22 November 2019
Over the past few years the month of November has become synonymous with the moustache all in the name of Movember – the leading global organisation committed to changing the face of men's health. So we thought it was only right to pay homage to some of our favourite bros with enviously good mos…
As sharp as the unnamed narrator in his 1952 landmark novel, Invisible Man, Ralph Ellison's well-groomed moustache demands attention and admiration. Before embarking on a writing career, Ellison was a trumpet player and music student at the Tuskegee Institute in Alabama; the all-black university found by Booker T. Washington which would become the model for the college in Invisible Man. Much attention has been paid to the links between Ellison's writing and the composition techniques used in jazz, particularly his use of solos, improvisation and movement as literary devices in Invisible Man. His pencil-thin moustache worked equally well with both of his talents; writer and jazz aficionado.
Invisible Man by Ralph Ellison (New York : New American Library of World Literature, 1964). Shelfmark X.907/2412.
Fascinating rhythm : reading jazz in American writing by David Yaffe (Princeton, N.J. : Princeton University Press, 2006). Shelfmark YC.2006.a.7114
Perfectly befitting the innovative creator of hard-boiled detective fiction, Dashiell Hammett’s personal style was striking and urbane: a neat, black moustache brilliantly contrasting with a shock of white hair. Surprisingly, given the impact of his fiction, Hammett’s fiction-writing career lasted only twelve years. His first story appeared in The Smart Set magazine in November 1922. With The Maltese Falcon (1930), he became a literary sensation. But by 1934 he had essentially retired from writing.
Edgar Allan Poe(vember)
With hair as black as a raven, no one wears the lampshade moustache quite like Edgar Allan Poe. The images of Poe that I’ve seen have always seemed so melancholy and, given the nature of his tales, I assumed his character to be so too. So I was surprised to find in a short article by Mrs. Susan A. T. Weiss, in Scribner's Monthly from 1878, a description of Poe that quite counters this idea: ‘… he appeared … invariably cheerful, and frequently playful in mood … quietly amused … with a playful sarcasm.’ (p 709)
As well as his disposition, Mrs Weiss offers quite the description of Poe’s trademark facial hair: ‘He wore a dark mustache, scrupulously kept, but not entirely concealing a slightly contracted expression of the mouth, and an occasional twitching of the upper lip, resembling a sneer … There was in it nothing of ill-nature, but much of sarcasm…’ (p 711).
Aubrey Beardsley’s trademark style captures Poe’s features in all their glory in this portrait printed in with a collection of illustrations in 1926 (7852.t.19.). The Library holds plenty of items by this moustached maverick including a first edition of Tamerlane (C.34.b.60.), which Poe authored under simply ‘a Bostonian’, rather than his real name.
The Smart Set: A magazine of cleverness (New York: 1900–25) shelfmark: P.P.6383.ah.
The Dashiell Hammett Omnibus: The Thin Man, The Maltese Falcon, The Glass Key, The Dain Case, Red Harvest & four short stories by Dashiell Hammett (London: Cassell & Co, 1950) shelfmark: 12646.h.17.
Illustrations to Edgar Allen Poe by Aubrey Beardsley (Indianapolis: Aubrey Beardsley Club, 1926) shelfmark: 7852.t.19.
Tamerlane, and other poems by a Bostonian (Boston: C. F. S. Thomas, 1827) shelfmark: C.34.b.60.
The musician and author sported an enviable moustache for the better part of a decade until, in the fog of jet lag following a long haul flight, his wife convinced him to shave it off. His moustache veered between a polished handlebar and a pure '70s sleaze 'tache during the Grinderman era; his obvious delight in the aesthetics of facial hair placed him well to judge the World Beard and Moustache Championships, held in Brighton in 2007.
17 October 2019
October is Black History Month in the UK and has been celebrated here for nearly 40 years. The month marks an annual commemoration of the history, achievements and contributions of black people in the UK. Originally founded to recognise the contributions made by people of Caribbean and African backgrounds, the focus of Black History Month has now expanded to include the history of African, Asian and Caribbean peoples and the importance of their contributions to the culture of the UK.
