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November 9, 2016

Walter Mason Camp Papers Digitized

Filed under: Manuscripts — Rebecca Baumann @ 4:11 pm

camp_04We are excited to announce the full digitization of the Lilly Library’s collection of the papers of Walter Mason Camp. Camp (1867–1925) was an American author, editor, and researcher best known for interviewing hundreds of both Native American and white participants in the American Indian Wars of the second half of the 19th century. The collection consists largely of Camp’s penciled notes, mostly on small scraps of paper. Field notes include information on the Bozeman expedition of 1874, the Battle of Little Big Horn (1876), the Yellowstone Campaign of 1873, and many other topics related to Native American history and conflicts in the American West. Also digitized as part of the collection are photographs, maps, and the transcriptions of the field notes done by Professor Kenneth Hammer for his book Custer in 76.

You can view and download all digitized items in this collection by visiting Archives Online.

We would like to thank our Digitization Manager Zach Downey for leading this project. We would also like to thank our Public Services Assistant Jody Mitchell and student assistant Lilly Poor for their dedicated work in realizing this goal.

September 28, 2016

PEN Center USA Translation Award to Stephen Kessler

Filed under: In the news,Manuscripts — Erika Dowell @ 11:22 am
Photograph of Cernuda on cover of book

Forbidden Pleasures: New Selected Poems by Luis Cernuda. Translated by Stephen Kessler. (Black Widow Press, April 2015)

Tonight the PEN Center USA celebrates its 26th Annual Literary Awards in Beverly Hills, California. Congratulations to poet and translator Stephen Kessler, winner of the 2016 PEN Literary Award for Translation for the work, Forbidden Pleasures: New Selected Poems by Luis Cernuda. (Black Widow Press, April 2015.) The book is the most complete collection of the poetry of Spanish poet Luis Cernuda to appear in English. Kessler previously translated Cernuda’s prose poems, Written in Water (City Lights Books, 2004), and won the Harold Morton Landon Translation Award from the Academy of American Poets for his translation of Cernuda’s later poems, Desolation of the Chimera (White Pine Press, 2009).

Luis Cernuda was a member of the Generation of 1927, a group of Spanish poets influenced by modernist movements such as Surrealism and Futurism. Leaving Spain after the fall of the Spanish republic, he taught for several years at Mount Holyoke College and then settled in Mexico in 1952.

Stephen Kessler’s papers are part of the holdings of the Lilly Library. His collection is one of a growing number of collections documenting contemporary literary translation.

PEN Center USA is a branch of PEN International, the world’s leading international literary and human rights organization.

September 23, 2016

“Wipe Thy Self”: A Page from the Audubon Ledger at the Lilly Library

Filed under: Manuscripts — Guest Blogger @ 9:14 am

“Wipe Thy Self”: A Page from the Audubon Ledger at the Lilly Library

Christoph Irmscher, Provost Professor of English and Director of the Wells Scholars Program

In spring 2016, the Lilly Library acquired a handsome ledger bound in sturdy marble-covered boards. Dubbed the “Audubon Ledger” by bookseller Donald Heald, volume had been in the possession of Audubon’s great-granddaughter, Margaret Audubon McCormick until it was sold at Sotheby’s on January 26, 1983.  The earliest entry in the book dates from December 10, 1842; the latest was made on February 14, 1844.

The Audubon Ledger is a treasure trove for the scholar:  it is chock-full with lists documenting Audubon’s income and expenditures as he was finishing work on the Royal Octavo edition of Birds of America (1840-1844) and beginning to launch his new venture, The Viviparous Quadrupeds of North America.  Eight pages of draft letters, all in the handwriting of Audubon’s son Victor Gifford, add to the documentary value of the collection. But the Ledger has something else to offer too, something more unexpected.   Among the 70-plus pages of lists we find an example of a different kind of bookkeeping, a mysterious page-long aside, in Audubon’s own handwriting, consisting of nothing but a stream of words, slathered on the page in no apparent order and, it seems, with near-complete disregard to meaning.  Complete sentences are the exception rather than the rule.

audubon-ledger_00001

 

 

Transcription

  1. 219:

Second Course

Acquisition and use of Words in little sentences

Wipe Pocket  to wash

Fish, Wipe, Table, deceits  Smoke Pad  Bush–

Tables, Indian Ink  Pocket  Ashes  Ashes

Towels  to wipe, to wash, to catch to pilfer dainties

to extinguish, to listen, to smoke   to draw with water color

to wipe wiped mixed washed pilfered  between

already beautiful, Shine  shrine  rail sight

The table is high, The pocket is wide,  Pilfer

not that is not nice   Wipe thy self.

Bath Thread Needle

Wheel Bath Oath  envy harm song

 

Songs box, calf, (maggot, mite) fashion tired

waste booth both Silk (Willow pasture) boundary

Box boxes thread hurt to separate to avoid

(Willows to pasture) neither again Songs leather feather

(cart load, a tan [?])  mould vein quarrel noble

herd, poodle, nudel, needles, skull, there,

there that the to the the thine one no mine his

(clear pure)  Wine by shine flax stone.

The wheel is on the wagon  The mite

is in the cheese   The Willow is a tree.

Roof week to travel (to range to string)

Book Brook Roof partition   ah I me self

thee (yet, however)  (still, yet) high hole leek

Stomach breath smoke, rich soft proud cloth

Book beech (search to sack)  (matter thing affair)

revenge (guard watch) week cook kitchen oak

corpse (pool laughter)  to laugh—to make to pilfer

throat to rake to reach rays to cook cake

The book is new   The brook is deep  The beech is a

tree   The smoke comes out of the chimney.

The page that precedes this strange jumble of words (p. 214) is as ordinary as they come:  a list of monies the Audubons had collected in New York City on July 14, 1844, from subscribers to the Royal Octavo edition.  It is, as is most everything else in the volume, in Victor Gifford Audubon’s handwriting. Subsequent pages seem to have been cut out, and the number at the top of our strange meditation has been corrected to read “219.”

