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41 posts categorized "Caribbean"

01 August 2018

Canada and Its Literature: A Tale of More Than Two Cultures 1/2

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On July 9th, Michael Ondaatje was awarded the prestigious Golden Man Booker Prize for his international bestseller, The English Patient, voted the readers’ favourite winner in 50 years. Ondaatje was born in Sri Lanka of Dutch-Tamil-Sinhalese descent, and moved to England as a twelve-year-old before settling in Canada eight years later. His novel, written in 1992, moves between Egypt, Italy, India, Canada and England and marked a turning point for Canadian literature. Not only was it the first Canadian book ever to win the Booker Prize, but by instantly becoming an international bestseller it arguably paved the way for fellow migrant/multicultural Canadian writers on the international scene. Its seemingly never-ending success underlines our contemporary – and apparently unwavering – fascination with migrant writing since the 1980s.  Given the current context of global migration, the related refugee crises and the fact that 3.3% of the world’s population currently lives outside the country of their birth, Ondaatje’s achievement is a useful opportunity to explore the importance of immigrant writing in Canadian literature.

Michael Ondaatje
Michael Ondaatje speaks for the Tulane Great Writer Series presented by the Creative Writing Fund of the Department of English. Dixon Hall; October 25, 2010. Wikimedia Commons

In recent years, much attention has been given to migrant literature from the United States. You may have come across some critically-acclaimed and award-winning migrant bestsellers such as Imbolo Mbue’s Behold the Dreamers (2016), Chimamanda Ngozi Adichie’s Americanah (2013), Junot Diaz’s The Brief Wondrous Life of Oscar Wao (2007), Mohsin Hamid’s The Reluctant Fundamentalist (2007) or Khaled Hosseini’s The Kite Runner (2003). Experiences of migration have proven to be creatively inspiring for writers and lucrative for publishers, and fiction writers from both migrant backgrounds and others were encouraged to give the genre a try.

There is some debate over the definition of migrant literature, and many writers are uncomfortable with the label, but for the sake of clarity I will define it as the literature produced by first- or second-generation migrant writers. Odds are, whether in conversation, in the media or online, “migrant literature” almost always refers to books produced in the English language and on U.S territory, with only a few exceptions. The United States are, after all, the birthplace of the “American Dream”, “the nation of immigrants,” the “melting pot” – take your pick.

Canadian Map
Map of French Canada by Pierre Du Val, 1653. Maps 70615.(8.)

But Canada is also a settler colony; in fact it is the country which takes in the largest number of immigrants yearly: since 2001 it has welcomed an average 220,000 to 260,000 immigrants per year, and as a result more than one person in five is foreign-born. Inevitably, each newcomer brings with them a suitcase full of stories, and migrant literature is bound to flourish in such a context. Canada’s immigration patterns have changed considerably in the past hundred years, and so has its literature. The post-war period was especially important as the borders were opened to increase the workforce and expand Canada’s growing economy.

In 1966, 87% of the newcomers were European, and many others were Americans escaping the Vietnam War. But by 1970, following a change in immigration law intended to end discriminatory policies against non-Western immigrants, 50% of new immigrants came from Third World countries. They were either economic migrants (like Ondaatje for example) or people fleeing repressive dictatorships and wars.

As the years went by, the latter group included Asian Ugandans (a minority expelled after Uganda gained independence from colonial rule); Haitians fleeing the repressive Duvalier regime;  Chileans fleeing Pinochet’s military dictatorship; people from Hong Kong worried about their freedom in the run-up to the transfer to Chinese rule; Salvadorians escaping their civil war; and South-East Asians from Vietnam, Cambodia and Laos seeking refuge from the Vietnam war. This changed the Canadian demographic make-up significantly and led to a new policy-making paradigm: multiculturalism.

Contrary to the American "melting pot", where newcomers are expected to merge into the American Way of Life through assimilation policies, Canadian multiculturalism is often compared to a mosaic where different cultures live alongside each other, retaining their specificities inside a single country. While this paradigm has been widely criticized both by migrant and non-migrant Canadians, it has nonetheless played a substantial role in shaping Canadian federal government policies and influencing the publishing industry.

Canadian Mosaic
Canadian Mosaic Wall, 2013, photo by Tim Van Horn. Wikimedia Commons.

President Pierre Trudeau implemented multiculturalism as a policy in 1971 and appointed a minister specifically in charge of multiculturalism and launching cultural initiatives. Once such instance was the Writing and Publication Program.  Set up in 1977, its aim was to encourage writing and publishing by migrant minorities in any language and to bring the literary establishment to consider such writing part of mainstream Canadian literature. This program provided grants for writing, translation, conferences and research.  Meanwhile, French-language cultural periodicals promoting migrant writing offered a parallel channel for writers and magazines.