To mark Black History Month, we have selected a few items from our collections which highlight significant moments in black history around the world. The British Library will also be hosting Caribbean Fest events on Saturday October 19th 2019 including poetry, food and performance.
Ottavia Salvador, Fabrizio Denunzio, Morti senza sepoltura. Tra processi migratori e narrativa neocloniale (Ombre corte, 2019) YF.2019.a.14806
Migrations in the Mediterranean are the subject of a lot of Italian books at the moment. I chose this title because the authors don't shy away from holding neo-colonialism responsible for the immigration process. The title 'Dead without Burial' evokes the horror of dying in a foreign country, in exile, often without a grave with a name on. Like French sociologist Abdelmalek Sayad (more from him, also in English in our collections) says in the essay in the appendix, the way a country treats a foreigner who dies on its soil says a lot.
John Michael Vlach, Back of the Big House: The Architecture of Plantation Slavery (Chapel Hill and London: The University of North Carolina Press, 1993). q93/15775
Chosen by Cara, Deputy Head, Eccles Centre for American Studies at the British Library
This book made a deep impression on me when I first came across it as part of an MA course on the built environment in America. I was impressed by how thoroughly Vlach managed to bring the lived experiences of the enslaved into sharp focus through the architectural landscapes they had inhabited. As he says himself in his Preface his “main objectives here are first to describe, in broad terms, the architectural settings of plantation slavery and then to suggest some of the ways in which black people may have transformed those architectural settings into places that best served their social needs” (p.x). The major source for the visual material in the book is the Historic American Buildings Survey (HABS). Originally founded in 1933, it still operates as a division of the National Parks Service. During the 1930s and later, HABS teams documented large numbers of slave buildings and associated spaces and Vlach uses these photographs and plans to great effect in his book. These are then complemented by another Depression-era source, the oral histories of formerly enslaved people conducted by interviewers for the Federal Writer’s Project. As Vlach explains “My description of the architecture of slavery thus meshes information from two archival projects that have been separated for more than half a century” (p.xiii). I found this mixture of first-person accounts, as well as other archival evidence (business records, personal letters etc), with the structures that had shaped people’s everyday lives to be incredibly evocative. I came away from the book with a deeper understanding of the importance of vernacular spaces to historical enquiry, as well as more especially a better understanding of the way the built environment shaped, and was shaped by, the lives of enslaved African-Americans and their white overseers and owners. I’ve found myself thinking about this book often over the years, especially as discussions around how to more fully represent the experiences of enslaved people have come to the forefront in heritage and tourism contexts (for example, the incorporation of slave buildings and stories into the interpretation offered to visitors at plantation sites in the US, most notably at Thomas Jefferson’s Monticello home).
For more information on Federal Writer’s Project holdings at the British Library, including the accounts of former slaves, see the guide prepared by my Eccles Centre colleague, Jean Petrovic.
The Color Purple by Alice Walker (Boston, Mass: G.K. Hall, 1986), Nov.1987/702
I was introduced to the The Color Purple while in my first year as an undergraduate at the University of Nottingham. It was like nothing I’d read before, in both voice and content. I’d never encountered a character like Cecile, nor the abuse she endures in a novel, and I remember being interested in the contrasting ways the various females in the book are portrayed. Told in an epistolary format as Cecile writes to God, she tells of the horrors she suffers at the hands of her father and later her husband, and the life that eventually leads her to Shug – a woman who opens her eyes to a different way of living. The Color Purple won the Pulitzer Prize in 1983 and frequently features on lists of banned or contested books (see more of these on our Banned Books Week blog).
Land Rights Before Games poster (Brisbane, Australia: 1982) shelfmark HS.74/2436
This poster represents a key piece of 20th century campaign material in Australian history. The 1982 Commonwealth Games in Brisbane were the focus of a series of protests from Indigenous Australians who aimed to bring the issue of land rights to the international stage. The campaign called for rights over indigenous lands in Queensland and control over mining in those areas. The Queensland premier at the time, Joh Bjelke-Peterson, declared a state of emergency and banned street marches during the games. Yet around 2000 people still took to the streets of Brisbane on 26th September in support of the campaign and in protest of the continuing oppression of Indigenous Australians. Further sit-ins and marches were held throughout the games with hundreds of arrests made by police. The protests gained international attention and remain a significant moment in the indigenous civil rights movement in Australia. In 2012, the State Library of Queensland held an exhibition called 'State of Emergency' to mark the 30th anniversary of the protests.
