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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
B-The-Ocean-in-a-Thimble

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

home-page

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.

November 24, 2015

Sam Loyd, Puzzle King: Exhibition and Talk by Will Shortz

Filed under: Events,Exhibitions — Lilly Library @ 12:06 pm

Indiana University Libraries 2015Did you miss the talk by Puzzlemaster Will Shortz at the Lilly Library on November 5th? Don’t worry! Here’s your chance to be a virtual guest in our beautiful library. You can view and listen to the full presentation by Mr. Shortz here.

This fall in the Main Gallery we are proud to present an exhibition on the nineteenth-century puzzle designer Sam Loyd. This is our first puzzle exhibition in the Main Gallery and was made possible with the gracious help of co-curator Will Shortz, who, in addition to being the editor of the New York Times Crossword, is also a collector of and expert on Sam Loyd and his puzzles. A number of the items on display were loaned by Mr. Shortz for this exhibition.

The nineteenth century was a fertile time for the development of puzzles, as can be seen from the puzzles featured in our Slocum Room exhibition. By the end of the century, there had been two major international puzzle crazes, and in the last years of the century there were a few notable puzzle designers. The most prolific of these designers was the American puzzle designer Sam Loyd.

Sam Loyd began his career as a puzzle designer at sixteen when he became the chess problem editor for Chess Monthly after having designed his first puzzle at the age of fourteen. Soon he was expanding his designs into other types of puzzles. The first puzzle he designed in this new direction was The Trick Donkeys produced around 1868. This puzzle came on a card that was divided into three pieces, two with donkeys and one with two jockeys. The goal was to place the pieces so that it looks like the jockeys are riding the donkeys. It seems simple to figure out but rarely does anyone find the answer without seeing the solution. This puzzle was followed up by many other puzzles, including The Pony Puzzle, The Puzzled Neighbors, and The Wonderful 31 Game just to name a few. These puzzles were featured on an early form of advertising called trade cards, which were cards placed on store counters to advertise products. Many of these were printed by Loyd himself from his own print shop in his hometown of Elizabeth, New Jersey.

As the popularity of newspapers and magazines began to grow, Loyd started contributing to many publications. His puzzles appeared in puzzle columns for newspapers such as The Brooklyn Daily Eagle, The New York Journal, The Boston Herald, and The Chicago Record-Herald. One of his most well-known puzzle publications was his monthly column in Woman’s Home Companion which he published from 1904 to his death in 1911. The puzzles in these publications were gathered and published in 1914 in the collection titled Cyclopedia of 5,000 Puzzles, Tricks and Conundrums.

Come see the exhibition Sam Loyd: Puzzle King in the Main Gallery of the Lilly Library, which will be on display through December 20th. You can also pick up a free copy of The Trick Donkeys to test out your puzzle solving skills!

Andrew Rhoda

Curator of Puzzles

Jerry Slocum, donor of the Slocum Puzzle Collection (left); Will Shortz, New York Times Crossword Puzzle Editor (center); and Andrew Rhoda ,Lilly Library Curator of Puzzles (left)

Jerry Slocum, donor of the Slocum Puzzle Collection (left); Will Shortz, New York Times Crossword Puzzle Editor (center); and Andrew Rhoda ,Lilly Library Curator of Puzzles (left)

November 20, 2015

The Nadine Gordimer Manuscript Collection

Filed under: Manuscripts — Cherry Williams @ 12:25 pm

gordimer_001Among the Lilly Library’s many notable literary manuscripts collections are the papers of South African author Nadine Gordimer. You can view the finding aid for this collection here.

Gordimer, the daughter of Jewish immigrants, was born on November 20, 1923 in the small East Rand mining town of Springs. Her mother, Hannah (“Nan”) Myers, came from London; her father, Isidore, left Latvia as a teenager to “escape pogroms and poverty.”

The Lilly Library’s Gordimer Collection contains approximately 6,800 items, dating from 1934 to 2004. The initial materials were acquired in 1993; they contain fascinating items from Gordimer’s childhood, such as her diary from 1934, which narrates the beginning of the illness that caused Gordimer’s mother to take her out of school at age 11, during which time she began to write. We have continued to add to the collection on a regular basis, most recently with a rich assemblage of twenty-five years of correspondence between Gordimer and her editors at Viking, Marshall Best, Denver Lindley, and Alan Williams.

The correspondence is noteworthy for its candor. Among other topics, Gordimer shares her thoughts on writing and authorship, describes her creative process, and discusses how it feels to have one’s book banned. In a letter dated July 15, 1966, she writes of the South African government’s ban on The Late Bourgeois World: “[T]he ban does upset me. Odd feeling to walk past a bookshop and realize that the book will never be on sale there. It’s as if a line had gone dead between other people and me; as if, to everyone but my friends, I have suddenly become invisible.”

In correspondence with Playboy editor Robie Macauley, Gordimer discusses Nelson Mandela, the current situations in Mozambique and South Africa, the unlikely prospect of retirement, and more. In her letter of December 5, 1992, she comments, “Retired, you say; but of course we writers never retire unless we go ga-ga, or when we die… All around me people in other occupations are lost in the idleness they longed for, I seem to be the only one toiling on – thank god. I just wish I could retire myself, with good conscience, from the endless obligations that distract me from that toil. But living in South Africa, at this time, makes that pretty unlikely.”