 

Derives 1
Dérives, first issue X.0958/169


Derives 1987
Dérives, final issue X.0958/169

 

Dérives ran from 1975 to 1987 and is accessible in the BL’s collections. The archives of the multilingual Vice Versa (1983-1996) are all available in pdf form on its website.  And the British Library is actively seeking to add the feminist magazine La Parole Métèque (1987-1990), which gave a voice to migrant women at a time when they were generally overlooked, to its holdings.

While migrant writing (like immigration) was nothing new in the 1980s and subsequently, critics from Quebec often point to this period as the beginning of critical engagement with Canadian “migrant”/”multicultural” literature.

- Laura Gallon

 

Laura Gallon is a PhD placement student at the British Library where she is working on a project assessing holdings of migrant narratives in the North American collections.  She is in the second year of her PhD at the University of Sussex which is looking at contemporary American short fiction by immigrant writers.  Her placement is supported by the Eccles Centre for American Studies.

 

References/Further reading

Carriere, Marie and Catherine Khordoc. “For Better or For Worse: Revisiting Ecriture Migrante in Quebec.” The Oxford Handbook of Canadian Literature, edited by Cynthia Sugars, Oxford University Press, 2016, pp. 621-638.

Jaggi, Maya. “Michael Oondatje: The Soul of a Migrant.” The Guardian, 29/04/2000. https://www.theguardian.com/books/2000/apr/29/fiction.features

Kamboureli, Smaro. Scandalous Bodies: Diasporic Literature in English Canada. Oxford University Press, 2000.

Kamboureli, Smaro (ed.). Making a Difference: Canadian Multicultural Literature. Oxford University Press, 1996.

Kenyeres, Janos. “Aspects of Canadian Multiculturalism: History, Policy, Theory and Impact.” Revue d’Etudes Canadiennes en Europe Centrale, vol. 9, 2014, pp. 27-44.

Krauss, Clifford. “For Canada’s Top Novelists, Being Born Abroad Helps”. The New York Times, 05/11/2002.

Loschnigg, Maria and Martin Loschnigg (eds.). Migration and Fiction: Narratives of Migration in Contemporary Canadian Literature. Universitatsverlag Winter Heidelberg, 2009.

Morgenstern-Clarren, Rachel. “The Vagaries of Exile: Migrant Literature From Quebec”. Words Without Borders, October 2017. https://www.wordswithoutborders.org/article/october-2017-quebec-the-vagaries-of-exile-migrant-literature-from-quebec

Simon, Sherry and David Leahy. “La Recherche au Québec Portant sur l’Ecriture Ethnique.” Ethnicity and Culture in Canada: The Research Landscape, edited by J.W. Berry and J.A. Laponce, University of Toronto Press, 1994, pp. 387-409.

Troper, Harold. “Immigration in Canada.” The Canadian Encyclopedia, 09/19/2017. https://www.thecanadianencyclopedia.ca/en/article/immigration/

19 July 2018

From Neptune to Trident: How the Colonial Deputed Seal for Barbados evolved into a national symbol

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Seals, coins, stamps and paper money share a much closer relationship than first meets the eye. This can be illustrated by the first ever colonial deputed seal made for Barbados.

Figure 1

It was engraved in June 1663 by the famous medallist, coin and seal engraver Thomas Simon.

Figure 2

The obverse face depicting: ‘His Majesty’s Royal Effigies, representing Neptune in a Chariot drawn by two sea horses, and robed with his royal robes and crowned with a trident in his left hand’ with the inscribed motto ‘ET PENITUS TOTO REGNANTES ORBE BRITANNOS.’

As demonstrated by William and Mary’s later seal for Barbados engraved c.1690, although depictions of the Monarch changed from reign to reign, the basic design remained unaltered until the island gained independence in 1966.

Figure 3

Being the legal instrument of Barbados colonial governance and authority, the seal would have been used to authenticate a wide range of official documentation. Its imagery was also adopted across various formats as is demonstrated by George III’s Seal for Barbados engraved c.1760.

Figure 4

The design of this particular seal formed the basis of the Reverse Face designs for Barbados’ 1792 Copper Half Penny and Penny coinage.

Figure 5

Likewise Victoria’s Barbados Seal engraved by Benjamin Wyon in 1837 was used on the island’s most iconic postage and revenue stamps all typo or recess printed by Thomas De La Rue & Company in London.

Figure 6

This design first appears without the inscription upon Barbados’ 1892-1903 Colonial Badge Definitive Issue.

Figure 7

It was also used on the Barbados 1897 Diamond Jubilee of Queen Victoria Issue.