09 August 2019
It turns out there really is a celebratory day for everything (yes, we’re still enjoying yesterday’s International Cat Day moment), and 9 August is no exception. Happy Book Lovers Day!
To pay homage, Team Americas, Australasia and Eccles has picked a few much-loved books to share. Some have played an admirable role in guiding us on the various paths that have led us to the mothership that is the British Library, while others have been part of the discoveries made journeying through, and adding to, the vast and varied collections held here. Of course some heads starting to smoke at the thought of picking just one favourite book each, so this is a carefully selected array of those we love from our individual, rather long (and always growing) lists.
We’re confident that there will be another book-related annual festivity just beckoning for a blog in the not-too-distant future – look out for it as we shoehorn in the ‘ones that got away’ from today’s offering.
Book: Populuxe by Thomas Hine
British Library holding: Populuxe by Thomas Hine (London: Bloomsbury, 1987) YV.1988.b.2193
‘I came across Populuxe as an MA student and found it completely alluring. It has a beautiful pink binding and silvery blue lettering. Not many of the academic books I was reading at the time had such welcoming covers! The book is an examination of American material culture in the 1950s and ‘60s. As someone long fascinated by popular culture, its analysis was a revelation to me and helped me understand how everyday objects could be imbued with meaning. I had a literature, rather than a design or art history background, and Hine’s book helped me develop my critical thinking about material culture and the built environment. But also, it is just so much fun to read and I love poring over the fabulous illustrations.’
Book lover: Cara, Eccles Centre for American Studies
Book: A Confederacy of Dunces by John Kennedy Toole
British Library holding: A Confederacy of Dunces by John Kennedy Toole (Louisiana State Univ Press, 1980) 81/6110
‘There are few books which make me laugh out loud, fewer still that make me cry with laughter. A Confederacy of Dunces is one of these books. The main character, the irascible, gluttonous, and completely hilarious Ignatius J. Relly, is a wonderful creation, and following his picaresque search for truth, meaning, and the perfect hotdog is an unrivalled delight. There are all sorts of literary and philosophical allusions to unravel if you so wish, including references to the works of Boethius, Aquinas, François Rabelais and Jonathan Swift. If, however, you just want to sit back and enjoy the ride through the backstreets and dive bars of 1960s New Orleans, there is no better driver than Ignatius and his creator, John Kennedy Toole.’
Book lover: Philip, Eccles Centre for American Studies
Book: Elogio y paisaje by Nancy Morejón
British Library holding: Ciudad de La Habana: Ediciones Unión, c1996. (YA.2000.a.31155)
‘I like to read poetry in the summer holidays, especially after lunch when time goes slower and you can put the book down after each poem and leave the words floating in the air. This year I have loved Nancy Morejón’s Elogio y Paisaje, a book containing two poetry collections, Elogio de la danza (Ode to Dance) and Paisaje célebre (Famous Landscape). Morejón (Havana, 1944) is perhaps the most prominent voice of Cuban poetry today, as well as a translator and a scholar of the poetry of Nicolas Guillén. For English speakers, a bilingual edition of her poems, Looking Within: Selected Poems, 1954-2000 = Mirar adentro: poemas escogidos, 1954-2000 is available at YC.2003.a.20176.’
Book lover: Mercedes, American and Australasian Collections
Book: Restricted Images: Made with the Warlpiri of Central Australia by Patrick Waterhouse
British Library holding: London: SPBH Editions, 2018. (YC.2019.b.1013)
WARNING – Members of Australian Aboriginal and Torres Strait Islander communities are respectfully advised that a number of people mentioned in the text and depicted in the images of this publication have died.
