Due to a construction-related water shut-off the Lilly Library is closed to the public today, January 8, 2015.
January 8, 2015
April 15, 2014
The Lilly Library was very pleased to be asked to contribute material to the current exhibition on display at the Morgan Library & Museum in New York City, The Little Prince: A New York Story, the first exhibition to explore in depth the creative choices made by Antoine de Saint-Exupéry while writing the manuscript during two years he and his wife spent in New York City at the height of the Second World War. Curated by Christine Nelson, curator of literary and historical manuscripts, the exhibition explores the origins of the story as well as features many of the original art works, including watercolors and drawings made by Saint- Exupéry for the book.
From the its extensive Welles manuscript collections, the Lilly Library contributed Orson Welles’s typescript, with autograph revisions, of a screen play for a film version of Antoine de Saint-Exupéry’s The Little Prince, ca. 1943. According to Barbara Leaming in Orson Welles: A Biography, following the tumultuous productions of Citizen Kane and The Magnificent Ambersons, Welles discovered the work while searching for his “third film that, unlike its two predecessors, would interest a mass audience.” She quotes Welles as remarking that “what I wanted to do with The Little Prince, was a very small amount of animation. It was only the trick effects of getting from planet to planet.” Walt Disney and his crack team of animators were the obvious collaborators of choice. While introductions and a lunch meeting were arranged between Welles and Walt Disney, Welles later reported to Leaming that after arranging to be called from the initial meeting at the Disney Studios, Walt Disney exploded in the hallway outside of the room, “there is not room on this lot for two geniuses,” and the project came to an end.
The Little Prince: A New York Story at the Morgan Library & Museum
Exhibition review, The New York Times, January 23, 2014
April 10, 2014
Read more about the events and the exhibition in the IU News Room:
Learn more about Ross Lockridge, Jr., at Indiana Public Media:
The World Of A Novel: Ross Lockridge Jr.’s Raintree County
April 7, 2014
Alex Bellos is a mathematics and science writer for The Guardian. Mr. Bellos has written a number of books on mathematics such as such as Alex's Adventures in Numberland (U.S. title Here's Looking at Euclid), and more recently Alex Through the Looking-Glass (U.S. title The Grapes of Math). He also edited a book about the Golden Ratio, The Golden Meaning, which features 55 graphic designers illustrating the mathematical concept. Mr. Bellos has also served as a South American correspondent for The Guardian, and has written about Brazilian soccer and was a ghostwriter on Pele's autobiography.
Mr. Bellos currently writes for The Guardian at his blog Alex's Adventures in Numberland. Recently he posted an article on vanishing puzzles which features images of puzzles from the Jerry Slocum Mechanical Puzzle Collection.
Mr. Bellos also wrote an additional post in which he writes about the geometrical concept behind the puzzle, which can be found at
Curator of Puzzles
March 18, 2014
Please join us in welcoming this year’s Mediaevalia speaker, Dr. Erik Kwakkel, Associate Professor in medieval manuscript studies at Leiden University, The Netherlands, and principal investigator of the research project ‘Turning Over a New Leaf: Manuscript Innovation in the Twelfth-Century Renaissance’. Among his publications are articles and book chapters on a variety of manuscript-related topics, as well as monographs and edited volumes on Carthusian book production (2002), medieval Bible culture (2007), change and development in the medieval book (2012), medieval authorship (2012), and Insular book culture (2013). Dr. Kwakkel was the 2014 E.A. Lowe Lecturer in Paleography at Corpus Christi College, Oxford.
Dr. Kwakkel will be presenting two programs:
Kissing the Neighbor: How Medieval Letterforms Help to Tell Time
When: Thursday, March 27, 2014 5:00-7:00 PM
Where: Lilly Library Lincoln Room
What: Lecture and reception. All are welcome.
“Age is not important, unless you are a cheese.” Historians know this expression not to be true: the age of a piece of writing matters a great deal. The key to determining when a given medieval manuscript was written is to assess the age of its script. The handwriting of scribes developed continuously, meaning that their products can be placed in time if the right reference points are available. This paper deals with such reference points: it shows that developing letterforms provide evidence for dating the book in which they appear; and how we may retrieve this information. The main focus will be on what is arguably the most dramatic development in medieval handwriting: the shift from Caroline to Gothic script. During the century and half of this transformation, in an age known as The Long Twelfth Century, scribes across Europe began to search for new ways of executing letters. Neighboring letters began to ‘kiss’ and ‘bite’ each other, while the ‘i’ became dotted and the ‘t’ crossed. The lecture ultimately demonstrates it is possible to gauge the date of a manuscript in an objective manner: it shows how letterforms help to tell time.