Figure 8

In fact representations of Victoria’s seal appear upon the definitive stamps of Barbados throughout the reign of Edward VII and the 23 July 1912 definitive stamps of George V.

Figure 9

For the Barbados 16 June 1916 Definitive Issue, Victoria’s Seal was replaced by that of George V’s and the seal’s motto appears upon the stamp for the first time.

Figure 10

The motto then disappears on the Barbados 1921-1924 Definitive Issue stamps,

Figure 11

before reappearing on the Barbados 1925-1935 Definitive Issue stamps.

Figure 12

The Barbados 3 January 1938 Definitive Issue then adopts the seal of King George VI with the motto.

Figure 13

Once the security printing firm Bradbury Wilkinson and Company Limited take over the printed contracts for the island’s stamps, this longstanding design tradition is abandoned. Their recess printed Barbados 1 May 1950 Definitive Issue $2.40 stamp is the only one depicting a seal, Simon’s original seal for Charles II.

Figure 14

This design is repeated again on the $2.40 stamp of Elizabeth II’s Barbados 13 April 1953 Definitive Issue. After this the seal theme disappears from the stamp design altogether.

In addition to stamps, a number of the colonial seals have also been depicted on the successive paper money issues circulating on the Island during the first half of the twentieth century. George VI’s seal first appears on the obverse face of the Government of Barbados 1938-1949 Currency Note Issues printed by Bradbury Wilkinson.

Figure 15

Later it appears on the reverse face of the British Caribbean Territories 1950-1951 Currency Note Issue

Figure 16

printed by the same company before eventually being replaced by Elizabeth II’s on the reverse face of the 1953-1964 Issue.

Figure 17

Likewise, the seal design was also reproduced upon Police Uniform Cap Badges, during the reign of Elizabeth II.

Figure 18

Colonial Flags and even buildings such as the Barbados Mutual Life Assurance Building on Broad Street in Bridgetown constructed c. 1895 also carried imagery based upon the seal design.

Figure 20
Figure 20

In 1966, during the build up to Independence, the Government of Barbados arranged an open competition to design a new national flag. Grantley W. Prescod’s globally recognised winning design comprises a vertical triband of ultramarine and gold with a black trident-head centred upon the gold band.

Image 21

The blue represents the sea and sky of Barbados, whilst the gold represents the sand of the Island’s beaches. The Trident represents the mythical sea god, Neptune who was depicted by successive monarch on all of the colonial seals. In effect Prescod reclaimed the old colonial imagery, before reshaping and transformed it into a new postcolonial National Symbol. Following independence in 1966, this trident-design has in turn been mass reproduced by the Government of Barbados across a wide range of mediums. Notable examples include, the Barbados 17 August 2016 $2.20 stamp printed by BDT International depicting the national flag.

Figure 22

Likewise the reverse face of the Barbados 1997 1 cent coin depicts a Trident.

Figure 23

The Central Bank of Barbados 2013 Issue banknotes also depict the Tridents within their designs,

Figure 24

and finally the Trident can be found on monuments including the Independence Arch on Chamberlain Bridge and Independence Square both located in Bridgetown.

Figure 26
Figure 26

It is important to remember that these colonial and postcolonial representations first introduced by Thomas Simon’s Barbados Seal in 1663 have been reproduced millions of times across different formats. This mechanical mass reproduction has enabled them to be encountered by Barbadians on a daily basis within a wide range of social, economic and political situations for almost four hundred years.

Sociologists like Michael Billig’s contend that an underlying, non-extremist and endemic form of ‘banal nationalism’ is brought into existence by such everyday encounters with representations of authority upon official and consumable objects including coins, stamps, paper money and flags. From a colonial perspective this would have helped to shape the development of a colonial identity for Barbados, at the same time helping to facilitate a proto-national identity from which drives for independence partially formed. Nevertheless as Barthes and others readily point, out such visual representations are inherrently polysemous and unstable. This allowed the new postcolonial Barbadian ruling elite to reclaim and reappropriate an old colonial symbol. Having done this they could then use the symbol in new and different ways to signify a break from the colonial past whilst developing a new national symbol at the same time.