‘This book has always stuck in my mind and is one that has since influenced my own practice as a curator. Over many trips to Warlpiri country in Central Australia, British artist, Patrick Waterhouse, photographed members of the Yeunduma and Nyirrpi Aboriginal communities, and then invited them to restrict and amend their own images using traditional dot painting. The project was an attempt to return the agency of their representation to the Warlpiri, whose images were used without consent and regard to their cultural beliefs in the 1899 book, The Native Tribes of Central Australia. The result is a compelling conversation about the power dynamics in photography, particularly in the colonial narratives which still dominate our library collections today.’
Book lover: Lucy, Australasian Published Collections
Book: New England’s Rarities Discovered by John Josselyn
British Library holding: London: For G. Widdowes, 1672. (435.a.5)
‘One of my favourite items is John Josselyn’s New England’s Rarities Discovered, which was published in London in 1672. Josselyn first visited New England in 1638 and, armed with the 1633 edition of John Gerard’s Herball, he spent a decade examining the “birds, beasts, fishes, serpents and plants of that country”. He was particularly interested in the plants used by the native population to “cure their distempers, wounds and sores”. Although its small size and rough and ready woodcuts give the impression of rather rustic work, Rarities was cited by Linneaus. Together with Josselyn’s second work, Account of Two Voyages to New England (1674), it remained the most complete summary of North American flora for more than a century.’
Book lover: Jean, Eccles Centre for American Studies
Book: The Scarlet Letter by Nathaniel Hawthorne
British Library holding: Second edition, Boston: Ticknor, Reed & Fields, 1850. (12701.i.12)
‘I resisted the temptation of pointing to Edgar Allen Poe again and have chosen to shine a light on The Scarlet Letter. It was during my first semester as an undergraduate that I was introduced to this book. It opened my eyes to a whole new world of historical American fiction. Enraptured by the story of Hester, and how her experience grapples with the ‘romance’ the novel claims to be on its title page, my love of North American literature stems, in part, from this book. Some years later I read The Handmaid’s Tale and was struck by the similarities you can draw between the two – it’s probably no surprise that this is also a favourite on my bookshelf (but we can save that for another day). This second edition has the opening note from a previous owner: “You will be much pleased with Hawthorne.” And much pleased I was.’
Book lover: Rachael, N American Published Collections
23 May 2018
After reading Luke Pearson’s blog post on Indigenous X about Indigenous Australian characters in comic books, I decided to see what comics the British Library held that represented Indigenous Australasian characters. Instead of reiterating Pearson’s existing article, which I recommend reading, I have simply listed the comics I was able to find and their shelfmarks at the end of the post. The Condoman poster for a sexual health campaign is a great example of how comic characters can appeal to and educate children and teenagers. By making Condoman an Indigenous man there is a clear relatability for the Indigenous teens that this poster was aimed at.
It is clear that creating characters that readers or viewers can identify with is important; it provides a role model that one can recognise themselves in. Ryan Griffen, creator of the television show Cleverman – a program centred on Indigenous Australian characters and inspired by Indigenous culture, explained how he had created Cleverman so his son had Indigenous superheroes he could be as excited by as he was the Teenage Mutant Ninja Turtles:
‘I wanted to create an Aboriginal superhero that he could connect with, no matter what others said. I wanted a character that would empower him to stand and fight when presented with racism. Just like the old dreaming stories, Cleverman would be able to teach moral lessons; not only for my son, not just for Aboriginal people, but for many more out there as well.’
As Pearson points out, the majority of the Indigenous characters he lists were created by non-Indigenous people. I was interested in how some of these Indigenous characters were depicted so decided to focus on one of them, a DC character named Betty Clawman. She appears in the Millennium comic, the compilation of which is in the British Library collections.