Why Study the Medieval Book?
When: Friday, March 28, 2014 9:00AM—12:00 Noon
Where: The Lilly Library Slocum Room
What: Hands-on workshop for graduate students and faculty
**Enrollment is limited to 16 participants and pre-registration is required. Please contact Cherry Williams, Curator of Manuscript, The Lilly Library for information and to register: firstname.lastname@example.org
This workshop focuses on the medieval manuscript as a physical object. It aims to show faculty and students how its features matter for studies that are not primarily interested in the material book itself. It queries how someone working in the disciplines of English, History or Religious Studies, etc. may benefit from a manuscript beyond merely the text it holds on its pages. The workshop will present ‘real-world’ case studies to show how even someone with a basic understanding of the medieval book may benefit from its physical features. At the end of the session participants will be able to answer the query posed in the workshop’s title.
February 6, 2014
The writing of Jack Kerouac’s On the Road is the stuff of American literary legend. Kerouac claimed to have written it in three weeks, at such white heat that he taped 12-foot-long stripes of paper together and ran them through a typewriter in a sort of scroll so that he wouldn’t have to pause to feed new sheets into the machine. While this pace is probably exaggerated, the original manuscript of the novel was and remains in scroll format, 119 feet 8 inches long by 9 inches wide. In 2001, it was purchased by Jim Irsay, team owner of the Indianapolis Colts. Since then, the scroll has had a special relationship with the Lilly Library, as the Lilly’s Conservator, Jim Canary, has assisted Irsay in its preservation and in handling it as it toured.
The scroll was on display at the Lilly Library in 2003 as part of a travelling exhibition which took it all around the country and abroad. The Lilly is proud to host the scroll once more, on special loan from Jim Irsay. The scroll appears in conjunction with the Lilly’s exhibition on Beat writer William S. Burroughs in celebration of Burroughs’ 100th birthday. The scroll is unrolled to display the section about “Old Bull Lee,” the character inspired by Burroughs. A digital display of the full scroll – from the first line to the last ragged edges which were eaten by a dog, including all of the fascinating textual variations from the published version – will also be available to view.
January 21, 2014
On December 13, 2013, the crossword puzzle celebrated its 100th birthday, and eyes around the world turned towards IU alumnus Will Shortz for his wisdom on the subject. Will has been immersed in the world of puzzles since he created his first around age eight or nine. Since then, he has honed his knowledge through his individualized major in enigmatology at IU, the only such degree granted in the world; through years of puzzle collecting; and through his work as a professional puzzler: the editor of Games Magazine, NPR’s puzzlemaster, and the crossword puzzle editor of the New York Times.
Will took time out of his busy schedule to sit down with Becky Wood, Director of Communications at the IU Libraries, to talk about his puzzle collection, his passion for table tennis, and what continues to puzzle him.
Becoming a Collector
Will Shortz bought his first antique puzzle book at a hospital sale in Crawfordsville, Indiana, where he grew up. Although he devoured the copy of Hirschberg’s Can You Solve It, Will didn’t think of himself as a book collector until his third year of law school at the University of Virginia. The school sponsors an annual essay competition about collecting rare books with prizes in a number of categories, including most interesting collection. Convinced that his puzzle book collection was a certain winner, Will wrote his essay, created a bibliography of his puzzle library, and though he did’t win that competition, ever since then he has considered himself a rare book collector.
Will describes his collection as huge—he has over 25,000 puzzle books and magazines dating back to 1533; eclectic—he collects anything related to puzzles that is in print including books, magazines, newspaper articles; and ephemeral—advertising trade cards, postcards, tickets, newspaper articles, things that are one-of-a kind and normally thrown away.
One of the many gems of his collection is the only existing copy of the first crossword puzzle ever published. It was the Sunday before Christmas, December 13, 1913, and the New York World “Fun” Sunday supplement editor Arthur Wynne wanted something to liven up his newspaper’s games section. The grid Wynne created was diamond-shaped and appears simple compared to many of today’s crosswords. After one hundred years, Will’s copy of that puzzle, carefully stored in an archival sleeve, still retains its original colors and conveys the rich and interesting history of the genre whose genesis it marks.