- Richard Scott Morel, curator, philatelic collections

17 July 2018

Seeing Blindness: The Danish West Indies

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When you enter the British Library exhibition ‘Windrush: Songs in a Strange Land’, you are met by a fragment of Derek Walcott’s Nobel lecture. This fragment is about fragments: ‘Break a vase, and the love that reassembles the fragments is stronger than that love which took its symmetry for granted when it was whole.’  Walcott evoked these postcolonial ‘African and Asiatic fragments’ in Stockholm, delivering a riven Caribbean memory that may at first glance be thought unthreatening, perhaps exotic, to a modern literary society devoted to rewarding work of ‘greatest benefit to mankind’, and to a region that has ‘successfully maintained positions as champions of minority rights and mediators in global politics’ (Fur, 18). Look a little closer and you’ll find a long and complicated history of Scandinavian-Caribbean relations. We might stay with Walcott for another moment and his epic poetic biography of Camille Pissarro, Tiepolo’s Hound (YC.2001.a.13434), which begins:

They stroll on Sundays down Dronningens Street,

Passing the bank and the small island shops

quiet as drawings, keeping from the heat

through Danish arches until the street stops

at the blue, gusting harbour, where like commas

in a shop ledger gulls tick the lined waves.

Sea-light on the cod barrels writes: St. Thomas,

the salt breeze brings the sound of Mission slaves

chanting deliverance from all their sins

in tidal couplets of lament and answer,

the horizon underlines their origins—

Pissarros from the ghetto Braganza

who fled the white hoods of the Inquisition

for the bay’s whitecaps, for the folding cross

of a white herring gull over the Mission

droning its passages from Exodus.

Pissarro - St Thomas
Camille Pissarro, Deux femmes causant au bord de la mer, Saint Thomas, 1856. Wikimedia Commons

We are on St Thomas, one of the U.S. Virgin Islands in the Caribbean Sea, but at the same time we are not. Compressed into this dense image of island life are centuries of history and people—Danish, African, Creole, Sephardic Jew—so drenched in a rare sea-light that with each fresh and present vision history appears anew.  Indeed, Beatriz Llenín-Figueroa calls the poem a ‘sustained study of Caribbean light against History’ (p. 181), where History is a fixed discourse of the West wrought with uneven power dynamics. In contrast, Walcott’s focus on vision and a ‘blinding’ Caribbean light—hence the focus on painting—shows the ‘possibility for experiencing the Caribbean as if for the first time […] able to see otherwise, to find utter beauty, always in the present, in environments ravaged by “History”’ (p. 182).

Oldendorp view
A view on the Island of St. Thomas from the East, in C. G. A. Oldendorp’s Geschichte der Mission der Evangelischen Brüder auf den Caraibischen Inseln S. Thomas, S. Croix und S. Jan (1777, BL 4745.c.10.)

It is perhaps no coincidence then that the Det Kongelige Bibliotek in Copenhagen also chose to frame their 2017 exhibition on the centenary of the sale of the Danish West Indies to the U.S. in the language of light and vision. Blinde vinkler. Billeder af kolonien Dansk Vestindien (Blind Spots: Images of the Danish West Indies Colony) questions the neutrality of any Danish exhibition on its colonial past as the images produced and preserved in their collections ‘were [generally speaking] created by and for those in power’. A timely attempt to stage the partiality of colonial history, Blind Spots was accompanied by an online exhibition and a host of new digitized maps , images and newspapers.

Andersen sketch St Thomas
A 20th century view of colonial architecture on the island of St. Thomas, in Ib Andersen, Tegninger fra St. Thomas, St. Croix og St. Jan, LR.430.a.16

Denmark had a sustained presence in the Caribbean from the early 17th century and eventually the islands of St Thomas, St John and St Croix were colonised, the last island becoming part of the Danish realm in 1733.  A familiar story across the Caribbean, Danish profit was ‘extracted from fertile West Indian plantations of cotton and cane by the sweat of the negro’s brow’, in the words of an early 20th century historian (Westergaard, p.156). Hans West’s 1793 survey of the islands, Bidrag til beskrivelse over Ste. Croix, med en kort udsigt over St. Thomas, St. Jean, Tortola, Spanishtown og Crabeneiland (BL 979.g.28.), can be viewed online but perhaps of more interest is the report by Moravian missionary Christian Georg Andreas Oldendorp originally published in 1770, Geschichte der Mission der Evangelischen Brüder auf den Caraibischen Inseln S. Thomas, S. Croix und S. Jan (1777). The Moravians —otherwise known as the Evangelical Brethren amongst other names—did not view their task in the West Indies as one of enlightenment, the Black population being too “primitive” for understanding Christianity, and rather simply tried to get the Danish subjects to accept the grace of God. In this they were successful. In spite of such condescension, Oldendorp’s account contains significant “field work” including discussions with African-born slaves in order to understand the customs and traditions of the potentially convertible population.  [See A Map of the Danish Island St. Croix in the West Indies, Maps K.Top.123.74]

While Denmark passed a law to end the slave trade in 1792, it did not come into effect until 1803, and even then the end of the trade did not stop slavery itself, which continued on the islands until all unfree were emancipated in 1848. So in 1833, we still find in the Dansk vestindisk regierings avis newspaper [BL MFM.MMISC419] advertisements for the sale of slaves. A curious publication that summarised European news in English and Danish while printing the everyday activities of the island administration, the Dansk vestindisk regierings avis could for example juxtapose, as we see in our 1833 issue, the sale of ‘Mulatto Man Johannes, a good House Servant and Coachman’ and the story of a Parisian man found dead in the Canal St Martin after having been outwitted by a cat he had indeed to drown in the same canal. The full issue can be read online courtesy of the above-mentioned digitisations.