Betty does not appear until week two of the series, where she is found squatting by ‘the aptly named Ayres Rock, near Alice Springs, Australia.’ The comic series was produced three years after custodianship of Uluru was returned to the Anangu traditional owners so it seems likely this event caught the international imagination and resulted in Indigenous Australians being associated with Uluru. Ayres Rock was the name that colonisers gave the rock, it was named after a South Australian Premier called Sir Henry Ayres, I am unsure how this makes it ‘aptly named’ and I assume it underlines how little research the comic writers had undertaken into Indigenous Australian history and culture. Betty has been selected as one of a group of people to become immortal guardians of earth, a fact she already knew before she was approached as she foresaw it in the ‘Dreamtime.’ While Betty seems to impress the existing Guardians, she is rather passive throughout the encounter and makes multiple references to dreaming and the land – ‘while I, rather than dreaming on the land, learn how to wake from its embrace!’ These vague references around dreamings and land could also be reference to a half-formed understanding of Indigenous culture through the debates surrounding the return of Uluru. It seems no coincidence, however, that this comic was produced in 1988, the same year Australia celebrated the Bicentennial of its ‘founding’. On 26th January 1988 (Australia Day) Indigenous and non-Indigenous people alike took to the streets to protest the celebration of two-hundred years of history that tried to rewrite the 40,000 years of history Indigenous Australia had prior to British conquest. The protests sought to highlight ongoing denial of land rights along with the integral structural racism Indigenous Australians often experienced. It would be interesting to know how much of this political background Englehart, Staton and Gibson were aware of when they conceived Betty Clawman.
The other future Guardians set to join Betty suggests that the writers were keen to create an inclusive and diverse range of characters, yet they fell into the trap of easy cultural stereotypes (another future Guardian is Xiang Po, a Chinese woman who seizes the opportunity because ‘it never would have happened before the reforms). While I understand that the pages of comic books do not lend themselves to nuance and subtlety, it is a shame that the characters are so stereotyped. Betty’s willingness to follow the existing Guardians could at first be taken as passivity, but she often shows that she is confident and intelligent, such as questioning the teachings that the universe is logical. She is fore fronted in the cartoon frames and praised for her readiness to become a Guardian. I was very excited about the empowering depiction of Betty until the selected new Guardians transitioned into their new forms – the stereotyping became almost comical again: Xiang Po becomes incredibly sexy and her whole appearance is Westernised. Betty quite simply disappears! She becomes an invisible spirit that is simultaneously part of the earth and the other Guardians but no longer visible or audible; she informs others and perhaps shapes their actions but can no longer take actions herself.
This characterisation of the spiritual silent Indigenous person is reminiscent of Gateway, the Indigenous character Marvel created the same year the DC created Betty Clawman. Like Betty in her Guardian form, Gateway is silent and only communicates through telepathy. He simply sits and watches the actions of the X-Men, opening portals for them on request. From my close reading of these two comics and looking at the Indigenous characters on Pearson’s list, it does seem that if writers want a mysterious character that is imbued with spirituality, they make that character Indigenous. While there is perhaps nothing necessarily wrong with depicting an Indigenous person as deeply wise and spiritual, it becomes problematic when that is all they are shown as. It firmly places Indigenous Australians in a position of ‘other’, making it difficult for Indigenous people to identify with those characters, let alone other comic book fans.
Joanne Pilcher is currently carrying out a PhD placement project at the British Library, exploring contemporary publishing in Australia. If you would like to know more about placement opportunities at the Library for doctoral students please click here.
In my placement at the Library I have suggested the purchase of comic books that show a wide variety of Indigenous characters and complex personalities. If you have any other good suggestions do tweet me: @JoannePilcher1
Comic books/graphic novels in the British Library Collections that feature Indigenous Australian characters:
Grant Morrison et al, The Multiversity: the deluxe edition, New York: DC Comics, 2015, [shelfmark: General Reference Collection YKL.2017.b.559]
Hugh Dolan, Adrian Threlfall, Reg Saunders: An Indigenous War Hero, Sydney, NSW, Australia: NewSouth, 2015 [shelfmark: General Reference Collection YKL.2017.b.766]
Marvel Comics, Essential X-Men, Volume 8, New York, N.Y. : Marvel Publishing ; London : Diamond, distributor, 2007, [General Reference Collection YK.2009.b.171]
Steve Englehart, Joe Staton, Ian Gibson, Millennium: Trust No One, DC Comics, New York 2008. [shelfmark: General Reference Collection YK.2009.b.9556]
 Luke Pearson, ‘The Wombat to Kaptn Koori – Aboriginal Representation in Comic Books and Capes,’ Indigenous X, 13th June 2017, https://indigenousx.com.au/luke-pearson-the-wombat-to-kaptn-koori-aboriginal-representation-in-comic-books-and-capes/#.Wm8DF1hLHcs, [last accessed 29/01/18]
 Ryan Griffen, ‘We need more Aboriginal superheroes, so I created Cleverman for my son’, The Guardian, 27th may 2016, https://www.theguardian.com/tv-and-radio/2016/may/27/i-created-cleverman-for-my-son-because-we-need-more-aboriginal-superheroes, [last accessed 29/01/18]
 Steve Englehart, Joe Staton, Ian Gibson, Millennium: Trust No One, DC Comics, New York 2008. Originally published as an eight part magazine series in 1988. [shelfmark: General Reference Collection YK.2009.b.9556]
 Millennium, DC Comics, p32
 ibid p33
 ibid p40
 Marvel Comics, Essential X-Men, Volume 8, New York, N.Y. : Marvel Publishing ; [London : Diamond, distributor], 2007, [General Reference Collection YK.2009.b.171]. Originally printed as serial magazines in 1988.
