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.
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.
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.
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.
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!
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:
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.
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.
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.
“In the United States today, we have more than our share of the nattering nabobs of negativism.”
Rhetoric like this, found scattered throughout the hundreds of speeches performed by Vice President Spiro T. Agnew illustrates the quotable, and sometimes comedic, aspects of the nation’s most vocal Vice President. As a man of controversy and alliteration, Vice President Agnew’s voice called out to the theoretical “Silent Majority” from 1968 to 1973 to speak up about their opinions opposing “corrupted” national news media and supporting President Richard Nixon’s withdrawal from the Vietnam War among other social and political topics.
Starting in 1977, Agnew began donating his personal collection of over 500 linear feet of materials to the University of Maryland Libraries. Included in those materials, were 1,368 audiotapes spanning Agnew’s time as Governor of Maryland, the 39th Vice President of the United States, and his post-resignation career. Identified as preservation concerns and potentially high- use items, the audio recordings became a digitization priority for the University Libraries. In 2017, SCUA unit ran a pilot digitization program converting 173 of the tapes to digital recordings and making them accessible to patrons visiting the Maryland Room in Hornbake Library. In 2018, curators identified an additional 559 audio recordings within the Spiro T. Agnew papers to be digitized and made accessible to researchers.
Obtaining funds and selecting recordings was only the beginning. In November and December 2018, the 559 open reels and cassette tapes were pulled from various boxes in the Spiro T. Agnew papers. This process included verifying metadata for the materials confirming the correct material was pulled. The reels and tapes were then packed in shipping boxes and prepared for shipment to the vendor. About 40 of the open reels were previously identified as mold risks and were packaged separately with new containers for their return. The digitization vendor baked the tapes to prevent further mold damage as part of their work. We received our newly created digital files and physical materials in April. The files were then checked by staff in our Digital Conversion and Media Reformatting Lab to ensure the accuracy and integrity of the files. At that time, issues with speed, pitch, and volume were identified.
From June through August, I listened to each of the 559 audio recordings to create an accurate and searchable title and a description that informed researchers of what kind of topics were addressed during that recording. Some of the recordings were short, while others were as long as 90 minutes. While this process was tedious, all our newly digitized recordings now have unique and searchable titles and descriptions that will allow researchers to discover these material and learn more about the political climate between 1969 and 1973.
Once the metadata was complete and reviewed by our metadata librarian, the files were ingested to University Libraries’ Digital Collections and the finding aid to the collection was updated. Researchers now have access to these recordings online. Recordings with copyright protection are available for education use only on campus at the University of Maryland.
Topics of these recordings range from
the Vietnam War
urban renewal plans
dissent on college campuses
the flights of Apollo 8, 9, 10, 11, 13, and 14
revenue sharing plans
the 1968, 1970, and 1972 campaigns
the SALT talks
foreign relations between the United States, the Soviet Union, and Soviet China
and many other political and social issues.
The recordings also demonstrate the support Agnew received from constituents, including homemade songs and voice recordings praising the Vice President for his integrity and candor.
The breadth of information that these recordings hold are not only valuable to Vice Presidential scholars and Agnew supporters, but for anyone interested in learning about the United States at the turn of the decade.
Post by Jennifer Piegols, Special Collections Services Specialist.
Jen Piegols graduated in May 2019 with her MLIS from the College of Information Studies at the University of Maryland. She works in the State of Maryland and Historical Collections at UMD’s Special Collections and University Archives, and is assisting with the digitization of the collections’ unique audio recordings.
Academic librarians are actively communicating with each other, seeking advice so that we foster access to these materials, and the offensive language and imagery, in responsible ways. Historical material can contain images and language that illustrates racist or hateful attitudes toward people of color, people identifying as LBGTQ, people with disabilities or people from other marginalized communities. These images and language are offensive, and sometimes traumatizing, especially for those who have experienced violence, acts of hate, or microagressions in their lives and the lives of their loved ones.
Here at the University of Maryland, our librarians believe in the importance of facilitating the dissemination of knowledge and information, providing a broad view of the University’s history. We seek to be transparent about our digitization choices and practices. Digitization has allowed increased access and discovery of our collections and our campus’ history. It is not our wish to hide anything from our collections. We know offensive material is there, and we want these records to be to used for research. Our collections enable all of us to engage in more truthful conversations about this history.
We encourage you to use our online collections or to visit us in person to see material that is not yet available online.
“She always kept things secret in such a public way.”
Katherine Anne Porter, “The Jilting of Granny Weatherall” (1930)
Katherine Anne Porter’s description of Cornelia, daughter of the titular Granny Weatherall, is apt considering the tensions between Porter’s own private and public personas. Porter, too, was a secretly-public person – she was forthcoming with information about her life and experience, though she sometimes elaborated on the facts, exaggerating details or creating new information. The reality of her life became mysterious, as Callie Russell Porter became the Katherine Anne Porter who captivated the literary communities of which she was a part. In the margins of Katherine Anne’s books in Hornbake Library’s Porter Room, there are even notes from Katherine Anne’s sister, Gay, that call attention to the points at which Katherine Anne’s stories depart from or obscure the source material of her own life.