It’s difficult at first to discern some kind of principle behind this profusion of words.  Some come from the same semantic field (“wipe,” “wash,” “bath” “clear,” “pure”), some are repeated a number of times (“wipe” occurs, in somewhat different form six times; “pilfer” and “smoke” three times; “wash” twice).  Sometimes Audubon’s words acquire an incantatory quality and sound displaces meaning: “to rake to reach rays to cook cake.” Other passages—especially the few fully formed sentences—are almost embarrassingly simple, as if they had been lifted from a children’s picture book: “The wheel is on the wagon   The mite is in the cheese   The Willow is a tree.”  “The smoke comes out of the chimney.”  As we read on, elements of a landscape begin to emerge—willows, beech trees, a brook, a pasture, a house with a roof and a kitchen, smoke coming from the chimney. (I am immediately reminded of the “inscrutable house” in Elizabeth Bishop’s wonderful poem “Sestina.”) Then there is the feel of things, the soft, rich cloth of a dress (made of silk?) worn, perhaps, by a mother. “Pilfer not,” she might have said to her child, “that is not nice.”  And: “Wipe thyself.” We have, indeed, entered a child’s world, as the novelist Katherine Govier pointed out to me when I showed her a copy of that page.  But Audubon was a child not in England or America, where mothers or maids would have said such things.  He grew up in Napoleon’s blood-drenched France, raised by his stepmother.  The sounds made in this text—“Wheel Bath Oath,” “waste booth both,” “nudel, needles, skull,” “book Brook Roof””—are entirely English, as is the landscape it evokes, however confusedly.  Sing willow, willow, willow.

This page, then, evokes a childhood Audubon never really had, at least not in that form, a childhood he therefore couldn’t have outgrown. Hence, too, the sense of loss that pervades this page, a loss of purity and perhaps of life—the mite in the cheese, the maggot, the ashes, the skull, the corpse.   Pilfer not, the mother once said, and yet Audubon did, his entire adult life, when he entered into, and took away, the lives of birds.  And the need to “wipe thyself” would have been immediately clear to someone who spent his days wading through dirt and blood.  Birds weren’t “nice” in their habits, Audubon once said (in his essay about the Shoveler Duck; Ornithological Biography 241).  But neither was he.  “To draw with watercolor,” Audubon writes, close to the beginning of our page:  an apparent reference to the work he did.  And he goes on to define what he did: “to wipe wiped mixed washed pilfered  between already beautiful.”  All watercolors on the world could not wash out the damn’d spots each killing of a bird—of a living thing that was “already beautiful,” something that didn’t need the artist to make it so—left in him.

Of course, you might say, this is all speculation, a fantasy.  The title of the page (“Second Course”) and dry-and-dust subtitle (“Acquisition and use….”) might just mean that Audubon was reading a grammar textbook at the time and taking notes.  But for whom? Or had the insecurities he had felt as a non-native speaker finally caught up with him? In a journal he kept in England in 1826, he referred to himself as a man who “never Lookd into an English grammar” (Writings 186). But by the mid-1840s, he was widely respected as writer, even by other writers:  Longfellow, for example, based his Evangeline partly on the descriptions of Louisiana he had found in Audubon’s essays.  But maybe he was collecting words because he was getting ready to teach his grandchildren about homonyms and synonyms and the like?  Thomas Brewer, who visited Audubon on July 4, 1846, did attest to Audubon’s fondness for the “rising generation” (Herrick 2: 288).

However, the sheer difficulty of the fragment casts doubt on these more pedestrian readings.  What good are notes that make no sense?  And speaking of non-sense, perhaps this text is a clinical document more than anything else.  Audubon’s dementia became an established fact in May 1848, when his friend John Bachman visited him on his estate and found the naturalist’s “noble mind all in ruins” (Herrick 2: 289). But this change had not happened overnight—as early as July 1847, Spencer Fullerton Baird found his former mentor “much changed” (Herrick 2:288).  Did the first signs of his illness announce themselves even earlier?  We now know for sure what Alzheimer patients have perhaps always known intuitively, namely that language dysfunction is one of the first indications of the disease.  And we also know, and some of us have probably experienced it when taking are of a family member, that dementia patients still retain a measure of control over “a lexical phonological system that is used to repeat both known and novel words and that processes linguistic information independent of its meaning” (Glosser et al.).  But what if the last part of that statement—that there is no meaning in these repetitions—isn’t true after all?  What if all we needed to do is listen?  What if meaning—if of a different, more fantastical, speculative kind—still resides somewhere even in the lexicon of the troubled mind, waiting for the right person to unlock it?  “The brook is deep.”  John James continues to baffle us.

 

References

Audubon, John James. Ornithological Biography, or An Account of the Habits of theBbirds of the United States of America: Accompanied by Descriptions of the Objects Represented in the Work entitled The Birds of America, and Interspersed with Delineations of American Scenery and Manners.  Vol. 4. Edinburgh: Judah Dobson, 1839.

—.  Writings and Drawings.  Ed. Christoph Irmscher.  New York:  Library of America, 1999.

Glosser, Guila and Susan E. Kohn, Rhonda B. Friedman, Laura Sands, Patrick Grugan, “Repetition of Single Words and Nonwords in Alzheimer’s Disease,” Cortex, 33. 4 (1997): 653-666.

Herrick, Francis Hobart.  Audubon the Naturalist:  A History of His Life and Time.  2 vols.  New York:  Appleton, 1917.