 

Dansk Vestindisk Regerings Avis 1833 selections page 4
Selections from Dansk vestindisk regierings avis, 4 November 1833, downloaded from the Royal Danish Library Mediestream service

 Peter von Scholten, Governor General of the Danish West Indies from 1827, was sympathetic to the cause of the Black population and strove for emancipation in his years in charge, although his actions were somewhat motivated by keeping the peace, caught between a ferment of slave unrest and, equally, an agitated planter class concerned for future profits in a slave-free society. The Library has an English copy of von Scholten’s ‘Orders for the regulation of labour conditions’ from 7 May 1838 [1850.d.26.(58.)], which exemplifies this balancing act on the path towards universal freedom. It contains an order to regulate the length of the working day and a reduction of discretionary punishment, although its severity hardly amounts to a reduction at all.

Scholten Order
Orders for the regulation of labour conditions, 1838

The 19th century saw the sugar trade diversify while the yield from the Caribbean suffered at various points due to adverse conditions. The benefits of the colonies were gradually outweighed and Denmark sought to sell them on, which it eventually—after many decades of trying—did in 1917 to the U.S.A for 25 million dollars. In 1917 Waldemar Westergaard also published The Danish West Indies under Company Rule [9773.ee.1.], a historical survey of the colonies before they were absorbed by the Danish state in 1755. In it he describes the slave trade as ‘loathsome to the modern mind’ (p. 137) and African slaves as ‘the chief agency that furnished the wealth, for the control of which European nations were willing to throw down the gage of conflict and usher in titanic wars’ (p. 156).

Album_worker's home
A worker’s home on St. Croix around 1900. Photo from an album digitized by the Kongelige Bibliotek [http://www.kb.dk/images/billed/2010/okt/billeder/object300088/da/], CC BY-NC-ND 3.0 [https://creativecommons.org/licenses/by-nc-nd/3.0

With that description in mind, we find a notable absence of such requisite condemnation in the introduction to The Danish West Indies in Old Pictures / Dansk Vestindien I gamle billeder [W55/9366], published 50 years later for the anniversary of the sale. The curator of the exhibition of the same name, which took place on the U.S. Virgin Islands in Spring 1967, writes instead:

‘It is a fact that most Danes still have a very soft spot in their hearts for the West Indies. Perhaps it is the dream, of heat and sunshine, palm trees and exotic flowers, white coral beaches, wealthy planters and a picturesque black population which appeals to our imagination. But for the most of us it will remain a dream. Very few have the chance of making their wishes come true and visiting the paradise on earth, as it seems to use dwellers in the frozen north.’

Slaves, later in the introduction, become simply part of the mechanics of island society without much lip service being paid to the idea of exploitation. Fifty years later, with last year’s Blind Spots exhibition at the KB, it might still be the same idealized vision on show but its inherent blindness and problematic perspectival gaps are simultaneously on the pedestal, to be interrogated, complicated and decimated by alternative visions in flux.

But, let’s finish where Walcott does, returning home from literal and figurative European and painterly explorations,

‘I shall finish in a place whose only power

is the exploding spray along its coast,

its rotting asphalt and cantankerous poor

numb beyond resignation and its cost,

[…]’

And,

‘Let this last page catch the last light of Becune Point,

lengthen the arched shadows of Charlotte Amalie,

[…]’

  • - Pardaad Chamsaz, Curator, Germanic Collections

References and further reading

Christian Georg Andreas Oldendorp, Geschichte der Mission der Evangelischen Brüder auf den Caraibischen Inseln S. Thomas, S. Croix und S. Jan (Barby: 1777)

Id., A Caribbean Mission (ed. Johann Jakob Bossard) (Ann Arbor: 1987) – translation of above.

