owned broadcaster was a mouthpiece for the communist government. All news was meticulously censored before release and had to be approved by the General Office for Control of Publications and Spectacles. The agency’s main role was to suppress the freedom of news and free speech.

The relentless efforts of censors resulted in a backlash. Grassroots movements started spreading information coming to Poland from abroad and disseminating true stories of what was going on in and outside of the country. Samizdat books and the so-called ‘second circulation’ of illegally printed press flourished. Spreading pro-democracy news was dangerous and could result in imprisonment and torture – just like in today’s Belarus. Nonetheless, the oppressive situation only fuelled samizdat’s spread. Pamphlets such as this instruction manual made mockery of the government’s efforts to stop the circulation of independent news.

Przemiennik częstotliwości: z RWE na co dzień ('An RF radio frequency converter: for your daily dose of Radio Free Europe'; Warsaw, 1984), Sol. 215x

The manual teaches how to build your own radio frequency converter to listen to Radio Free Europe, as the Soviet Union and Eastern Bloc countries were jamming Western radio broadcasts. In a foreword to the manual the author criticizes the West for not doing enough to support pro-democracy movements and a lack of technological investment that could counter Soviet efforts to block news. However, it is the author’s opinion on wider Western policy that makes contemporary readers take pause: ‘the supremacy of economy over politics in the West means that the West will purchase Soviet gas and construct pipelines as this lies in their interest. By doing so they are playing into Soviet hands – one frosty winter the Soviet Union will be able to turn off the tap and cut off heating in the entire West Germany.’ For those who broke the law to break the news recent headlines are no news at all.

Olga Topol, Curator Slavonic and East European Collections

For more information about the Solidarity collection, read our blog posts giving a general overview and focusing on satire in the collection. You can also read about some sensational news stories from interwar Poland here.

 

If you’re of a certain vintage you’ll remember the colourful bullfighting posters where you could have your name hand-printed, a souvenir of the modern period of Spanish tourism from the 1960s onwards.

There’s a plentiful literature in Spanish on bullfighting, as you might imagine, including bibliographies (there’s a sample below).

Lorca wrote about it (his lament for Ignacio Sánchez Mejias) and Goya and Picasso painted it; and it’s supplied a vast range of metaphors. One might say of a politician: ‘Mr X has made a dextrous pass of the cape’. (In Britain he would have put the ball in the back of the net.) Bullfighters were among the celebrities fêted in Hola.

The BL has recently acquired five posters from 18th-century Madrid.

Bullfighting posters, RB.37.c.85(1-5)

The venue was the Plaza Extramuros de La Puerta de Alcalá, which opened in 1749 and closed in 1874. It was so called because it was outside the city limits.

The fights were in aid of the Reales Hospitales General and de la Pasión.

Each fight featured 18 bulls and the owners and of course bullfighters are named: Antonio Galeano, Juan de Escobar (both of Seville); Juan de Amisas and his son; Sebastián Vicente González, Severino Rodríguez, el famoso Juan Romero, Miguel Gálvez (alias El Lechero), Manuel Alonso (alias Mal Ojo), Bernardo Assensio (alias El Chavó), el indio Mariano Ceballos, ‘natural de Lima, en el reyno del Perú’, Joseph Romero (alias El Niño Bonito).

Some of the bulls will be ‘embolados’ (with mufflers on their horns).

Performances begin at 10 am and 4 pm.

Spectators sitting in the sun will have government permission to turn down one side of the brim of their hats to shade their eyes; this is not permitted to those seated in the shade. This may have been a reaction to the recent Esquilache riots of March 1766. Charles III’s minister Esquilache had wanted to ban garments which were effective as disguises and for concealing weapons: long capes and broad-brimmed hats. But these were typical Spanish wear, and the natives took against it.

The Esquilache Riots, from José Amador de los Ríos, Historia de la villa y corte de Madrid. (Madrid, 1861-64). 1852.c.20.

Equally interesting is the evidence of what we now call the custodial history of these posters. Posters are ephemera, material intended to be discarded when done with, and therefore rare (see Foster).