September 7, 2016

New Indiana University Video Featuring Comic Collector Michael Uslan

Filed under: In the news — Rebecca Baumann @ 5:02 pm

Batman comic bookWith over 60,000 comic books and graphic novels in our collection, there is no doubt that we at the Lilly Library are fans of comics! A new promotional spot featuring Indiana University alum, Media School professor of practice, and Lilly Library donor Michael Uslan provides a 30-second version of Mr. Uslan’s journey from a student reading comic books in his dorm room to the executive producer of the Batman films.

You can watch the new video and also read about the Jacobs School’s role in providing the music on Inside IU Bloomington. You can also find out more about the comic book course that Michael Uslan taught at Indiana University on IU Archives’ blog.

In his introduction to the 2005 exhibition of material from his vast and deep collections of pop culture memories, Mr. Uslan described his lifelong passion for comics:

“My mother told me I learned to read from comic books when I was three. My seventh-grade English teacher informed me that it was perfectly fine for me to read comic books because they were clearly sparking my creativity. Indiana University allowed me to teach the world’s first accredited college course on comic books because they declared them worthy of academic study. DC Comics hired me to write their ‘Batman’ comics due to the international attention I received for starting my comic book course at IU. United Artists employed me as a movie studio attorney due to my study of copyright law and the comic book industry at Indiana University School of Law. DC Comics sold me the movie and allied rights to Batman because of my knowledge of the character, my respect for the character, and my credentials as a studio attorney. Batman in 1989 and Batman Begins in 2005 completed a dream I had to produce the definitive, dark, serious, plausible movies of Batman as he was created and evolved in the comics. And on the heels of Batman Begins, some 30,000 comic books from my personal collection are now a part of Indiana University’s Lilly Library collection for fans, for scholars, and for posterity. This has been my journey, and what an incredible ride it has been… and continues to be!”

Since that 2005 exhibition, Michael Uslan has continued to donate comic books and graphic novels as well as his personal papers to the Lilly Library. We are proud to provide access to these collections to researchers from around the world and also to conduct class sessions in which professors from around campus bring their students to see and learn about the fantastic history of comic books. You can search our database of Uslan comics or contact our Reference Department at liblilly@indiana.edu to find out more about how to access this remarkable collection.

June 14, 2016

Watch Us 3D Print a Death Mask!

Filed under: In the news — Zach Downey @ 11:57 am

dreiser_00004In May of 2016, the One Street Museum in Kiev, Ukraine contacted the Lilly Library about our Theodore Dreiser death mask. The One Street Museum has built an impressive collection of death masks—currently around 300—and they want to add Theodore Dreiser to that number. You can read more about this incredible and haunting collection here.

Dreiser (1871-1945) was an author of literary naturalism, known for such novels as Sister Carrie (1900) and Jeannie Gerhardt (1911).  The Lilly Library holds several collections of Dreiser materials, including manuscripts, photographs, correspondence, printed materials—and the death mask.

The traditional method of creating a copy of the mask involves using plaster to create a new mold and then casting a new mask from that. Obviously this would be a very messy process that could potentially damage the Lilly’s original, so we decided that a modern 3D print is a much more viable solution.

We contacted Tassie Gniady, the Digital Humanities Cyberinfrastructure Manager with UITS (University Information Technology Services) Research Technologies to get information on how to have a 3D print created. Tassie reached out to Jeff Rogers, Principal Project Analyst & Team Lead at ICTC (Information and Communications Technology Complex), IUPUI for the 3D scan to be made. Jeff came to the Lilly and used a GoScan! 3D scanner to create the initial digital 3D model, which we then took to Andrew Webb, the 3D Lab Coordinator with UITS Technology Center Consulting. You can find out more about IU’s 3D printing services here.

A small prototype was created, the 3D model was fine-tuned and at 7pm on Monday, June 13th the printing began.  You can watch a live stream of the print being made by following the link below:

http://go.iu.edu/1gau

We ask that you enter a user name (whatever you want it to be) so that we’ll know how many unique viewers are watching.  Then, depending upon your computer, operating system, browser, etc., you will basically be asked several questions about allowing your computer’s camera and microphone to be accessed or used. Just select “None” or “Deny” and continue.  After a few moments, the live stream will appear.

The entire print will take approximately 100 hours to complete.

Below are photos of the initial scanning process with our original death mask.  We’ve also included an image of the 3D model, which shows the support structures required for the print to be made.  Those will be removed after the print is complete.

We’re so excited to share the grim visage of Mr. Dreiser with the other side of the world without the original mask ever leaving the building, and we’re excited about the potential for collaborative partnerships that use amazing modern technology to bring the past to life. Thank you Tassie Gniady, Jeff Rogers, and Andrew Webb for making this project possible!

Zach Downey, Digitization Manager

 

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May 12, 2016

Spectral Analysis of the Boxer Codex

Filed under: In the news,Manuscripts — Guest Blogger @ 4:16 pm

boxer-pigment-analysis_00005During the first week of May, Ms. Ellen Hsieh, an Everett Helm Visiting Fellowship recipient, and Dr. Christian Fischer, from the Cotsen Institute of Archaeology and the UCLA/Getty Conservation Program at UCLA, visited the Lilly Library to study the images of the Boxer Codex, one of the most important manuscripts in the Library’s collection.

The Boxer Codex was supposedly made in Manila at the end of the sixteenth century during the early Spanish colonial period. It contains Spanish-language text and 95 pages of illustrations which are not influenced, apparently, by contemporary European artistic styles. The objective of the research was to analyze the coloring materials used in the different sections of the codex in order to study the nature and provenance of raw materials as well as the production process of the codex.

Scientific analysis was conducted using portable X-ray fluorescence (pXRF) and fiber optics reflectance spectroscopy (FORS) in the visible and near-infrared. FORS spectra were collected with two spectrometers, a USB2000+ (Ocean Optics) operating in the visible and a UV-Vis-NIR Fieldspec 3 (ASDI, Panalytical), while pXRF qualitative data were obtained with a Niton XL3t GOLDD+ XRF analyzer (Thermo Fisher Scientific). These non-invasive technologies provide complementary information particularly useful for the identification of pigments and dyes, and have been successfully used to study other manuscripts from Europe and the Americas.