Hans West, Bidrag til beskrivelse over Ste. Croix, med en kort udsigt over St. Thomas, St. Jean, Tortola, Spanishtown og Crabeneiland (Copenhagen: 1793)

Dansk Vestindisk Regerings Avis (Christiansted: 1833), BL MFM.MMISC419

[Peter v. Scholten], [Orders for the regulation of labour conditions] (St. Croix: 1838)

Waldemar Westergaard, The Danish West Indies under Company Rule (New York: 1917)

The Danish West Indies in Old Pictures / Dansk Vestindien I gamle billeder (U. S. Virgin Islands: 1967)

Isaac Dookhan, A History of the Virgin Islands of the United States (St. Thomas: 1974), BL X.800/25025

Ib Andersen, Tegninger fra St. Thomas, St. Croix og St. Jan (Copenhagen: 1976)

Neville A. T. Hall, Slave Society in the Danish West Indies (Mona; Cave Hill; St. Augustine: 1992/1994), 96/16886

Derek Walcott, Tiepolo’s Hound (London: 2000)

Beatriz Llenín-Figueroa, ‘“The Island Blazed”: A Blinding Light and Tiepolo's Hound’, Journal of Latin American cultural studies, vol. 23:2, pp. 173-191, 2014

10 July 2018

Call for Applicants: Eccles British Library Writer’s Award

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North America (John Rocque)

Above: John Rocque's, 'A General Map of North America' [Maps K.Top.118.32]

The summer marches on and while we are all tempted to kick-back and enjoy this unusual spell of consistent sunshine the writers in our audience may, nonetheless, want to have an eye on their plans for next year. The Eccles Centre’s call for applicants to the 2019 Writer’s Award is currently open and you have until the end of August to apply. For those of you who don’t know, the Award amounts to £20,000 for a twelve month residency at the British Library. Applicants should be working on a non-fiction or fiction full-length book, written in the English Language, the research for which requires that they make substantial use of the British Library’s collections relating to any part of the Americas (North, Central and South America, and the Caribbean). We are very excited to be broadening the horizons of the Award for this year and hope authors using the wider Americas collections will apply.

Wulf ander's choice C12682-03 (lo-res)

Above: Andrea Wulf (bhoto by Ander McIntyre) and an illustration of a monkey created by Humboldt for the account of his voyage (149.h.5.(1), from BL Images Online)

Previous awardees include Benjamin Markovits, Will Atkins, Andrea Wulf and many others. Each of our Award holders has used the Americas collections of the British Library to add extra depth to their research. For example, Will Atkins used the collections to research the history of exploration of deserts in the US as well as the history of events like the Burning Man festival. Meanwhile, Andrea Wulf drew from the Library’s collections, especially our printed book and maps collections, to conduct her research into the life and travels of Alexander von Humbolt. The Americas collections are broad in scope and potentially useful items can be found in the form of printed books, manuscripts, newspapers, government documents, photographs, maps, pamphlets and many more materials types. As a result, a wide world of inspiration awaits our 2019 Award holder.

If this has inspired you to leave the sun lounger and consider putting in an application, we would love to hear from you. For more information about applying for the Award, as well as insights into the work of previous winners, please visit our website. If you have any questions or would like to talk to someone about the award you can also get in touch with us at: eccles-centre@bl.uk.

Phil Hatfield, Head of the Eccles Centre

14 June 2018

Call for Applicants: Fulbright-British Library Eccles Centre Scholar Award

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Above: Klondiker's buying mining licenses in Victoria, BC. J. W. Jones, 1898 [Picturing Canada project on Wiki Commons]

Summertime is always exciting for the Eccles Centre as we announce new calls for our various awards and fellowships. Keep an eye on the Americas blog for news of our various award schemes over the coming months but today I wanted to write about our US-UK Fulbright Commission Scholarship. This is a relatively new part of our programme and is a partnership with Fulbright to bring a US-based scholar to the Library so they can work on the North American collections held here. Work can be on any area of the collections relating to Canada, the Caribbean and / or the United States and applications connected to the Centre’s research priorities are encouraged.

The Fulbright-Eccles Scholarship is a unique opportunity for a US-based scholar as it provides a significant award (£12,000) to cover a dedicated research trip of twelve months. As well as using the collections of the Library our Scholars are encouraged to take part in our events programme, including our evening lectures and Summer Scholars season, and present about their work with partner institutions outside of the Library, such as the Rothermere American Institute at Oxford. This provides a rich set of opportunities to develop ideas and discuss them with a variety of audiences during the scholarship. We are also happy to facilitate a Scholar in conducting wider work with the Library and helping them get to know other parts of the Library’s operation, such as our innovative Learning Team, British Library Publishing and others.

Our 2018-19 Scholar will be Professor Andrew Hartman who will be using the British Library’s collections to conduct further research on the influence of Karl Marx on American political thought. The research will form part of Professor Hartman’s upcoming book, Karl Marx in America, which is contracted to University of Chicago Press. The Fulbright-Eccles Scholar is one of over 800 U.S. citizens who will teach and conduct research abroad for the 2018-2019 academic year through the Fulbright U.S. Scholar Program; if you would like to apply to be our Scholar in the 2019-20 academic year please do see our website for further information and get in touch with us.

