New Resource: Early Printed and Manuscript Leaf Collection Finding Aid

While summer may mean the end of the school year, you can still explore library resources from home!  If you have some spare time, explore hidden gems in Special Collections and University Archives like the Early Printed and Manuscript Leaf collection.  The collection consists of printed and illuminated manuscript leaves from Europe dated from the 12th -16th centuries and includes some of the oldest items in Hornbake Library. There are a total of 70 whole and partial leaves, representing a variety of styles and techniques that serve as a sampling of early print and manuscript book history.

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The Continuity Will Be Televised: MPT’s Our Street and Afro-American Perspectives

What does public television have in common with many libraries and archives? As arenas of discussion, education, and reflection, all three aim to engage with the communities they were ostensibly created to serve. How are communities enriched and strengthened through engagement with collections of manuscripts, text and mass media? What role does this type of engagement play in civic discourse and reflection? 

Recognizing the important role of public television in cultural dialogue, Maryland Public Television (MPT) founded, in 1969, the Urban Affairs Advisory Council, a group of 60 men and women from the Baltimore area. Together, this group designed a variety of half hour-long programs that addressed issues specific to Baltimore, including the daytime serial Our Street and the documentary series Afro-American Perspectives, produced as part of MPT’s educational arm, ITV. Episodes of both these programs are available in the University of Maryland Libraries Digital Collections, and in watching them, viewers get access to both the perspectives of the past and commentary on the present.

The 56 episodes of Our Street tell the fictional story of the Robinsons, a Black family from East Baltimore. Syndicated to 20 stations around the country, Our Street introduced Baltimore to communities beyond Maryland, examining challenging themes within the framework of domestic drama. 

Picture of a newspaper with two photographs and a block of text. The top photo takes up most of the page and features a man with dark skin leaning over a couch to talk to a woman with dark skin, who sits with her lands in her lap. Text next to them reads black family's search for dignity and respect. Below, a photograph of a group of four people with dark skin, and 1970s fashion.
“Our Street” featured in Daytime TV, October 1972. Image: Daytime TV, October 1972.
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Digitized Early Modern Books

Until UMD Libraries are able to reopen, digital copies of books are one of the best ways to take advantage of library resources.  Through modern technology you can now access some of the oldest and most fascinating items in the Literature and Rare Books collection.

The Internet Archive includes digitized copies of some of the highlights from Hornbake’s collection of Early Modern Books.  One notable item is the digitized copy of the Biblia Sacra, a Bible published in Latin in 1516.  The Biblia Sacra contains excellent woodcut illustrations of biblical stories such as Noah’s Ark or Moses and the Ten Commandments, as well as annotations made by previous readers.

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Digital Resource: French Pamphlet Collection

Interested in French history and language? Explore digitized items from our French Pamphlet collection online!  The entire collection spans from 1620 to 1966 and contains pamphlets on a variety of topics, covering everything from religion to science to the economy.

The most significant portion of the collection is on politics and social issues in France, particularly the French Revolution.  The collection includes the Déclaration des Droits de l’Homme et du Citoyen, one of the most important civil rights documents of the French Revolution.  The Déclaration espoused the principle of popular sovereignty and that all citizens were equal in the eyes of the law.   The collection also includes pamphlets opposing  the revolution, such as Le de Profundis de la Noblesse et du Clergé.

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Live from Baltimore: Maryland Public Television’s Crabs

May is here, bringing with it bouts of summer weather that have us eager to shed the stress the spring semester. While the library often represents serious intellectual pursuits, at Hornbake Library we have plenty of materials documenting the lighter sides of history. May I present Crabs, an irreverent sketch comedy show produced by Maryland Public Television (MPT) in the 1980s. Crabs serves up clever commentary on culture and politics both local and national. The pilot episode, “Nature’s Way” premiered September 5, 1984 and invited the Mid-Atlantic to taste Baltimore comedy.

Each 30-minute episode was taped before a live studio audience and cast members served as both actors and crew. Our featured episode consists of nine hilarious skits, ranging from spoofs to musical numbers. While the entire show has plenty to discuss, today we’ll be focusing on three  comedic gems that make light of the dynamic between Baltimore and Washington, DC. 