Preliminary results show that the painter(s) of the Boxer Codex used both pigments and dyes such as azurite, cinnabar and indigo. However, precise identification of the whole palette and probable mixtures will require further in-depth analysis and interpretation of the collected data.

The researchers are thankful for the financial support provided by the Lilly Library and the warm welcome and assistance from the librarians, conservators, and staff during their visit.

May 5, 2016

An Orson Welles birthday present

Filed under: In the news,Manuscripts — Erika Dowell @ 3:43 pm

Label from a laquer disc for Ceiling Unlimited, Rulers of the Earth

Label from a laquer disc for Ceiling Unlimited, Rulers of the Earth

Earlier this week, the IU Libraries and the National Recording Preservation Foundation announced a project to preserve, digitize, and make available online all the Orson Welles radio recordings held in the Lilly Library.

It is the largest trove of Welles recordings in existence, and most are originals cut directly from the radio broadcasts as they aired. Experts from IU’s Media Digitization and Preservation Initiative will capture the audio from several hundred fragile lacquer discs and preserve it digitally to the highest standards.

May 6 is the 101st anniversary of the birth of Orson Welles, so we thought a sneak preview of the project would be a great way to celebrate.

We present today one episode of the Welles production Ceiling Unlimited. Sponsored by the Lockheed-Vega Aircraft Corporation, producers of the B-17 Flying Fortress bomber, the series focused on patriotic stories from the world of aviation. The fifteen minute episodes ran weekly from November 1942 to February 1943, and took a variety of forms. The first episode told the story of the B-17. Others dramatized real-life stories of aviators. Some episodes took a more imaginative turn.

The recording shared here was broadcast on the first anniversary of the bombing of Pearl Harbor. It imagines a meeting in hell, convened by the Devil– played by Orson Welles, of course. Attending the meeting are four historical leaders who sought to conquer the world: Napoleon, Philip the II of Spain, Louis XIV, and Kaiser Wilhelm. They discuss Hitler’s efforts to do the same and consider the role of the airplane in wartime.

Welles the narrator eventually interrupts the conversation, with a sigh: “Ladies and gentlemen, excuse me. I think I’ve had enough of playing the Devil. And just for a moment I’d like to be Orson Welles, taxpayer, citizen.” He concludes the broadcast with a somber message of vigilance, a vow to “never again be caught with folded wings, while madmen fly across the sun…”

Listen to the full episode: Rulers of the Earth

Over the course of the coming year, look for more previews from our project, Orson Welles on the Air: Radio Recordings and Scripts, 1938-1946. In August 2017, the IU Libraries will be proud to host the most complete original source of audio for Orson Welles’s radio work, with the highest extant sound quality, presented in a web site rich in supplemental materials for exploring the work of this radio innovator.

April 26, 2016

Happy “Bird-Day” to John James Audubon!

Filed under: Books,In the news — Rebecca Baumann @ 5:43 pm

audubon-vol-1-plate_001J.K. Lilly, Jr.’s copy of the double elephant folio of John James Audubon’s Birds of America (1827-1838) is one of the most popular attractions at the Lilly Library today. Turning one page every week, it would take almost eight and a half years for us to feature all 435 beautiful hand-colored plates in the four volumes… and that’s just what we plan to do.

Many visitors have enjoyed the birds over the years, and since we launched our Twitter account @IULillyLibrary last year, many fans all over the world have enjoyed our “Flipping the Bird” feature. But we’ve been pecking around the plates sporadically, featuring a big bird here and a small bird there. We showed off the spectacular Pink Flamingo in honor of John Waters’ visit to campus and even discovered a “lost” plate for some cheeky April Fool’s Day fun.

But today, on what would be John James Audubon’s 231st birthday, we’ve turned back to Volume 1, Plate I—the Wild Turkey. And from now on, we’ll turn the page once a week in order until we see every duck, owl, songbird, and raptor. So whether you stop by our gallery every week or visit us virtually on Twitter, join us for the next eight years as we flip the bird and celebrate one of our favorite treasures!

Rebecca Baumann, Education & Outreach Librarian

April 11, 2016

New Donation: The Artwork of Clifford Odets

Filed under: In the news,Manuscripts — Lilly Library @ 5:23 pm

odets-painting_002 (002)The Lilly Library is pleased to announce a $1.2 million gift by Walt Whitman Odets of a collection of more than 450 paintings by his father, Clifford Odets, the iconic American playwright, screenwriter, and director.

Clifford Odets is best known as an influential playwright, screenwriter, and founding member of the Theater Group. The Lilly Library is already the home of an impressive archive of Odets’ written work, including extensive correspondence spanning his career, drafts of such landmark dramatic works as Clash by Night and Golden Boy, and drafts of screenplays of iconic films such as The Big Knife and The Sweet Smell of Success. Other drafts include films on which Odets worked that were later turned over to other writers, such as It’s a Wonderful Life.

But Odets’ creativity was not limited to the written and spoken word, and the addition of his paintings to the Lilly Library’s collections continues a longtime interest on the part of the library in writers who are also artists, represented not only by our archival holdings of the writings and artworks of such luminaries as Sylvia Plath and Kurt Vonnegut, Jr., but also by our vast holdings in artists’ books and fine bindings.

The paintings joining the Lilly Library’s collections are water colors, gouaches, and crayon on paper, ranging in size from 4×6 inches to about 12×15 inches. Some of the works are even smaller, for they are rendered on 3×5 U.S. Government stamped postcards; Odets was a philatelist and knew that the cards were made of suitably archival paper. The style is naïve and strong with intense color and imagination. Odets was clearly influenced by the artists whom he himself collected; he owned works by Maurice Utrillo, John Marin, Wassily Kandinsky, and Paul Klee. Odets first exhibited his own works on paper at the J.B. Neumann Gallery in New York in 1947 and continued creating art until his death in 1963.