12 January 2018
Following on from my last post were I outlined some resources I have found useful for learning about contemporary Indigenous Australian issues; I have turned my attention to Māori resources in this post. As with the previous post, I have tried to provide resources that are written by Māori people, in some cases this is easier said than done as it is certainly not up to me to decide who is Māori and who is not. I am an outsider to Māori culture and this collection of resources is only intended to skim the surface in order to provide a few avenues for further research. If you think there is anything I have overlooked in this post or have other suggestions for me, I encourage you to tweet me: @JoannePilcher1
Te Ara – The Encyclopaedia of New Zealand has been an invaluable resource for me, the website splits into themes that contexualise contemporary Māori life such as The Bush, The Settled Landscape and Economy and the City. It is possible to browse around topics based on these themes or it is an excellent place to go to read up on a specific issue but simply searching key words. They also feature stories and articles, for example this week’s featured story is Deep-sea Creatures. https://teara.govt.nz/en
Maori.org.nz – This website provides useful summaries of elements of contemporary Māori culture and their historical context. I particularly enjoyed looking at the section on Korero O Nehera (Stories of Old), which is a collection of traditional Māori stories written by Māori authors. It also includes a selection of further links to learn more about each of the themes it addresses. http://www.maori.org.nz/
Māori Television has a news section on their website that covers current affairs from a Māori perspective. The Headlines section gave an interesting overview all news and I found the Politics section really useful for understanding how Māori issues are represented within the political structures in New Zealand. http://www.maoritelevision.com/news/headlines
While New Zealand History is not a specifically Māori focused website, it has been recommended by other Māori sites as a useful resource for providing historical context on Māori culture. It provides a Brief pre-history of how Māori peoples came to settle in New Zealand as well as going into a lot of detail on key dates in Māori history. It also has a really useful section on the various wars that took place between different Māori tribes and the Pākehā (non-Māori New Zealanders) and how this shaped the treatment of Māori peoples in New Zealand today. http://history-nz.org/maori.html
He Pukenga Korero – A Journal of Māori Studies website http://www.hepukengakorero.com/
The New Zealand Human Rights Commission’s page discusses equality and human agency more broadly and often shares information relating to Māori issues. https://www.facebook.com/NZHumanRightsCommission/
New Zealand Māori Arts and Crafts Institute shares a wide array of Māori art and design for anyone interested in learning more about traditional Māori visual culture. https://www.facebook.com/nzmaci/?ref=br_rs
Māori Rights in NZ shares a range of posts, from more political think pieces to more community-based information. https://www.facebook.com/MaoriRightsInNz/?ref=br_rs
Te Ahi Kaa – this podcast provides a bilingual discussion of various Māori experiences from the past, present and future. https://www.radionz.co.nz/national/programmes/teahikaa
There is a very wide selection of books on Māori New Zealand in the British Library collections. In this list I have outlined ones that provide a more general context of Māori beliefs and culture, I will be revisiting some of these titles in future blog posts.