Immersed in the History of Puzzles
Will’s interest in the history of puzzles has deep roots. Between his junior and senior years at IU, he received a research grant to study the history of puzzles at the Library of Congress where he spent most of his time in the Rare Book and Special Collections Reading Room. On that visit, Will discovered the National Puzzlers’ League (NPL) and its magazines, The Enigma and before that The Eastern Enigma, the discovery of which marked an important moment in his life. Whereas puzzles are usually a solitary activity, the League connected puzzlers with one another, and for Will, bringing people together has always been a primary goal. He has belonged to the NPL since 1972, has served as program director of the NPL’s national convention since 1976, and remains deeply involved in national and international tournaments and activities that transform puzzling into a competitive social occasion.
Will wrote his thesis on the history of American word puzzles before 1860. He combed through material at the Wells Library as he conducted research, uncovering a microfilm copy of Puritan minister Samuel Danforth’s 1647 almanac, among the earliest surviving examples of the American almanac form. Along with Reverend Danforth’s musings on astronomy and religion, every month of the year he included a puzzle, specifically, a versified riddle. Puzzles held such a grip on people that even in a religious colony in the 17th century, people were creating and solving them.
Will spent weeks in the newspaper room in the basement of the Wells Library looking for puzzle columns in the bound volumes. As he puts it, “IU has a great collection of microfilm and microfiche of all the early publications, so when I was studying the history of puzzles, I literally looked through every newspaper and magazine I thought might contain puzzles. I found a lot of great information on the history of puzzles through months of work at the IU Libraries.”
Shortz at the Table
For many people, solving puzzles—and crosswords in particular—is a relaxing, refreshing activity. Because puzzles are a job for Will, he turns to another activity to recharge: table tennis. Although he was a tennis champion in college, Will says that the two sports are quite different in terms of their physicality as well as the game behind the game. In both you need to figure out your opponent, playing on your strengths and their weaknesses, but Will compares table tennis to puzzles since both are what he terms “brain games.”
Will traces his history with table tennis back to Crawfordsville where his family had a ping-pong table in their rec room. He played as a kid, won some trophies in high school, and continued playing up until his early 30s. The breakthrough moment in terms of his return to the table came in 2001 when his best friend found a table tennis club in Westchester County, where Will currently lives. The club offered table tennis two nights a week so Will played two nights a week, but that wasn’t enough. He convinced the club to offer a third night, so he was up to three nights a week. When that club closed, he found two community centers willing to offer two nights of table tennis each every week, so he was up to four nights a week. As Will puts it, “Things progressed,” and now he owns his own table tennis center. It’s the largest in the country, hosts international table tennis players, and Will gets to play table tennis every single day.
What Puzzles Will Shortz?
In addition to serving as program director of the NPL’s convention, Will is also the organization’s historian. Founded in 1883, the NPL is the oldest puzzlers’ organization in the world, and it has weathered highs and lows, including almost dying out in the late 1960s for lack of interest. Around that time, an old puzzler offered for sale a complete set of The Enigma, the magazine of the NPL, to anyone who was interested, agreeing to donate a certain portion of the price to support the NPL. Soon thereafter evidence of the sale appeared in The Enigma, but the buyer was not named and remains unknown. Who bought that complete set, and where have the seventeen earliest issues of The Enigma gone? That is what puzzles Will Shortz.
Do you know where those seventeen issues are?
Shortz in the News
October 14, 2013
Ploughshares Literary Magazine‘s blog recently featured an interview with the Lilly Library’s Curator of Manuscripts, Cherry Williams. Read about Cherry’s perspective on the book today and in the future, as part of the blog series “People of the Book”.
From the Ploughshares blog:
People of the Book is an interview series gathering those engaged with books, broadly defined. As participants answer the same set of questions, their varied responses chart an informal ethnography of the book, highlighting its rich history as a mutable medium and anticipating its potential future. This week brings the conversation to Cherry Williams, Manuscripts Curator at the Lilly Library at Indiana University.