The addition of Clifford Odets’ art to the Lilly Library’s manuscript holdings will allow researchers, students, and aspiring artists to explore and understand the complex ways in which creativity develops over time and across multiple mediums.

We wish to extend our deep gratitude to Walt Whitman Odets for this generous gift. Dr. Odets is a practicing clinical psychologist with a background in photography and aviation. He chose the Lilly Library as the beneficiary of this extraordinary collection due to the “mid-western spirit of openness that welcomes” everyone to use the collections. We are proud to continue that tradition!

You can explore the Lilly Library’s extant Odets holdings here.

April 6, 2016

The Golden Age of Pop-Up Books

Filed under: Books — Guest Blogger @ 12:43 pm

The Golden Age of Pop-Up Books

by Carin Graves, Public Services Intern

pz8-l778-17858_1Movable and pop-up books became increasingly popular in the 19th century, as publishers looked for inventive ways to create and market books for children. Previously, movable elements like the volvelle (a turnable wheel of paper) had been used to demonstrate concepts in astronomy as well as concepts in scientific and religious literature, but only in the 19th century did movable elements become primarily associated with children’s literature and toy books.

What we think of today as pop-up books were pioneered during the mid- to late-19th century.  During what is now referred to as the “Golden Age of Pop-Up Books,” the foremost publishing company was Dean & Son.

When George Dean joined his father’s publishing company in 1847 to form Dean & Son, he was already working within the decades-long history of Dean publishing. With George Dean’s arrival the company started selling toy books for children and later moved onto movable books. Between 1850 and 1900 Dean & Son published more than sixty movable books, dominating the market for several decades.

Dean & Son’s first forays into movable books were the Dean and Son’s New Scenic Books Series, which included titles like Little Red Riding Hood, Robinson Crusoe, Aladdin, and Cinderella. The Lilly Library owns the first of this series, Little Red Riding Hood.  The style of the Dean and Son’s New Scenic Books is reminiscent of earlier peep shows, which had three dimensional images created by separate layers of the scene folded into an accordion-style book. The foreground, middleground, and background of each scene in Little Red Riding Hood are pulled back by a single string to form a three dimensional picture. Dean & Son also created another version of Little Red Riding Hood titled Dean & Son’s Moveable Red Riding Hood.  This version featured individual movable parts, one of the first instances of such an innovation in pop-ups and movables.

Another type of movable developed by Dean & Son was the “dissolving view,” created using two images cut with slats.  When a tab was pulled, the first image would be replaced by the underlying second image.  The first instance of the dissolving view, Dean’s New Book of Dissolving Views is also owned by the Lilly Library and was first published in 1860.

The Golden Age of Pop-Ups coincided with a time of innovation and growth in Victorian England. Another Dean & Son moveable at the Lilly Library exemplifies this; A Visit to the exhibition: in eight changeable pictures showing its beautiful objects of art and how they were made … illustrates some of the exhibits that were on display in the Crystal Palace during the Great Exhibition of 1851. Each page displays an exhibition object on a stage with Victorian onlookers in the foreground. Once a tab is pulled down, a second illustration beneath the object reveals how it was made.

By the last two decades of the 19th century Dean & Son’s grip on the market had diminished as people like the artist and writer Lothar Meggendorfer and the artist Ernest Nister developed other pop-up publications. During the World Wars, the market for movables and pop-ups was further reduced and only saw a resurgence beginning in the middle of the 20th century.

Follow us on Twitter @IULilly Library to see gifs and videos of some of the books described here.

IUCat Records

Little Red Riding Hood: http://www.iucat.iu.edu/catalog/5100064

Movable Red Riding Hood: http://www.iucat.iu.edu/catalog/230545

Dean’s New Book of Dissolving Views: http://www.iucat.iu.edu/catalog/1409860

A Visit to the Exhibition: http://www.iucat.iu.edu/catalog/1403103

Works Consulted

DuLong, J., Baron, A., Boehm, A., Montanaro, A. R, Rubin, E. G. K, Sabuda, R., & Ziegler, R. (2004). A Celebration of Pop-up and Movable Books. Special limited ed. [New Brunswick, N.J.]: Movable Book Society.

Haining, P. (1979). Movable Books: An Illustrated History: Pages & Pictures of Folding, Revolving, Dissolving, Mechanical, Scenic, Panoramic, Dimensional, Changing, Pop-up and Other Novelty Books from the Collection of David and Briar Philips. London: New English Librar

Montanaro, A. R. (1993). Pop-up and Movable Books: A Bibliography. Metuchen, N.J.: Scarecrow Press.

April 4, 2016

A Celebration of Cycling: Saturday, April 9

Filed under: Events,Exhibitions — Lilly Library @ 10:21 am

In conjunction with our exhibition “Everything is Bicycle: The Revolution of the Wheel in America,” the Lilly Library is hosting “A Celebration of Cycling!” on Saturday, April 9, 11:00-2:00. Along with the exhibition of historical cycling materials from the Lilly Library’s collections, we will be hosting the Indiana Wheelmen, an organization dedicated to keeping alive the heritage of American cycling, promoting the restoration and riding of early cycles manufactured prior to 1918, and encouraging cycling as part of modern living. Members of the Wheelmen will display their cycling memorabilia and demonstrate vintage cycles outside of the library. We are also happy to welcome special guest Tom Schwoegler, consultant on Breaking Away, who will be bringing examples of Little 500 bikes of the past. Join us for refreshments, a world of wheels, and a celebration the wonderful history of cycling!​

 

Wheelmen1

 

March 31, 2016

Andrew Lang’s Coloured Fairy Books

Filed under: Books — Rebecca Baumann @ 5:26 pm

For the next two weeks, we’ll be posting images of Andrew Lang’s coloured fairy books on Twitter (@IULillyLibrary).

