When people come to Hornbake to explore our Literature and Rare Books collection they are often viewing our works from a historical or literary perspective. While it’s true that students studying history and English can find a wealth of resources in our collections collection, the same is equally true for students in STEM. Whether you study biology, astronomy, engineering, or math you can find early texts on those subjects in Rare Books. And it’s now easier than ever with a new libguide on STEM in Rare Books!Continue reading
As we come back from winter break, you may be looking for something to keep you in the holiday spirit. Well there’s no better place to look than the Carolyn Davis collection of Louisa May Alcott! You can now view and request individual items from this collection through the updated finding aid, making it easier than ever to access these timeless stories.
The Carolyn Davis collection of Louisa May Alcott contains numerous editions of Louisa May Alcott’s Little Women, including everything from a first edition copy of the novel, a Danish translation, an edition from 1995, and more! Seeing how Little Women has been interpreted throughout time and across countries can allow you to experience this classic story in new ways. The Carolyn Davis collection also contains other works by Alcott such as Hospital Sketches and Rose in Bloom and works about Alcott and her family.Continue reading
Similar to the Black Lives Matters protests of today, the anti-war demonstrations of the 1960s and early-mid 1970s were frequently organized and led by young people. Anti-war demonstrations and boycotts became commonplace on college campuses across the country throughout the Vietnam War. And while protests weren’t necessarily restricted to students from specific backgrounds, black student activists maintained a unique perspective and set of objectives when it came to American involvement in Vietnam.
Following American military escalation in Vietnam in the mid-1960s, prominent civil rights organizations like SNCC and leaders like Martin Luther King Jr. and Malcolm X vehemently rejected the notion that Black Americans should be required to aid the war efforts. In 1965, SNCC issued a statement that declared: “No Black Mississippian should be fighting in Vietnam for the white man’s freedom until all the Negro people are free in Mississippi.” In other words, many African-Americans across the country contended that they should not be required to fight and support a foreign war for democracy when their own rights were still not fully secured at home.
Despite the growing numbers of black-led protests throughout the 1960s, African-American men continued to bear the brunt of American military hardships during the war. African-American men were much more likely to be drafted into the military compared to white men. In 1967, 64 percent of eligible black men were drafted into war–compared to only 31 percent of eligible white men. The casualty rate of black soldiers was also disproportionately higher. Black soldiers were twice as likely to die in combat compared to whites.
In spite of stern opposition from university leadership and deterrence from police and National Guard troops, African-American students at University of Maryland continued to organize and hold campus protests into the early 1970s. In addition to protesting the military draft and American escalation in southeast Asia, student activists also used the protests as opportunities to advocate for racial equality on campus. Student protestors, including those active with the Students for a Democratic Society, demanded for the university to enroll larger numbers of students of color and hire additional faculty of color. As doctoral student Greg Dunkel later claimed, “the connection between the struggle against racism at UMD and the struggle against the war was very significant.”
Explore more in our collections:
- Digital Collections
- UMD Student Newspapers, 1910-2016
- University Archives
- History of the University of Maryland – Campus Unrest records
- University of Maryland Vertical File Collection
David Biel, Candidate for Master of Library & Information Science
We now have 40 short films from our AFL-CIO film collection uploaded to George Meany Labor Archives playlist on the Hornbake Library YouTube channel! Many of these films were digitized as part of the “For Liberty, Justice, and Equality: Unions Making History In America,” exhibit. This post intends to expand and explore upon a selection of films that we not only think are interesting, but also contextually relevant to the present day.
The first of these films is “CORE: Freedom Ride,” 1961, Presented by the Social Action Commission of the African Methodist Episcopal Church, and sponsored by the Congress of Racial Equality (CORE).
Narrated by James Farmer, National Director of CORE and founder of the Freedom Rides, this film recounts the experiences of Freedom Riders shortly after the rides ended in December 1961. This film includes footage from the Freedom Rides, and testimony from Freedom Riders Jim Peck, Albert Bigelow, and Genevieve Hughes.
When the topic of the Civil Rights Era is brought up, who is the first person you think of?Continue reading
Autumn is quickly sliding into winter, and we at Special Collections and University Archives are hunkering down, already reminiscing about summer days spent in the sunshine. For coping with quarantine, Maryland Public Televison’s (MPT) program On Nature’s Trail is a true delight. University of Maryland (UMD) alumni Jean and Elmer Worthley take viewers on an exploratory trip into the woods. Jean, the author of The Complete Family Nature Guide, studied human development and childhood studies at UMD, and was the host of the beloved MPT children’s show Hodgepodge Lodge. A noted botanist who received his PhD from UMD, Elmer grew plant specimens under the sponsorship of the UMD School of Pharmacy. These two approach nature with a conversational tone reminiscent of a science class field trip. Each one of On Nature’s Trail’s 26 episodes focuses on a specific environment or landscape, from summertime woods to railroad tracks and hedgerows.