Read the entire article at:
October 2, 2013
The Department of Comparative Literature, Indiana University, invites you to the Wertheim Lecture in Comparative Drama:
October 3, 2013, 4:30 p.m. at the Lilly Library
“The Play’s the Thing: A Journey through the Drama of South Africa”
by Professor Dennis Walder
Dennis Walder is Emeritus Professor of Literature at the UK’s Open University. He is the former director of the Open University’s Ferguson Centre for African and Asian Studies, as well as the founding director of the Post-Colonial Literatures Research Group. A graduate of the University of Cape Town, Professor Walder completed his doctoral degree as Aytoun Research Fellow in English at the University of Edinburgh. Professor Walder’s research interests range from 19th-century fiction to 20th-century literature. His thesis was published as Dickens and Religion (1981; reissued 2007). He published the first book on South Africa’s best-known playwright, Athol Fugard, in 1984, and he has since edited three volumes of Fugard’s plays for Oxford University Press. In 2003, he produced a new study of the playwright, Athol Fugard, in the series “Writers and Their Work.” He regularly writes program notes and gives theatre talks for performances of Fugard.
Professor Walder has contextualized his research on South African drama in Post-Colonial Literatures: History, Language, Theory (1998). His 2000 essay “The Necessity of Error: Memory and Representation in the New Literatures” began a series of papers and journal articles on topics linking memory, identity and narrative in post-colonial contexts, leading up to his most recent book Postcolonial Nostalgias: Writing, Memory and Representation (2010).
The Wertheim Lecture in Comparative Drama commemorates Albert Wertheim’s contributions to the field of Comparative Drama. Wertheim, who passed away in April 2003, was Professor of English, Comparative Literature, and Theatre and Drama.
September 26, 2013
Rebecca Stanwick is an MLS Candidate in the Department of Information and Library Science in the IU School of Informatics and Computing. Her major focus is on Children and Youth Librarianship, but she also works part-time at the Lilly Library. She recently organized an exhibition about the R. E. Norman papers for the Lilly Library’s foyer. Here she talks about the experience:
Richard E. Norman Studios: Race, Filmmaking, and the Silent Screen: Exhibit at the Lilly Library
Before beginning work on this exhibition, I had never heard of R. E. Norman or his project. Coming from a background in literature and working with my love of narrative, I was looking for a good story I could tell. I was also unaware of the scholarly recovery of Norman that is currently taking place and of newfound recognition that Norman’s movies are receiving. In November, Barbara Tepa Lupack will be publishing Richard E. Norman and Race Filmmaking, the first full-length critical study of Norman and his film company’s place in cinematic history. Here at Indiana University, the Norman revival is in full swing. In November, Norman’s project will play a part in a conference taking place at the Black Film Center/Archive where Norman’s only surviving full-length film, The Flying Ace, which was preserved by the Library of Congress in 2010, will be screened with live accompaniment at IU Cinema. The newfound critical attention is deserved, and it is exciting to see what scholars have to say about this long dormant, yet exceedingly interesting, character of black film history.
As I said, however, I knew none of this. I ultimately came to choose the R. E. Norman collection because I was intrigued by how the Norman Studios Silent Film Museum/Norman Studios website characterized Norman. It describes him as “disheartened about the state of race relations at the time, both in real life and in the movies…” This characterization of a progressive man in a time when African Americans were still firmly seen as second class citizens made me want to learn more about Norman’s motives for creating all-black films. Was Norman as racially progressive as the statement suggests?
What I discovered in Norman’s papers, especially letters to his brother Bruce, is that he was first and foremost a businessman. It is well documented that Norman and other race filmmakers saw an untapped market in all-black films. Often excluded from white films and cinemas and dismayed by the stereotypically racist portrayal of blacks by white filmmakers, black audiences were excluded from cinematic entertainment. Black audiences were hungry for stories and cinematic portrayals that spoke to them and reflected their experiences. These are the films that Norman offered.
As progressive as the films seem now, to characterize Norman as a proponent of better race relations is problematic. In his correspondence with his black talent, Norman was often dismissive and harsh. In his letters to his brother Bruce, he often uses racist language in reference to different actors and talent as well as to theater owners with whom Norman was conducting business. The letters suggest that his project was more about good business and making money than it was the betterment of the black community.
In addition to Norman’s letters, the exhibition features other items that document the actors and actresses with whom Norman came into contact. The actors include Anita Bush and Bill Pickett as well as vaudeville performers like Mazelle M. Perry. I have also included letters and pictures of lesser known African American talent who, vying for a chance to be in a Norman production, sent inquiries to Norman about parts great and small. This small exhibition only scratches the surface of the richness of the R. E. Norman collection. I hope many more scholars will come to investigate the R. E. Norman papers at the Lilly Library and at the Black Film Center/Archive where a large portion of the collection is also housed.