Andrew Lang (1844-1912) was a Scots literary critic, novelist, poet, essayist, folklorist, editor, translator, and anthologist.  A confirmed polymath and gifted polyglot, he was a true “man of letters” whose work in many fields made him an almost ubiquitous presence in the late 19th– and early 20th-century literary landscape.  Ironically, the books for which he is best remembered are books which he himself did not write.

These are the “coloured fairy books,” twelve volumes published by the London/New York firm of Longmans, Green, and Co. between 1889 and 1910, compiling a total of 437 fairy tales from all around the world, many appearing in English translations for the first time.  Lang selected the tales and edited the collections, but most of the translations and retellings were done by his wife, Leonora Blanche Alleyne Lang, and other collaborators.  In the final book in the series, The Lilac Fairy Book, Lang finally acknowledged that “the fairy books have been almost wholly the work of Mrs. Lang.”

These volumes renewed British interest in fairy stories; they were also unique in that they were specifically edited and marketed for children, and many of our ideas about fairy tales being the special province of the young can be traced back to their popularity.  Especially concerned with the readability of the texts, Leonora Lang attempted to limit the vocabulary and sentence structure so that the collections were accessible to children with average reading abilities.  They were also made more appealing with numerous black and white and color illustrations by H.J. Ford.

The Lilly Library has one of the largest collections of Andrew Lang’s printed work in the world, including first editions of all of the coloured fairy books, many in their rare original dust wrappers, removed here to show the glorious cloth bindings stamped with gold illustrations of the witches, fairies, monsters, and heroes that curious readers can find within their pages.  The Lilly Library’s Lang collection was amassed by Frank Graef Darlington (1859-1918), who was the Superintendent of the Indianapolis Division of the Pennsylvania Railroad and an avid book collector.

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March 30, 2016

This Thursday and Friday: two events with Dr. J. Greg Perkins

Filed under: Events,Manuscripts — Lilly Library @ 3:42 pm

Perkins1March 31st 2016, 5:30pm

Dr. J. Greg Perkins is the author of the recently published monumental work of fiction, the 19-volume series Darkness Before Mourning. One of the largest works of serious fiction ever created by a single author, the series was over 40 years in the making. It provides a remarkable window into American society, life, families, and personal relationships from the 1950s to the present. Beginning with the first volume in the series, The Announcers, each independent work forms part of a biographical continuum, exploring in profoundly dark semi-fictionalized form the author’s searing experiences. The books are published by Chatwin Books of Seattle Washington.

Born in Kokomo, Indiana, Dr. Perkins is a proud graduate of Indiana University with a B.S. in chemistry and a Ph.D. in biochemistry. A Faulkner scholar and enthusiast, and with over 30 years’ experience in the pharmaceutical industry, Dr. Perkins has been a senior executive at Solvay Pharmaceuticals, Hoffman-LaRoche, and Burroughs Wellcome. Perkins has written numerous New Drug Applications (NDAs), Investigational New Drug Applications (INDs) and scientific papers, as well as the co-author of the book, Pharmaceutical Marketing: Principles, Environment, and Practice, 2002.

Dr. Perkins will present a talk entitled Science and Literature: Two Heads of the Same Coin, with a reception to follow. The event is sponsored by the Friends of the Lilly Library.

 

April 1st 2016, 10:00am to 11:30am

Students, faculty, and the public are invited to join us for coffee and conversation to meet noted author J. Greg Perkins. Throughout years of remarkable professional accomplishments, Dr. Perkins wrote extensively, engaging in what he calls, “writing therapy,” never intending for anyone else to read or witness his works on the page until three years ago, when he began to consider adapting part of the work as a script for a play. It was while working on the script that his work was discovered and subsequently published by Chatwin Books.

Students are especially encouraged to meet this Indiana author, IU graduate, and  distinguished member of the pharmaceutical world.

February 25, 2016

The Performative Book in the film The Ocean in a Thimble

Filed under: Events — Guest Blogger @ 10:47 am
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Image courtesy Bloomlight Productions

The exhibition at the Lilly Library, The Performative Book from Medieval Europe to the Americas, deals with the interaction between the world of medieval manuscripts and the world of new media at the interface between the Middle Ages and the early Modern era. On February 26, 6:30 PM, the Indiana University Cinema will screen a film that stages this dynamic of media confrontation by combining and bringing into contact with one another materials from the twelfth and thirteenth centuries—including some from the Lilly Library—as well as from the twentieth century.

The film, The Ocean in a Thimble, brings together four strong women, all crucial to the European history of spirituality, and takes the viewer on a meditative journey. Hildegard of Bingen, Mechthild of Magdeburg, Hadewijch, and Etty Hillesum lived in very different worlds and times and yet have one thing in common: self-determination is the key to their lives and works. They dealt with and overcame obstacles placed in their way by society and established patterns of thought.

Mystics of all ages and religions are explorers of other worlds, of spaces beyond time and matter. Hence, from their perspective time is an illusion. Hildegard Keller, one of the co-curators of the exhibition, takes this concept literally and plays with time as an author and a filmmaker. Did these four figures know one another? Could they ever have met one another in reality? No, says Keller, but that is the magic of fiction. Her film brings the four women back to life and makes them visible to one another, a fictional device that requires no justification. The film’s liberties with history offer an independent heuristic approach to its materials, enabling a special, artistic freedom.

Keller wrote the script and directed the film, which she co-edited with Russell Sheaffer, a doctoral candidate at the Media School. Julia Karin Lawson provided the English subtitles; Tony Brewer, a sound effects artist, will provide live accompaniment on stage. This multilayered film with its live sound component brings out the fascination found in the fabric of life—actually of interwoven lives!