Rawinia Higgins, Poia Rewi and Vincent Olsen-Reeder eds, The value of the Māori language /Te hua o te reo Māori, Wellington : Huia Publishers, 2014, [shelfmark: Asia, Pacific & Africa YP.2014.a.6419] A bilingual collection of essays in Te Reo and English that discuss the importance of preventing the Māori language from dying out.
Tracey McIntosh and Malcolm Mulholland ed, Māori and social issues, Wellington, N.Z. : Huia Pub., 2011 [shelfmark: Asia, Pacific & Africa YD.2012.a.4357] This book is part of the same series as The value of the Māori language, it aims to highlight social issues faced by Māori people from their perspective and suggests solutions that are Māori-centred.
Cleve Barlow, Tikanga Whakaaro : key concepts in Maori culture, Auckland : Oxford University Press, 1991 [General Reference Collection YC.1991.a.5030] Written by a Māori man who comments that his combination of Māori upbringing and western style education has inspired the book's structure. He focuses in on key Māori themes, selecting ones that are most relevant to contemporary Māori life. Each entry is bilingual.
Tania Ka'ai, Ki te whaiao : an introduction to Māori culture and society, Auckland, N.Z. : Pearson Longman, 2004 [shelfmark: Document Supply m04/30485] This book is structured so that the first part focuses on the Māori world, Te Ao Māori, and the second, Ngā Ao e Rua (The Two Worlds), looks at how the worlds of the Māori and Pākehā have interacted and existed alongside each other throughout time.
Auckland Art Gallery, Pūrangiaho: seeing clearly: casting light on the legacy of tradition in contemporary Māori art, Auckland, N.Z. : Auckland Art Gallery, c2001 [shelfmark: General Reference Collection YA.2002.a.20895]. There is often a risk of associating the traditional art of First Peoples of any country as historical or anthropological objects. While they can be both historical and anthropological (like all artworks) they can also be considered as great pieces of contemporary art. This exhibition catalogue looks at how contemporary Māori artists have utilised traditional techniques in their work.
By Joanne Pilcher
PhD Placement Student
British Library and Brighton University
04 September 2017
Resources for engaging with Aboriginal and Torres Strait Islander contemporary culture and politics.
Greetings from Darwin! I am currently very fortunate in that I am travelling around Australia for PhD research and learning about life and culture directly from the Aboriginal designers in the Northern Territory that I am interviewing. Prior to coming out to Australia I had to conduct most of my research online. In this post I have put together a list of websites that I recommend to anyone who is interested in gaining further understanding of Indigenous Australia. I have also included a list of books from the British Library that I found useful.
There are several hundred different Indigenous language groups with differing cultures and beliefs. In my list below I have tried to provide more general information, rather than represent each group. If you are interested in a specific community, many do have their own websites which will provide information on their beliefs and history.
I welcome any suggestions of other online and offline resources that are helpful for educating unknowing outsiders, I am sure there will be many I do not know about yet. I hope to put together a similar list for Maori culture and politics so would appreciate any recommendations for that. Just tweet me - @JoannePilcher1
The Guardian Online, Indigenous Australians:
This page provides a range of articles on different issues related to Indigenous politics and culture. There are exhibition reviews, personal essays and commentary on current affairs.
A blog run and written by Indigenous Australians covering anything from current affairs to a history of Indigenous representation in comic books. They also have a twitter account (@IndigenousX) where different Indigenous Australians are invited to host and run the account and tweet about things related to their expertise.
National Indigenous TV is a channel on SBS that is made by and for Indigenous Australians. While the channel may not be available internationally, their website and Facebook page share lots of information on current affairs.
Menzies Centre For Australian Studies:
Part of King’s College London, The Menzies Centre does not focus specifically on Aboriginal and Torres Strait Islander Australia but does have a range of interesting talks and events that sometimes relate to this area, such as a recent talk by Marcia Langton on Indigenous art. They also have a twitter (@menziescentre) and Facebook page (https://www.facebook.com/AusNetwork/) that regularly have information shared on them.
The Australian government website has an overview of the heritage of Australian Indigenous culture.
Many of the above websites have Facebook pages that are worth following. The two listed below do not have websites.