These posters are in excellent condition. There’s no glue, showing they were never pasted on a wall. They’ve been folded vertically down the middle, indicating they’ve been kept in an album. On the back are numbers: these I think contemporary with the posters. They’re at the top right nowadays but in the past when folded were on the first ‘page’. (You can see also that the continental 7 hasn’t always had a bar across it.)

On the fifth poster we also see the name ‘Dn Mariano Pizi’ (? or possibly Pizarro). (My thanks to BBM and FGB.) It’s probably not a signature as it lacks the flamboyant ‘rúbrica’ with which Spaniards scribbled over their names (and still do). Perhaps it’s the name of a customer.

So the evidence suggests that someone – Don Mariano? – was collecting bullfighting posters new and keeping them in an album.

And who was Don Mariano? Mariano Pizzi y Frangeschi was professor of Arabic at the Reales Colegios de Madrid. There are various of his works – including an Arabic grammar in verse (Add. MS. 10436, 10437) – in our Manuscript Collections, dated 1764, 1776 and 1782. So we can place him in Madrid around 1769.

He published Tratado de las aguas medicinales de Salam-Bir, que comunmente llaman de Sacedon, escrito en lengua arabe por Agmer-Ben-Ab-Dala, medico en Toledo, en el año de mil cinquenta y quatro ; traducido al idioma castellano e ilustrado con varias notas. This however turned out to be not a translation from the Arabic but a fake written by Pizzi himself (see Bravo).

Title page of Tratado de las aguas medicinales de Salam-Bir (Madrid, 1761) 14535.b.23. (Image shown from a copy in the Wellcome Collection Library)

Furthermore, I was delighted to read in Dowling:

[The famous author] Don Nicolás Fernández de Moratín presided over a group [tertulia] which included the most stimulating intellectuals of the reign of Carlos III, and his son Leandro tells us that the only statute which governed the informal gathering limited conversation to four vital subjects, namely, the theater, bull-fighting, love, and poetry.

Moratín père wrote a poem on the bullfight, Fiesta de toros en Madrid. Dowling again:

The story that went around literary circles in Madrid was that the professor of Arabic in the Estudios Reales, that picturesque fraud Don Mariano Pizzi, had given Don Nicolás a translation from the Arabic on which the poet based his poem.

Further proof that these posters belonged to Pizzi, a man with tastes high and low.

Barry Taylor, Curator Romance Collections

References/Further reading:

On Bullfighting:

Graciano Díaz Arquer, Libros y folletos de toros (Madrid, 1931) 011899.d.35

Biblioteca Nacional (Spain), La fiesta nacional: ensayo de bibliografía taurina (Madrid, 1973) 2725.e.1742

José Sánchez de Neira, El toreo: gran diccionario tauromáquico nueva ed. corregida por el autor (Madrid, 1896-97) 7906.i.27

Luis Carmena y Millán, Bibliografía de la tauromaquia (Madrid, 1883)
2330.d.21.

Luis Carmena y Millán, Tauromaquia: apuntes bibliográficos (Madrid, 1888)
011902.h.20.(2.)

Luis Carmena y Millán, Catálogo de la biblioteca taurina de L. Carmena y Millán (Madrid, 1903)
011907.f.15

Biblioteca Nacional (Lisboa), Bibliografia tauromáquica : impressos e manuscritos (Lisbon, 1927; reprinted [1982?]) YA.1986.b.1293

Anales taurinos (Madrid, 1900-). Includes portraits and advertisements. Discontinued. P.P.1863

Manuel Fernández y González,. Las glorias del toreo ... Cuadros biográficos, lances y desgracias de los diestros más célebres ... Artículos sobre costumbres de los pueblos aficionados á esta clase de espectáculos. (Madrid, 1879). Our copy was destroyed in WWII (D-7911.c/11), but there is a digitised copy at the Biblioteca Digital de Castilla y León.

On ephemera in the BL:

Ann-Marie Foster, ‘‘I am sending herewith’ – First World War Ephemera at the British Library’, Electronic British Library Journal 2017 article 3

Other:

Julián Bravo, ‘El apócrifo manuscrito árabe sobre Sacedon’

John C. Dowling, ‘The Taurine Works of Nicolás Ferndez de Moratín’, The South Central Bulletin, 22 (1962), 31-34. 8350.250000