The show opens with an exterior shot of Baltimore’s Memorial Stadium, the original home of the Orioles. Voice-over informs the audience  about a concerted effort to encourage more D.C. baseball fans to come see the Baltimore Orioles. Wearing a “Where’s the beef?” t-shirt that is three sizes too small, the Baltimore fan in the stands is a ballpark classic: heckling the players, waving his arms and spilling his beer. Sliding in to take the seat  beside Where’s the Beef (despite the fact that the section is otherwise totally empty), our man from D.C. comes complete with a picnic basket, a quiche, and a cravat to boot. The two new companions are both thrown off by the other, with Where’s the Beef asking Cravat “Are you from a foreign country?”, to which he disdainfully replies “I’m from Washington.” The juxtaposition and back-and-forth between the two  pays irreverent homage to the dynamic between the two cities, a theme that runs throughout the episode.

Two men sit closely to each other on a yellow stadium bench. One wears a grey suit with a cravat and yellow pocket square. The other wears a Baltimore Orioles cap with a yellow shirt that says where's the beef? They gaze at each other with confused expressions.
Washington, D.C. and Baltimore go head-to-head on MPT’s Crabs, 1984
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Add Terp Flair to Your “Animal Crossing” Island

The release of “Animal Crossing: New Horizons” could not have come at a better time. People across the globe are stuck indoors and “bored in the house, and in the house bored.” The popularity of the game has led to numerous articles touting the merits of the game and its timeliness, even dissecting the politics of Tom Nook and his island

We, too, have enjoyed countless hours of trying to get our favorite villagers, catching fish and bugs (and tarantula hunting), gathering materials, crafting, and building towards that ultimate rush of achieving a 5-star island. 

“Interacting with friends through the game and visiting their islands has been helpful for me during this time of isolation. It’s also really nice to have something pretty low-stress and low-stakes to focus on.”

Sharona Ginsberg, Head of Terrapin Learning Commons 
View of our Animal Crossing kitchen
View of Animal Crossing villager with tarantulas

As the nostalgia for campus and being surrounded by fellow Terps has hit us, we began experimenting with adding images that represent UMD to our islands.

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Digital Resource: German Periodicals

We may be self-isolating for the time being, but that doesn’t mean that we can’t travel the world!  If you want to learn more about German history and culture, visit the Internet Archive to view digitized items from the University of Maryland’s collection of German books and periodicals.

This digital collection of 29 items spans from 1832 to 1923 and includes a variety of topics.  With works on subjects as diverse as the Napoleonic Wars, the Dada movement, bacteriology, art and architecture, World War I, and German poetry, there is something for everyone! 

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Dipping into Maryland Public Television

The coronavirus pandemic has many of us from Special Collections and University Archives (SCUA) working from home, which provides the opportunity for me, student assistant Emily Moore, to get to know our collections in a new way. My current project at Hornbake involves working closely on our collection of Maryland Public Television (MPT), which celebrated its milestone 50th anniversary in 2019 (check out the online version of our gallery exhibit.  As a recent transplant from the West Coast, I have discovered that working with MPT content provides me a unique lens into Maryland culture and history. A wide range of television content that dates from the 1970s is available from SCUA in our Digital Collections database. Through watching four episodes of MPT programs, I got an intimate, first-hand introduction to Maryland. Today’s post focuses on  Chesapeake Bay Cooking with John Shields, but be sure to check back for subsequent posts about MPT classic programming including Crabs, Our Street and Basically Baseball.

Chesapeake Bay Cooking with John Shields is hosted by Baltimore native John Shields, who balances interludes of cooking with explorations of the Mid-Atlantic landscape, combining his love of animals, plants, learning and food. Each episode features a different region, offering viewers an armchair trip that is especially welcome as we socially distance and remain in our homes. In his April 7, 1998 episode on Bishop’s Head, we learn how to make Maryland fried chicken and bread in the shape of a crab. As a woman born and raised in Colorado, I had to Google what a blue crab looked like in order to make sure I structured mine correctly. Turns out they’re beautiful. Here’s a picture of one featured on a postcard from the National Trust Library Postcard Collection:

Love from Maryland, circa 1981-2000. Postcard features word "LOVE" created from photographs of Maryland.
Love from Maryland, circa 1981-2000. National Trust for Historic Preservation Library Collection, https://hdl.handle.net/1903.1/20592.