February 24, 2016

March 8: Uncovering the Mysteries of the Lilly Library

Filed under: Events — Rebecca Baumann @ 4:47 pm

pr4611-a55-d33_00004Have you ever wanted to conduct research at the Lilly Library but weren’t sure where to start? Have you ever felt daunted by all of the various finding aids on the Lilly Library’s website? Have you ever hankered to get your hands on a real old-fashioned card catalog drawer? Have you ever wanted to go “behind the scenes” and see the Lilly Library’s stacks? Are you ready to go down the research rabbit hole but feel like you need a guide?

Join us on Tuesday, March 8, 3:00-5:00 for a breakout session from the Uncovering the Mysteries of the IU Libraries series, presented by IU Libraries Scholars’ Commons. We will cover the basics of Lilly Library research and also delve into some of the more esoteric avenues of inquiry available to Lilly Library patrons. We will spend hands-on time with examples of rare books and manuscripts drawn from the collections and a tour of the library’s stacks.

This workshop is especially designed to help graduate students who may be interested in designing research projects around rare and archival material; however, all interested participants are welcome. You need bring only your curiosity!

Please register for this event here or by emailing liblilly@indiana.edu.

February 9, 2016

New Exhibition: Everything is Bicycle

Filed under: Exhibitions — Isabel Planton @ 6:09 pm

“Everything is Bicycle”: The Revolution of the Wheel in America

cycling_00012In the mid-1890s, the bicycle was at the height of its popularity. The incredible success of the bicycle inspired author Stephen Crane’s wonderful vignette, published nationwide through Samuel S. McClure’s newspaper syndication, on July 5, 1896. Titled “A Glittering Spectacle,” Crane’s piece describes the scene on the once-quiet Western Boulevard in New York City:

“The bicycle crowd has completely subjugated the street. The glittering wheels dominate it from end to end. The cafes and dining-rooms of the apartment hotels are occupied mainly by people in bicycle clothes. Even the bill-boards have surrendered. They advertise wheels and lamps and tires and patent saddles with all the flaming vehemence of circus art….There are innumerable repair shops. Everything is bicycle.”

This exhibition traces the ascent of the bicycle to its apex in the 1890s, with a focus on early development, boom-time advertisements, the adoption of the bicycle by women, pastimes associated with the bicycle, and finally the bicycle’s prominent role in Bloomington and at Indiana University, where bicycle culture has made the campus famous through film and remains strong today.

“Everything is Bicycle” will be on display in the Lilly Library Slocum Room through April.

Exhibition curated by Isabel Planton, Reference/Technical Associate

February 8, 2016

Naked Hemingway

Filed under: Manuscripts — Guest Blogger @ 4:49 pm

We are thrilled this week to present a guest blog post by Christoph Irmscher, Provost Professor of English, George F. Getz Jr. Professor in the Wells Scholars Program, and Director of the Wells Scholars Program. Professor Irmscher has conducted extensive research in the Lilly Library’s Max Eastman collections. As part of this research, he discovered a photograph of Ernest Hemingway that shows the great American author as you’ve never seen him before. Here, Professor Irmscher recounts the story behind this remarkable archival find.

 

Naked Hemingway 

by Christoph Irmscher

The poet, editor, and activist Max Eastman (1883-1969) was one of the handsomest men of his time. His film star looks melted the hearts of women right and left and, judging from the letters they sent him, they were not content with worshipping him from distance. A fervent believer in what might be called the “big tent” approach to modern love, Eastman readily invited his female fans into his life, if mostly for brief periods of time and with the understanding that he had not promised them anything at all. In 1925, when Eastman, having returned from Bolshevik Russia, was frequenting the coffee shops of Paris, Hemingway was a member of his circle of friends. Max deeply admired Hemingway’s In Our Time and even toyed with the idea of having his wife Eliena—the sister of Stalin’s favorite prosecutor Nikolai Krylenkotranslate it into Russian.  But his respect for the writer didn’t extend to the person. In Great Companions (1964), Max records a terse exchange that he had with Hemingway, who guiltily shared with him the pleasure he got from staring at the girls in the Parisian dance halls.  Coming home from his nights in Montmartre, Hemingway was, he told Max, “disgusted” with himself.  He asked Max if he felt so, too.  Max, an early convert to Freudian psychoanalysis, had little patience for such talk: “No, I don’t, Ernest.  I enjoy lustful feelings, and what’s more I don’t think you’re talking real.”

Max Eastman on the beach. Undated photograph. Eastman mss. II.

Max Eastman on the beach. Undated photograph. Eastman mss. II.

As Hemingway turned his adolescent approach to sex into literary method, Max’s respect for the writer took a hit too. Reviewing Hemingway’s Death in the Afternoon, a book about bullfighting in Spain, Max freely expressed his frustrations with Hemingway’s masculine swagger.  His heart went out to the bull in Hemingway’s narrative, “this beautiful creature …  gorgeously equipped with the power for wild life, trapped in a ring where his power is nothing.” Max had no sympathy for the toreros who would hunt the animal till he would sink down, “leadlike into his tracks, lacking the mere strength of muscle to lift his vast head, panting, gasping, gurgling, his mouth too little and the tiny black tongue hanging out too far to give him breath, and faint falsetto cries of anguish, altogether lost baby-like now and not bull-like, coming out of him.” Max accused Hemingway of deriving pleasure from such callous acts of murder, an attitude he compared to the “wearing of false hair on the chest.”