Phil Hatfield, Head of the Eccles Centre

09 May 2018

Spring news from the Eccles Centre

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North America (John Rocque)

Above: John Rocque's, 'A General Map of North America' [Maps K.Top.118.32]

Our colleagues from the Americas Collections have kindly allowed us a slot on the blog, so we thought we would let you know about some changes that are coming to the Eccles Centre. Spring is a particularly exciting time of year for the Eccles Centre as we welcome our new Visiting Fellows. Our Fellows are drawn from across the UK, Europe and North America and the Centre provides them with a financial award to support research using the North American collections of the British Library, plus a one-year membership of the Library.

Our Visiting Fellowships announcement marks the end of our 2018 awards and so our attention is now turning to calls for applications for our 2019 cohort. An invitation to apply for the Centre’s Fulbright Scholarship is now available on the Fulbright website and we will soon be advertising the next round of our Writer’s Award. Those of you who read The Bookseller will have seen Catherine Eccles’s recent piece about the award and noted that the scope of works eligible will stretch across the whole Americas during 2019. Watch this space for more details.

Further changes to our awards will be obvious when our call for 2019 Fellows comes out this summer. We are keen to help applicants see the potential of the Library’s collections more clearly and so from 2019 there will be a series of research priorities championed by the Centre. These are not meant to be exclusive, we still want to hear about all research the Library’s North American collections can support, and instead provide a window into areas where the collections are particularly strong. The priorities will also shape the Centre’s events schedule for the coming year and, hopefully, create a cohort of fellows working in similar areas. With this in mind the priorities for April 2018 – April 2019 will be:

  • North American and Caribbean Indigenous Studies
  • Literary, theatrical and artistic connections in Canada, the Caribbean and the US
  • Book history and arts in North America
  • Pacific politics and geopolitics
  • Migration in/from/through Canada, the Caribbean and the US
  • LGBTQ histories and culture in Canada, the Caribbean and the US

Should anyone wish to discuss possible research projects, collaborations or events that tie in with these priority areas please get in touch with us at eccles-centre@bl.uk.

Evidence of our research priorities can be seen in the Centre’s upcoming events for the spring and summer, with ‘Buffalo Bill Goes to China’ and ‘The Death of Captain Cook’ speaking directly to our new priorities. So too does the Centre’s support of the British Library’s, ‘Windrush: Songs in a Strange Land’ and the season of events that accompanies the exhibition. We are also excited to be supporting an, 'In Conversation' with The Last Poets; Sarah Churchwell’s critical history of ‘America First’; and our two Black Lives Matter events, ‘From Black Lives Matter to White Power Presidency’ and ‘Black Lives Matter in the US and UK Today’, amongst our packed schedule

We hope the changes to the Centre excite you as much as they do us and we look forward to seeing you at one of our events soon.

Phil Hatfield, Head of the Eccles Centre for American Studies

22 March 2016

Langston Hughes translates Nicolás Guillén

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Langston Hughes is well known as one of the leading figures of the Harlem Renaissance, primarily for his poetry. However, there is a side to his work which has received comparatively less attention: his literary translations.

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Langston Hughes in 1936, by Carl Van Vechten

Hughes was not a professional translator, and indeed most of his translations did not do very well commercially. His translations were driven by his interest in writers with whom he felt a connection, particularly authors who explored the representation of black identity beyond European literary models. Hughes felt a kinship with writers of the African diaspora in the Americas, whom he saw as linked by a similar cultural heritage and history of racial oppression. These included the Haitian writer Jacques Roumain, whose posthumous novel Masters of the Dew (Gouverneurs de la Rosée) was translated by Hughes circa 1947.

In 1948, Hughes (together with Ben Frederic Carruthers) translated a selection of poems by the Cuban writer and activist Nicolás Guillén. They were published under the title of Cuba Libre by the American Ward Ritchie Press, in a beautiful limited edition of 500 with illustrations by Gar Gilbert.

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Cover and title page of Cuba Libre (1948)

Hughes met the poet Nicolas Guillén in 1930 in Cuba and they soon developed a friendship. Both men travelled together to Spain during the country’s civil war as war correspondents, an episode that Hughes narrated in his autobiography I Wonder as I Wander (1956). While the extent to which Hughes influenced Guillén’s style is still up for debate, their works have many aspects in common. Their poetry is a celebration of black folk culture, music and use of language. Often described as ‘poets of the people’, both men were concerned with representing class inequality and racial injustice.