Fried chicken

I love fried chicken, but I have always been reluctant to try making a batch without a fryer. John Shields, however, demonstrates an easy way to use a pan frying technique. Thankfully, I already had most of the ingredients, but because of the pandemic I had to create my own homemade buttermilk and Chesapeake Bay seasoning substitutes. (Was Shields referring to Old Bay? Keep in mind I only learned about Old Bay six months ago, and I definitely don’t have any in my kitchen (yet!). I approximate my own and hope for the best; I won’t be able to tell if it’s wrong anyway.

I put the chicken in one morning to soak up all the goodness overnight. Shields really sells this recipe by promising lots of secrets, and boy does he deliver. Here they are: hot oil (400 degrees), a BIG skillet with a cover and cooking for 20 minutes. It turned out as juicy as Lizzo’s big hit last year. 

Crusty Crustacean Bread

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Digital Resource: The Elsa von Freytag-Loringhoven Papers

Happy National Poetry Month!  As we celebrate some of our favorite poets, it’s also an opportunity to discover someone whose poetry you may not have read before.

One poet worth examining is the Baroness Elsa von Freytag-Loringhoven (1874-1927), the avant garde German poet.  Von Freytag-Loringhoven was a woman of many talents. In addition to her work as a poet, von Freytag-Loringhoven was an artist who was active in the Dada movement, which rejected logic and reason in favor of absurdity. 

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Staging the Politics and Popular Appeal of “Pale Horse, Pale Rider”

Katherine Anne Porter’s story “Pale Horse, Pale Rider” – the titular story of Porter’s 1939 collection – was written on the eve of World War II, but the focus of the story is the last few months of the first World War. Porter was actively involved in political discourse and social protests throughout her life – notably, Porter participated in the protests against the execution of Sacco and Vanzetti – but her political positions changed. Janis Stout notes, “The scholar who seeks to construct an account of her [Porter’s] political and social views is well advised to resist the urge to find, or to impose, an undue coherence.” Despite the shifts in Porter’s political thinking, scholars like Janis Stout and Darlene Harbour Unrue argue for the importance of understanding the radical politics of Porter’s literary circle, as well as the political turbulence during her career and lifetime, in reading and engaging with her work. Stout suggests that if we read the views outlined in “Pale Horse, Pale Rider” as Porter’s own “testimony” – Miranda’s critique of World War I, the senselessness of the violence of war, the manipulation of the Liberty Bond system – we can see Porter as “fresh from the scene of a powerful experience in dissent.” If we view Porter’s story, like Stout, as her testimony critiquing war and United States’ political agenda, what then might a McCarthy-era experimental off-Broadway adaptation make of this source material? How can we read Porter’s response to this particular adaptation of her story?

Porter was disappointed with F. W. Durkee’s 1956 television adaptation of her story, as outlined in the previous post in this series, but she was thrilled the following year, when the off-Broadway production of the stage adaptation premiered. Porter was aware of the difference between her own reaction to the play and that of the critics, as she wrote to David Locher:

Did I tell you that my story Pale Horse, Pale Rider, has been made into an experimental play and is now running off-Broadway, and has had not altogether counting pre-views, twenty-nine performances as of tonight. The critics didn’t like it but somebody does, because the people keep coming in, and my friends seem to love it, and I saw it twice and thought it most impressively done, and such old pros as the critic on Variety, and Tennessee Williams, and William Saroyan and my dear friend Robert Penn Warren rushed to the rescue and are being quoted in the advertisements. So it goes on, but I think it will not last very much longer, the audience for that sort of thing is limited, and nobody expected it to go as far as it has! (30 December 1957)

Unrue, Darlene Harbour, ed. Selected Letters of Katherine Anne Porter: Chronicles of a Modern Woman. University Press of Mississippi, 2012. pg. 259.

Porter keeps track of the reviews of the play in her correspondence, and she also created a scrapbook of various reviews and coverage of the play, including both positive and negative press.

Porter saved a clipping of Frank Aston’s December 10, 1957 review for the New York World Herald, in which he writes: “Miss Porter speaks of the futility of war, of hypocrisy bred by war, of the appeal war extends to silly women… Everyone [the actors] does all right but shouldn’t have been implicated to begin with in this unfortunate canter of enthusiasm.” Though Aston critiques the overzealous acting, he accurately assess the heart of the play’s critique of war and propaganda, of hypocrisy in wartime, in the midst of the rampant propaganda of McCarthyism.