The Mass Media and Culture unit in Special Collections and University Archives holds a wide range of collections documenting U.S. television and radio broadcasting history, including the Maryland Public Television (MPT) collection. In celebration of the University Libraries’ extended “Year of MPT” celebrating the organization’s 50th anniversary, we just published our finding aid for the MPT records! This finding aid is an invaluable resource for our campus community and for the public to learn about this unique and vital collection documenting the history of Maryland’s only state-wide public television broadcaster.
While the library is temporarily closed due to the pandemic, explore the finding aid from home. There is something for everyone in the 3,920 itemized videos (including over 700 with links to digitized content) and the 47 boxes of print records and photographs:
Behind the scenes: What’s in the finding aid?
The finding aid is a guide to the entire Maryland Public Television collection, including print records, photographs, and recordings on open-reel film, Betacam, U-Matic, and VHS tapes. The print records include administrative records, correspondence, memos, program guides, promotional materials, publications, marketing and development plans, newspaper clippings, budgets, and reports. The thousands of videos represented in the MPT finding aid document the breadth and depth of MPT’s broadcast programs, primarily from the mid-1970s to the late 1990s but dating as late as 2013.
This most recent phase of documenting the MPT collection began in January 2019 in anticipation of last fall’s exhibit opening, Made Possible by Viewers Like You: Maryland Public Television Turns 50. Processing Archivist Jen Wachtel spearheaded the inventory and finding aid project. Although previous archivists documented portions of the collection, Jen started from scratch with the audiovisual inventory so that we would have an up-to-date and accurate record. An important milestone for Special Collections in working with large audiovisual collections, the publication of this finding aid also reflects an enormous effort on the part of many other people from MMC including graduate student assistant Emily Moore, past graduate assistant student Liz Holdzkom, and Curator Laura Schnikter.
Of course, documenting thousands of videotapes takes time, as does ensuring the accuracy of the metadata (the detailed information in a library catalog record). Proceeding shelf by shelf throughout 2019, the team updated and refined the inventory. Just as they neared the last few stacks of videotapes in early 2020, the University Libraries shut down due to the coronavirus pandemic. Working remotely with the pre-pandemic inventory, Jen Wachtel and Archival Metadata Librarian Liz Caringola experimented with workflows for reconciling large amounts of data across multiple inventory spreadsheets and linked digitized videos to the corresponding items on the inventory. In the meantime, Jen Wachtel created descriptions about the print and audiovisual series so that public viewers would be able to navigate all components of the collection. For example, although the physical videotapes and film reels are not necessarily shelved by program title, for the sake of discoverability, each item is arranged alphabetically by MPT program title in the finding aid.
We are so excited to share this public broadcasting collection, made possible by viewers like you!
Jen Wachtel is the Mass Media and Culture and Processing Archivist and Special Collections Engagement Specialist at the University of Maryland Special Collections and University Archives. She is also a graduate student in the History and Library Science (HiLS) dual master’s program and Museum Scholarship and Material Culture graduate certificate program at the University of Maryland, concentrating in modern European history and archives and digital curation.
For the uninitiated, the term “Wolf Trap” likely inspires visions of fur trappers, wintery wilderness and small, cozy cabins. For anyone familiar with the Wolf Trap of Fairfax County, Virginia, however, the name evokes something quite different. The only national park for the performing arts in the United States, Wolf Trap is a “unique marriage of arts and nature” (https://www.wolftrap.org/about.aspx) that has played host to performers from Elvis Costello to the classic improv troupe Second City (https://www.wolftrap.org/calendar.aspx). A 117-acre campus, only 30 minutes from the University of Maryland College Park, Wolf Trap, like every other venue, has had to close due to covid, canceling all live performances until 2021. Luckily, Special Collections is home to recordings of “On Stage at Wolf Trap”, a behind-the-scenes show that features some of the park’s most famous musical and cabaret performances. Rather than underscoring the loss of live performances, these recordings, full of archival images and interviews with performers, offer a depth of access typically only available to ticket holders with the best seats. Combine that with the technical and contextual information provided and you’ve got yourself a real-deal cultural experience, pandemic-style.
One of the best parts of seeing live performance is the sense of immediacy and intimacy – the feeling that anything can happen. Watching the National Symphony Orchestra perform Shostakovich on my screen at home takes that sensation of proximity to a new level – in On Stage at Wolf Trap: Rostropovich Conducts Shostakovich (episode 102), we see close-ups of the conductors face, zero in on the musician’s hands, see the wiggling eyebrows of the woodwinds section, and admire the lace edge on the sleeve of the harp player. After so many months without live music or the feeling of camaraderie that performances bring, this footage is balm for my music-starved self. The same goes for Great Performances at Wolf Trap, episode 139, which features a Dizzy Gillespie performance from 1987. We see Gillespie, dapper in a salmon jacket, sing and start a call and response with the audience during setup; it’s like being present for a studio recording session.