Among her many honors and awards, Gordimer won the Booker prize in 1974 for The Conservationist and was awarded the Nobel Prize for Literature in 1991. In another letter to Macauley, dated January 24, 1994, Gordimer discusses a subsequent trip to the Nobel Prize ceremonies, describing the previous months as “fervid,” “with travels culminating in the trip with Nelson Mandela as part of his entourage at the Nobel Peace Prize ceremonies, and my determination to finish a novel I had worked on for nearly four years.”

Gordimer died on July 13, 2014 at the age of 90. The collection is available to view in the Lilly Library Reading Room but requires advance notice. Please contact the Public Services Department (liblilly@indiana.edu) to order material.

Cherry Williams, Curator of Manuscripts

November 19, 2015

Tweeting Presidential Signatures

Filed under: In the news,Manuscripts — Rebecca Baumann @ 11:23 am
Our most famous presidential signature: George Washington accepting the presidency of the United States.

Our most famous presidential signature: George Washington accepting the presidency of the United States.

The Lilly Library is well known for its remarkable collections of American history. To celebrate the year leading up to the 2016 presidential election, we’ll be tweeting the signatures of all 43 United States presidents. Each signature will be tweeted on the president’s birthday. Zach Downey has been combing our archives to find interesting examples of the John Hancock of each of our Commanders in Chief. We’ve prioritized signatures from the years during which each individual held the presidency, though this is not possible in all cases. This archival scavenger hunt shows how rich and deep the Lilly Library archives are. Each signature derives from a document with its own story to tell.

Watch our blog for updates to this presidential project, and follow us on Twitter @IULillyLibrary to see all 43 presidential signatures in the upcoming year!

Rebecca Baumann, Education and Outreach Librarian

Zach Downey, Digitization Manager

November 10, 2015

The Civil War Diary of Henry Frank Dillman

Filed under: Manuscripts — Erika Dowell @ 5:35 pm

Dillman1Dillman2Visitors to the Lilly Library often ask, “What proportion of the library’s books have been digitized?” or “Are you working on digitizing all these books and manuscripts?” It is hard to give a firm answer to these questions. Yes, we are digitizing materials all the time, but the books and manuscripts we put online only amount to only a tiny portion of the overall collections. Given that the Lilly Library holds more than 450,000 books and more than eight million manuscript items, it should not be a shock that only a small percentage is available online. But that small portion is growing all the time and includes very interesting materials. Coordinating the Library’s digital activities is part of my job, and I’ll be blogging about our digitized materials, starting with an item of local interest.

Part of the Indiana History manuscripts collection, Henry Franklin Dillman’s Civil War diary was digitized as part of “At War and at Home,” a collaborative project from the Monroe County Public Library (MCPL) that documents Monroe County history in the US Civil War period. Dillman, born in 1838, joined Company “G” of the 31st Indiana Volunteer Infantry in the fall of 1861. The Company consisted of volunteers from Bloomington and Monroe County.

His diary is less a day-to-day account than a history of Company “G,” written just a few months before the end of the war. Private Dillman himself calls the book a “little history,” and it seems to have been written when the Company was camped at Shellmound, Tennessee, near the close of 1864, though he reports on a few events of January 1865.

Dillman’s diary was edited and published in pamphlet form during the war’s centennial by the Monroe County Historical Society and Monroe County Civil War Centennial Commission, and there are local copies in the IU Libraries and the Monroe County Public Library.

But wouldn’t it be more fun to read the original? It is waiting for you right now online: http://go.iu.edu/J4C

Reading old handwriting can seem daunting if you haven’t done it before, but Dillman had very good penmanship. He was not a poetic or particularly descriptive writer however. His account focuses on facts, dates, and places, but he includes some patriotic language in his preface:

PREFACE: The object of the writer in putting out this little history is to let those who read know that Co.”G” 31st Indiana has never been idle. Always where danger was most thick, there was the 31st. Always in the midst.

And in the final two pages of account:

Honor to whom honor is due.

Our country and flag E Pluribus Unum is our motto.

Death to all traitors, North and South.

And Abraham Lincoln for next President.

And a vigorous prosecution of the war till every Rebel is made to kiss the soil he has polluted with his crimes.

Besides the intrinsic interest of reading the digital version or even better—reading the original in person—one often finds that published versions don’t match the manuscript exactly. For example, in the published version of Dillman’s diary, the phrase “E Pluribus Unum“ is omitted from the above passage. I found at least one other instance where the published version doesn’t match the manuscript, and there are likely a few others to be found. It could be a mistake or it could be an editorial decision, but for now it is an open question.

Erika Dowell,

Associate Director and Head of Public Services

 

References:

Henry Franklin Dillman, Civil War diary, Indiana History mss., http://go.iu.edu/J4C

At War and at Home: Monroe County Timeline 1855-1875, http://mcpl.info/resources/war-and-home

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