IU Cinema – The Flying Ace, November 15 – Friday 7:00 PM, http://www.indiana.edu/~bfca/events/#regener8
April 10, 2013
Roger Ebert (1942-2013), who passed away on April 4, 2013 at the age of 70, leaves behind an enduring legacy as a Pulitzer Prize-winning film critic for The Chicago Sun-Times (where he worked for 46 years) as well as a pioneer in both television (with Gene Siskel) and online criticism. Ebert’s impact on his profession, and on the countless number of individuals whose paths crossed with his, was enormous. To name one example relevant to Bloomington: In his 2011 memoir, Life Itself (New York: Grand Central Pub.), Ebert writes in glowing terms about the Vickers Theatre, an independent art-house cinema located in Three Oaks, Michigan, originally co-owned and operated by Jon Vickers, now Director of the Indiana University Cinema.
Early in his career, Roger Ebert was a protégé of Pauline Kael (often referred to as “Paulettes”), the influential film critic for The New Yorker. Two of his letters are in the Kael mss., a voluminous collection of her personal papers and correspondence. All his life invested in politics and social issues, Ebert tells her about the 1974 Conference on World Affairs he attended at the University of Colorado, and names a few notable panelists whom he speculates were invited “to add variety to the academics, politicians and fanatics.”
The Kael mss. is one of several collections featuring professional criticism in the arts available at the Lilly Library.
April 2, 2013
This year’s Rare Books and Manuscript Section (RBMS) preconference, http://www.preconference.rbms.info/, is focusing on performing arts and the use of these materials in an academic and research library setting. At the Lilly Library, there are many pieces of performing arts history that reveal to us connections between our culture and art. This post provides a glimpse of such collections in the Library’s holdings.
A truly extraordinary item in the collection is a Theatre Log circa 1934-1946. This log was printed with the intention that the owner would fill in the pre-printed sheets with information about the plays and/or movies they attended. The blanks are to be filled with not only things like the name of the performance and the theatre that it was performed in, but also who accompanied them to see the show, with plenty of room to express your opinion of the show.
The example in the Lilly’s collection was compiled by an unknown author. Even without the identity of the author, their detailed evaluations bring to life this author’s criticism and appreciation of theatre.
One entry of interest reflects on a performance at the Mercury Theatre in New York in 1938. The author saw Orson Welles portray Brutus onstage in “Julius Caesar.” “The only thing that annoyed me was the manner in which Welles kept poking his chin out and skyward in the Mussolini manner – a little too exaggerated at times to be pleasant,” she expresses quite bluntly. She adds: “This was an ingenius (sic) production in the true Orson Welles manner.”
We are fortunate to have the Orson Welles manuscript collection here at the Library, filled with correspondence, photos, and much more relating to Welles’ radio, theatre, and film productions. For “Julius Caesar”, he was not only the star, but also the director, editor, and producer. The play was produced in modern dress on a barren stage. While it was assumed by audiences that he was reflecting on European dictatorship of the time, Welles was insistent that this was not his intention. “I’m trying to let Shakespeare’s lines do the job of making the play applicable to the tensions of our time,” Welles states in the Mercury Theatre weekly bulletin written by Henry Senber. Many more of Welles’ productions have materials here that are waiting to be explored.
The Lilly Library’s holdings also include many theatre playbills; fascinating sources that shed light on our culture. We see performances placed in a specific place and time in history, and advertisements that provide a window into the culture of the time. A wide variety of products were advertised, from automobiles to fur coats. The most common advertisements promoted cigarettes. Endorsed by many different celebrities, cigarettes were certainly a symbol of sophistication.
Much more can be discovered amongst the Lilly Library’s collections of performing arts ephemera. Please contact us if you’d like to come and take a look at some of our fascinating historical items.
Rare Books and Manuscripts Specialization Indiana University – School of Library and Information Science Bloomington, IN
October 18, 2012
“Verbi-Voco-Visual Explorations: Language in Art and Text”
Oct 15-November 3, Lilly Library Foyer
In this exhibition, artists, designers and publishers explore the connections between text and form. These selections from the Lilly Library demonstrate the cutting-edge yet playful experimentation of Fluxus art and visual poetry, which pushed the boundaries of textual conventions and investigated the production of meaning in language and art. Many of the works featured in “Verbi-Voco-Visual Explorations” come from the personal collection of Mary Ellen Solt, 1920-2007, a concrete poet and former professor of creative writing at Indiana University. The title “Verbi-Voco-Visual Explorations” is borrowed from artist Marshall McLuhan, who in turn borrowed it from James Joyce’s Finnegan’s Wake–an example of not only the multidimensional iterations of meaning conveyed in the exhibition, but also how influences can be sampled creatively into new works.