Beyond feeding our appetite for live performance, On Stage at Wolf Trap gives viewers a peek behind the scenes, rounding out the music with insider’s info on how the shows get made. In the Shostakovich episode, for example, we watch the assembly of the stage, a process that takes six people a full two hours. The ceiling, made from three massive pieces of douglas fir that each weigh 1,200lbs, sits on top of 24 sections of wall, each 30 feet tall and weighing 3,000lbs. The construction of the stage is a feat of engineering, and one that remains unseen to most attendants at a Wolf Trap performance. Another backstage look, this one of the legendary Soviet Kirov ballet company, is offered by Weeknight Alive!, a Maryland Public Television series focusing on the arts. Hosts Brian Whitley and Michael Joyce take viewers behind the scenes to show how the live performance, shown simultaneously on 273 public television stations, was successfully made. Seven camera operators choreograph their work alongside 100 dancers, and the episode offers some serious technological throwbacks, made all the more impressive when we realize that this 1987 performance was done decades before the era of the drone. The final product, the first time the Kirov ballet had performed in the United States in 25 years, is available in our digitized archival collections here.
So while you’re transporting yourself to this beautiful Virginia site, imagining the fresh air and buzzing energy that accompanies live performance, be sure to check out a few more gems from the collection:
- A full intimate performance of the King’s Singers, a British a cappella ensemble, that includes the beloved Beatles classic “Can’t Buy Me Love” sung in the style of a medieval madrigal.
- For our classical music fans, our Special Collections in the Performing Arts score database has more than 25,000 scores, with over 15 by Shostakovich.
- Our LP collection at the Performing Arts Library, which includes recordings of Gillespie in France and at the Village Vanguard, New York City’s oldest operating jazz club. Come and listen once we’re all back up and running!
Next up, join us for a little virtual nature break with an episode of Nature’s Trail, another treat from MPT.
Emily Moore is a second-year MLIS student with a background in art and theory. In addition to her role as a student assistant at Special Collections and University Archives, she works as the Archival Assistant at the National Museum of Women in the Arts.
What do anarchism, science fiction, women’s rights, and Romanticism have in common? One family! William Godwin, Mary Wollstonecraft, Mary Shelley, and Percy Shelley wrote in different genres but the writings of all four continue to provoke thought and provide enjoyment centuries later. You can learn more about this fascinating family by viewing their works in Hornbake Library’s Literature and Rare Books collection!
William Godwin was a British philosopher, novelist, and a radical critic of British government and society in the 18th and 19th centuries. Godwin was a proponent of utilitarianism and anarchism, and many of the radical critiques of these schools of thought can be found in his writings. For example in St. Leon: A Tale of the Sixteenth Century Godwin ponders the value of the aristocracy and questions what truly makes people free.
In 1797, Godwin married Mary Wollstonecraft. Like Godwin, Wollstonecraft was an author and philosopher. Wollstonecraft is best known for writing a Vindication of the Rights of Women, a work that was highly influential on the early women’s rights movement. In Vindication, Wollstonecraft argues that a lack of education, rather than inherent differences due to sex, is what prevents women from achieving the same things as men. You can find both the 1794 edition and the 1796 edition in the Literature and Rare Books collection.
Godwin and Wollstonecraft had one daughter, Mary. Wollstonecraft died shortly after Mary’s birth and Mary was raised by her father and step-mother. At age 16, Mary met the Romantic poet Percy Bysshe Shelley. Percy, despite his aristocratic birth, was a follower of Godwin’s radical political views. Despite the fact that Percy was already married, the two fell in love and fled along with Mary’s stepsister, Claire, to Switzerland.
In Switzerland, Mary would write Frankenstein, her best known work. Hornbake has several fascinating editions of Frankenstein such as a specialty edition given out to the armed forces during World War II and an edition featuring engravings from the acclaimed artist Lynd Ward.
While Frankenstein is what Mary is most well known for, she continued to write in a variety of genres after it was published. Her novel Lodore follows a widow and her daughter as they struggle to find their way in a patriarchal culture after the death of her husband. Mary also wrote a travel narrative, Rambles in Germany and Italy in 1840, 1842, and 1843.
Mary’s literary output also included editing her husband Percy Bysshe Shelley’s works after his passing. Mary edited volumes of Percy’s poetry that were published in 1824, 1839, 1840, 1854, and 1892. Hornbake’s Rare Books collection also includes works that were published before Shelley’s death such as Posthumous Fragments of Margaret Nicholson, The Revolt of Islam: A Poem, in Twelve Cantos, and Rosalind and Helen: A Modern Eclogue: With Other Poems.
Caroline Ackiewicz, Candidate for Master of Library & Information Science, University of Maryland.