Hemingway’s supporters were outraged. “I don’t know when I have written anything that I have heard more about from various sources than that article,” said Max.  Nevertheless, he included the review in a book he published in 1034, Art and the Life of Action.  Two years later, as Max was hanging out in the office of his editor at Scribner’s, Maxwell Perkins, look who happened to drop in:  Ernest Hemingway, en route back to the Spanish Civil War! Hemingway relished the opportunity to exact revenge on Max. To Perkins’s consternation, he ripped open his shirt and invited the men to inspect his chest hair.  He then proceeded to tear open Max’s shirt, too, revealing a chest that was, Perkins recalled, as “bare as a bald man’s head.” Rifling though a copy of Art and the Life of Action, which just happened to be lying on Perkins’s desk, Hemingway yelled out a particularly objectionable sentence and then, for emphasis, socked Max on the nose with the book. Max lunged at Hemingway, and both men fell on the ground.  By the time Perkins had reached them, Max was on top of Hemingway, although that might have been an accident. Max declared himself the winner.   Given his age he had, he told the press, used a wrestling move to take Hemingway down. Hemingway assured the Times that no such thing had taken place, and that Max instead had taken his slap “like a woman.” But there is one detail that does make Max’s account somewhat credible:  he did know how to wrestle.  Decades ago, while he was John Dewey’s student at Columbia University, he had coached a wrestling team in a Lower Eastside boys club.

Waldo Peirce, photographer. Ernest Hemingway, on the Marquesas Keys, 1928. Eastman mss. II.

Waldo Pierce, photographer. Ernest Hemingway, on the Marquesas Keys, 1928. Eastman mss. II.

Max never forgot what had happened. As Hemingway went from one well-publicized risky adventure to the next, Max continued to insist on his own version of masculinity that involved not loud displays of virility but a deliberate celebration of the human body and its infinite capacity for pleasure. As it turned out, he was not the only one with a grudge against Hemingway. Decades after the battle in Perkins’s office, a mutual friend of both men, the painter Waldo Pierce, presented Max with a surprise gift. In the 1920s, Pierce had been Hemingway’s fishing buddy in Florida, and it was on one of those occasions that Pierce had persuaded Hemingway to pose for his camera wearing nothing but a kind of turtle-shell on his head and the butt-rest of a fishing rod around his privates. I recently discovered the original photograph in Max’s extensive papers housed at the Lilly Library.  Hemingway had sometimes needled Pierce for his devotion to his family (in a letter to Dos Passos, he once called him a “domesticated … cow”). Well, here was Pierce’s chance to retaliate. Before he sent the compromising photograph to Max, he inscribed it on the back: “The great Pescador hiding his light under a but-rest [sic].”  Max, with evident satisfaction, noted the near-absence of chest-fur.  And he published the photograph in the second volume of his autobiography, Love and Revolution (1964), accompanied by the sarcastic caption, “Hemingway in the twenties.” By then, Hemingway had been dead for three years.

Whether Max or his publisher balked, we don’t know.  But in the published version of the photograph, Hem is wearing a pair of dainty swimming trunks.  No matter, Max had finally won the battle.

Christoph Irmscher’s biography of Max Eastman, Max Eastman’s Century, which contains an in-depth discussion of the material discussed above, will be published by Yale University Press.

February 4, 2016

Color Our Collections: The Lilly Library Coloring Book

Filed under: Books,In the news — Rebecca Baumann @ 12:16 pm

Lilly-coloring-book-2Coloring books are all the rage, and February 1-5 is #ColorOurCollections week on Twitter! Special Collections libraries around the world are posting images from their collections for people to print and color. This project was started by the New York Academy of Medicine; you can search Twitter for the #ColorOurCollections hashtag to find many other coloring books that will inspire you to grab your markers, crayons, and colored pencils and do what you could never do in our Reading Room — add your own color to images from our beautiful rare books. We’ve chosen woodcut images from a wide array of books; you’ll find Albrect Durer’s famous four horsemen of the apocalypse, flowers from a 16th-century herbal, and beautiful and intricate designs from William Morris’s Kelmscott Press. We hope you enjoy coloring our collections as much as we enjoy getting the chance to work with these marvelous books every day! And don’t forget to follow us on Twitter @IULillyLibrary.

Download the full coloring book here: http://www.indiana.edu/~liblilly/Lilly-Library-Coloring-Book.pdf

 

January 28, 2016

Welcome to the new Lilly Library Request System

Filed under: In the news,Programs and Services — Erika Dowell @ 1:02 am

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After six months of planning, the staff of the Lilly Library is happy to announce its new online request and workflow system. If you are planning to visit the Lilly Library Reading Room or order reproductions of Lilly Library materials, you may now register online and make requests through IUCAT and Archives Online.

The Lilly Library Request System debuts today, Thursday, January 28. The system is new to most of us at the Lilly Library, but it is in use at nearly 60 other special collections libraries and archives throughout the United States.

Visit this link or look for the big red button on the Lilly Library home page to sign up: https://iub.aeon.atlas-sys.com/

Once you create an account, you may:

  • search IUCAT and look for the “Lilly Library: Request This” button on Lilly Library records
  • find manuscript materials in IU’s Archives Online and look for the “Request” link in the side menu
  • make reservations to use materials in the Reading Room
  • place orders for digital images or photocopies
  • have access to all of your current, past, and saved requests
  • and if you are teaching a class at the Lilly Library, you can collaborate with a librarian to create an online list of materials to use in class!

Farewell to filling out cards by hand! Hello to requesting with a click!

January 21, 2016

Reading Room closed on Wednesday, January 27, 3:00-6:00

Filed under: Programs and Services — Rebecca Baumann @ 7:59 pm

The Reading Room will be closed on Wednesday, January 27th from 3:00-6:00. We will be conducting staff training sessions for our new Lilly Library Request System.

If you’ve used the Lilly Library Reading Room any time in our 55 year history, you probably remember filling out paper charge slips to request items; as of next week, those paper charge slips will be a thing of the past! We have been working hard to implement a new electronic request system which will allow patrons to register and request items online. Keep an eye on our website for more information about the Lilly Library Request System, debuting January 28.

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