The exhibition includes big names like John Cage, whose centennial is celebrated this year, and also lesser known but still influential writers and artists. Cage’s M: Writings ’67-’72, in which he explores words, names and concepts through textual visualization techniques such as mesostics, a form of poetry in which words are spelled horizontally using letters from the middle of lines. Another iteration of the complicated nature of textuality and reading is Bruno Munari’s thought-provoking Libro illeggibile or “Illegible Book.” The work’s absence of text and red string threaded through the pages makes the book more of a sculptural object than a learning tool; while the codex format engenders understanding through familiarity. Johanna Drucker, a highly influential scholar of artist’s books, visual poetry, digital humanities, also demonstrates her artistic ability through her artist’s book The Word Made Flesh, which celebrates the embodiment of text through rich all-over page design and consummate deployment of fonts and colors to enrich meaning. Lilly’s edition of Jorge Luis Borges’ Ficciones illustrated by Sol LeWitt presents an intriguing melding of two highly-regarded figures. A number of the works included were published by the German imprint Hansjörg Mayer, a major publisher of artist’s books and an early innovator of the use of computers in graphic design.
The exhibition was crafted to highlight the upcoming show “Buzz Spector: Off the Shelf,” opening October 19th at the Grunwald Gallery. “Off the Shelf” features both Spector’s large, sculptural installations of books and his Polaroid works. The installations, including “The Library of Babel” inspired by Borges’ short story of the same name, and a piece featuring books by Indiana University authors, are all borrowed from Indiana University’s libraries. These installations invite commentary on the logic and poetry of the arrangement of books, and ask the audience to consider the function of the book object. Spector’s oversized Polaroid prints further investigate the themes of meaning and form, authorship and ownership, and the physical experience of reading.
Spector is an eminent figure in the artists’ book and book arts communities and an internationally known artist and writer. He has published numerous artists’ books as well as editing the critical volume The Book Maker’s Desire: Writings on the Art of the Book.
Additionally, The Fine Arts Library is hosting a complementary exhibition “On the Page: Artists’ Take on the Book and Library” October 6-November 8 in the Fine Arts Library lobby, which gathers examples of thoughtful, artistic engagement with the materiality and symbolic functions of the book object, stacks of books, and entire libraries. For more information, visit the Fine Arts Library blog: https://blogs.libraries.iub.edu/FAL/
September 24, 2012
The War of 1812 is one of the least known wars in American memory, despite the fact that it was fought on United States territory. Yet the War of 1812 deserves closer attention. A generation of political leaders was forged in the war. It brought us the song that became the national anthem and delivered a death blow to Native American resistance to American expansion.
The exhibition provides an overview of these significant developments, as well as a glimpse of moments of high drama. Pro-war Baltimoreans tar-and-feather an anti-war newspaper publisher. Generals surrender and face court martial. Battles are fought on land and sea and lake. Washington burns!
Items on display range from the official declaration of war to a receipt for the sewing of signal flags, and include such resources as anti-war pamphlets, a letter describing the burning of Washington, D.C., and a satirical print of James Madison boxing King George III. The exhibition will be on view September 18 – December 15, 2012.
The reception will feature an historical miniature war game recreating the Battle of New Orleans, in which American forces led by Andrew Jackson defeated the British army on January 8, 1815.
Visitors can participate in the game again on Saturday, September 29, at 9:30 a.m. in the Lilly Library Slocum Room. The games are organized by the IU Conflict Simulations Club. Both the reception and the games are open to the public.
All the historic materials on display, and more, are also available in the online project of the same name: http://collections.libraries.iub.edu/warof1812/. Hundreds of manuscripts, books, maps, and prints are included online, digitized in full. Viewers of the exhibition can find a interesting book on display, and then have access to the entire volume online.