Porter collected her share of published reviews in the scrapbook, but she also received personal testimony. A few months into the off-Broadway production’s run, Porter’s friend and later agent, Cyrilly Abels, arranged for some of her staff members at Mademoiselle magazine to see the play. Abels forwarded multiple personal notes of thanks and praise for the play to Porter, whose letter to Abels in return expresses her delight at the varied responses to the play, with particular praise for Suzanne Wile’s letter.

Suzanne Wile, an employee at Mademoiselle, notes that the stage adaptation of “Pale Horse, Pale Rider” captured “popular appeal,” even as it differed from “ordinary Twentieth Century stage-presentation…” as it:

required a type of theatrical – and literary – appreciation a little different from the ordinary demands (or lack of them) of the successful plays–… for Pale Horse the ability to be absorbed in the fundamentals of life with the aid of  a high–or unfettered–imagination. It demanded a different use of the imagination than that which the theater normally requires, and evidently the critics felt that the popular audience was not up to it.


Suzanne Wile to Cyrilly Abels, 13 January 1958.

Porter was very pleased with Wile’s note, writing to Abels that “If you [at the magazine] ever put in a theatre department, give it to her!” Porter’s enthusiastic approval of Wile’s reading of the play suggests that her happiness with the stage adaptation could lie in part in its ability to challenge the imagination to examine the everyday intrusion of war into life beyond the battlefield, which the story forces readers to do as it intimately reveals the consequences of militarism and critiques of propaganda. What is the disconnect between the critics’ reviews and Wile’s experience, then? How might the play’s rendering of the everyday futility of war differ from the short story’s, while still retaining a recognizable critique of the hypocrisy, the futility of war?

The different adaptations, from stage to television, suggest that there is some ineffable quality about Porter’s story – even Tennessee Williams notes in his review of the play, which was subsequently blurbed in advertisements for the production, that he was “haunted” by the performance. Part of the long-lived success of the story, the motivation for the adaptations, is its relentless questioning of the forces that characterize American political life. What is war, but a chance to sell bonds, or a blunt reminder of the capacity for violence? Porter’s critique of American politics and militarism resonates to the present day, as a recent Literary Hub article argues that contemporary readers stand to gain from Porter’s ability to describe World War I-era “fake news,” and the uncanny resonance of her critique of national propaganda in today’s current moment. But, as Suzanne Wile suggests in the note that so impressed Porter, the draw of Porter’s story is how it explores the toll of war in the everyday, as the forces of war and influenza work hand in hand to separate the story’s young lovers. Even Porter’s sister Gay was pulled to lightly underline in pencil one of the last lines of the story, from Miranda’s internal narrative after her recovery, when she learns that Adam has died:

Adam, she said, now you need not die again, but still I wish you were here; I wish you had come back, what do you think I came back for, Adam, to be deceived like this?

Gay Porter Holloway’s inscribed edition of Pale Horse, Pale Rider, (1939). Katherine Anne Porter Papers, Special Collections and University Archives, University of Maryland Libraries.

Adam did not die in battle, and the war ended without him just the same. As Porter’s collection turns eighty years old this year and the story “Pale Horse, Pale Rider” reaches its eighty-first anniversary, it’s worth reflecting on why this story continues to haunt us. The story has been absent in recent years from American television screens and theater stages, but it resurfaces in syllabi and essays online. It is no surprise that this story – haunting as it is – returns to us in conversation with the current political discourse, as we continue to accumulate the dust of wars and ponder how little dazed silence has transpired between each war, each everyday death that has filled these eighty years since.


Jeannette Schollaert is a graduate assistant in Special Collections and University Archives who works with the Katherine Anne Porter Correspondence Project. There, she assists with compiling and organizing metadata and contributing to the Project’s online exhibitions. She is pursuing a PhD in English, and her research focuses on twentieth century American writers, feminist theory, and ecocriticism.

[1] Stout, Janis. “‘Something of a Reputation as a Radical’: Katherine Anne Porter’s Shifting Politics.” South Central Review, vol. 10, no. 1, 1993, pp. 49-66.