Below is an extract from Guillén’s well-known poem ‘Tu no sabe inglé’, translated by Hughes as ‘You don’t speak no English’. Hughes’s translation used the African American vernacular to reproduce Guillén’s experimentation with the Cuban criollo (Creole) dialect in his poetry:

Con tanto inglé que tú sabía,

Bito Manué,

con tanto inglé, no sabe ahora

desí ye.

La mericana te buca,

y tú le tiene que huí:

tu inglé era de etrái guan,

de etrái guan y guan tu tri.

        Nicolás Guillen, Motivos de son (1930)

 

All dat English you used to know,

Li’l Manuel,

all dat English, now can’t even

say: Yes.

‘Merican gal comes lookin’ fo’ you

an’ you jes’ runs away

Yo’ English is jes’ strike one!

strike one and one-two-three.

Langston Hughes’s translation, published in Cuba Libre (1948)

 

Further Reading

Guillén, Nicolás. Cuba Libre, translated by Langston Hughes and Ben Frederic Carruthers (Los Angeles: The Ward Ritchie Press, 1948) [Cup.510.naz.3.]

Kutzinski, Vera M., The Worlds of Langston Hughes: Modernism and Translation in the Americas (Ithaca, NY: Cornell University Press, 2012) [YC.2013.a.1917]

Martin-Ogunsola, Dellita, ‘Introduction’. The Collected Works of Langston Hughes. Vol 16: The Translations: Federico Garcia Lorca, Nicolas Guillen, and Jacques Roumain, ed. by Arnold Ra``mpersad (Columbia and London: University of Missouri Press, 2003) [YC.2005.A.3285]

Scott, William, ‘Motivos of Translation: Nicolas Guillen and Langston Hughes’. CR: The New Centennial Review, 5:2 (2005): 35-71. [3486.443000]

 

 —Mercedes Aguirre

24 August 2015

Team Americas meets Reverend Jesse Jackson

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William Wells Brown (portrait)  Olaudah Equiano (portrait)

Above: portraits from the works of William Wells Brown [BL: 10880.a.6] and Olaudah Equiano [BL: 1489.g.50], two items displayed for the Rev. Jesse Jackson.

Last week Team Americas had the pleasure of putting on a small show of collection items for Reverend Jesse Jackson, who visited the Library's Magna Carta show ahead of his event on Friday evening. I've done more than a few collection displays while I've been a curator and it's always entertaining to collate a selection of material, usually on a tight timescale, from the Library's vast collections and making a narrative that will interest the audience and illuminate the significance of the objects on show.

For Reverend Jackson's display I focussed on the long march to abolish slavery and attain racial equality in the Americas, which is extensively detailed in manuscript, book, newspaper and other collections held here. It was an opportunity to look at a number of items I know of but have not spent time with and also to show some of the notable interconnections between the items, collections and ideas that make up the wider Americas collections.

Spending time with material you've not read before is always fascinating and the Library's holdings of manuscript letters between King Henri Christophe of Haiti and Thomas Clarkson, written in 1816, are particularly so. Consisting mostly of a lengthy letter from Christophe to Clarkson there are two main threads to the message: Christophe explaining why the Haitian revolution was so necessary and also thanking Clarkson for dispatching some (reading between the lines) British teachers to support education in this new free state. The arrival of these teachers raises a question as to exactly what is going on here. Christophe is undoubtedly pleased with their arrival ('the greatest benefit' he calls them) but why, above all things, did Clarkson send teachers? Was he asked to? Did he decide they were an important part of, perhaps, shaping free Haiti into a recognisably European state? Or did he think educating free Afro-Caribbeans would make a useful case for his own abolitionist work?

Whatever the case, the letters remind us of a few important points: that the networks involved in promoting the end of slavery and subsequent racial equality in the Americas were international in nature; that they involved a large number of individuals with prodigious global contacts; that each party in these networks had their own aims and objectives; and that activism in these networks could spring up in the most unlikely of places. Another item on display was a copy of Olaudah Equiano's 'Interesting Narrative' and a glance at the subscribers in this work illustrates the above nicely. A recent blog post by our student Ellie Bird (whose research was also on display) illustrates the surprising locations involved, as authors promoting Underground Railroad publications found their way to the Lake District.

The only problem with these displays (as with these blogs) is that people are busy and there's never enough time to talk about absolutely everything that piques one's interests. Sadly, my time of doing these displays is coming to an end too as, at the beginning of September, I'll be taking up the post of Lead Curator, Digital Mapping, here at the Library. Given this will be one of my final displays I've decided to leave it on the blog for future reference and so the handout can be downloaded below. 

Download Freedom and Equality in the Americas (Rev Jackson display, final)

[PJH]