July 19, 2012
The Bradley mss. include correspondence, screenplays, publicity materials, business records, writings, and biographical items pertaining to David Bradley (1920-1997), film director, collector and historian. At an early age Bradley became a pioneer in amateur filmmaking and went on to direct his friend Charlton Heston in Peer Gynt (1941) and Julius Caesar (1950). (The former film was Heston’s film debut; the latter got Heston a successful screen test with MGM.) Bradley also directed Macbeth (1947), Talk About a Stranger (1952), Dragstrip Riot (1958), 12 to the Moon (1960), and The Madmen of Mandoras (1963, and later re-released as They Saved Hitler’s Brain in 1968). The Bradley papers complement the film elements and photographs already in the collection, along with the nearly 4,000 reel-to-reel films he collected during his lifetime.
The Lizzani, Carlo mss. feature the writings, photographs, scripts, audio-visual materials, correspondence, awards, newspaper and periodical articles, and unpublished diary of Italian filmmaker Carlo Lizzani. Born in Rome in 1922, Lizzani began as a film critic and eventually collaborated with prominent directors in the Italian neorealism movement. He served as assistant director on Roberto Rossellini’s Germany Year Zero (1948) and earned an Oscar nomination for Best Original Story for Giuseppe De Santis’s Bitter Rice (1949). Lizzani’s own films include numerous spaghetti westerns and the internationally acclaimed crime thriller Banditi a Milano (Bandits in Milan), released in the United States as The Violent Four (1968). The Lizzani papers are mainly in Italian and were processed by Austin Alexander, a graduate student in the Department of French and Italian.
January 10, 2012
“Conducted by Charles Dickens: An Exhibition to Commemorate the Bicentennial of His Birth”
January 23 through May 5, 2012
Charles Dickens is one of the most beloved and well-known authors in the English language. The stories of characters such as Scrooge, Tiny Tim, Oliver Twist, and David Copperfield have moved beyond the pages of fiction and into the realm of popular myth.
The Lilly Library will display an exhibition from January 23 to May 5, 2012 commemorating the bicentennial of Charles Dickens’s birth. The title of the exhibition refers to the way in which Dickens denoted his editorship of his periodicals Household Words and All the Year Round: “Conducted by Charles Dickens.” Like the conductor of a train or an orchestra, Dickens masterfully channeled the cultural currents of his age into works of literature that still resonate with readers today.
The exhibition showcases the Lilly Library’s eclectic holdings relating to Charles Dickens’s life, literature, and the Victorian world from which he drew inspiration. Highlights include first editions of Dickens classics such as The Christmas Carol, Oliver Twist, and Great Expectations as well as examples of Dickens novels issued in serial monthly parts. The exhibition also explores Dickens’s love of theatre, the novels and stories that inspired him as a child, the numerous illustrators with whom he worked, and practices of Victorian readership and publishing. One section is devoted to the colorful and chaotic world of Victorian London, featuring London “low life” and the social reform movements which were such an integral part of Dickens’s fiction.
September 20, 2010
Tomorrow, Tuesday September 20th, we will be upgrading the WordPress software used to manage this blog. This upgrade will not affect the appearance or layout of News & Notes, but will allow us to add new features. For example, a new subscription page will offer readers the option of receiving new posts by email.
Bookmarks to our site will be safe, as the upgrade will not affect the primary web address. However, the upgrade may affect any permanent links you have to archived posts, and will change the address of the RSS feed. If you have added News & Notes to a feed reader (like Google Reader) or subscribed to receive posts through a third party program, you will need to update the link to reflect the new format. Check back tomorrow evening for the specific URL.
July 29, 2010
Volunteer docents are needed to provide gallery tours of the Lilly Library exhibitions. Applicants should possess a genuine interest in books and manuscripts. Orientation and instruction sessions to learn about the Lilly Library collections and new exhibitions are required. Because of the training investment, docents are expected to make a commitment of at least one year to the program. Time commitment varies, usually 2–5 hours per month. We ask volunteers to commit to at least one Friday from 2:00–3:00 per month.
The Lilly Library is a rare book, manuscripts, and special collections library of Indiana University, serving as a resource for scholars throughout the world as well as a center of cultural enrichment for the public. With collections containing over 7,000,000 manuscripts, 400,000 books, and 100,000 pieces of music, the Lilly Library makes its holdings available to a diverse public through publications, exhibitions, and public programming.
Library Hours: Monday–Friday: 9:00 a.m.–6:00 p.m.; Saturdays: 9:00 a.m.–1:00 p.m.
For more information or to apply, call Sue Presnell, 855–3006 or e-mail: email@example.com
As of September 30, the Lilly Library is no longer accepting applications for volunteer positions. Thank you!