This group shares a wide range of posts and articles related to life as an Indigenous Australian.
Aboriginal News – Australia:
This page regularly posts articles related to Indigenous Australian current affairs. They collect articles from a range of sources.
It’s Not a Race:
This podcast covers a variety of topics surrounding racial identity within Australia and discusses issues Indigenous Australians face in several episodes.
There is a wealth of information available within the British Library on the Aboriginal and Torres Strait Islander peoples of Australia. There are too many topics to go into specific areas on this list so I have selected ones that give a ‘whistle-stop tour’ of Indigenous Australian culture and history. All of the below are available in the British Library collections and I have included their shelfmarks.
Rachel Perkins and Marcia Langton, First Australians: An Illustrated History, Carlton, Vic.: Miegunyah, 2008, [Asia, Pacific & Africa LD.31.b.2662]
This book was produced as an accompaniment to a nine part series on the history of Indigenous Australia. I have selected this as it gives a general overview but anything by Marcia Langton is worth reading, she is considered to be one of Australia’s most important Indigenous historians and is the Foundation Chair in Australian Indigenous Studies at the University of Melbourne.
Australian Aboriginal Studies Journal, Australian Institute of Aboriginal Studies, Melbourne, 1983 –
[General Reference Collection X.0525/685, General Reference Collection ZD.9.a.1762, Document Supply 1796.654990]
Some printed copies of this journal are in the British Library collections, the rest are available online through the library database.
Stephen Mueche and Adam Shoemaker, Aboriginal Australians: First Nations of an Ancient Continent, Thames and Hudson, London, 2004. [General Reference Collection YK.2011.a.3122]
This short book gives a general introduction to different beliefs and histories across various communities within Australia.
David Unaipon, ed by Stephen Muecke and Adam Shoemaker, Legendary tales of the Australian aborigines, Melbourne University Press, 2001 [General Reference Collection YC.2002.a.21382]
Unaipon is credited with being the first published Aboriginal Australian author and appears on the fifty-dollar note. He toured Australia collecting the local stories of various communities and translating them into English in the 1920s; initially his publishers sold his work to an English man who published it in his name instead. Unaipon’s original manuscript was found and republished in his name in 2001 by Muecke and Shoemaker
Pauline E.McLeod, Francis Firebrace Jones, June E. Barker Gadi Mirrabooka: Australian Aboriginal Tales from the Dreaming, Englewood,Colo. [Great Britain] : Libraries Unlimited, 2001
[General Reference Collection YK.2003.b.2308]
Many compilations of Indigenous Australian stories can be considered as exploitative as they are sharing stories that could be sacred without permission from the communities the stories are from. This compilation has been produced by the story custodians themselves who have permission to share them.
By Joanne Pilcher
Joanne Pilcher is currently carrying out a PhD placement project at the British Library, exploring contemporary publishing in Australia. If you would like to know more about placement opportunities at the Library for doctoral students please click here.
10 July 2017
The Americas blog is delighted to host the first of series of posts on our Australian collections by Joanne Pilcher, who is currently carrying out a PhD placement project at the British Library, exploring contemporary publishing in Australia. If you would like to know more about placement opportunities at the Library for doctoral students please click here.
I am in the second year of my PhD in the School of Architecture and Design at University of Brighton. My research is into textile design and printing conducted by Aboriginal Australians in the Northern Territory from 1988 to present. Some Aboriginal art centres have been producing printed or woven textile designs since the 1940s, yet these textiles are often overshadowed by the more widely publicised (and stereotyped by outsiders) Western Desert Style paintings by Aboriginal artists. I am interested in how textile design and production provides a different opportunity for exploration of culture and identity in comparison to the paintings; this is particularly interesting in relation to how the textiles are increasingly turned into clothing. Clothing is often the first signifier of an individual’s identity. As Aboriginal textiles increasingly become wearable expressions of identity accessible to all races and nationalities, I am interested to learn how (or if) this sharing of visual culture can provide the designers with agency either through monetary gain, growing cultural awareness or political representation. This is important as there is still a significant gap in wealth and political representation between Aboriginal and Torres Strait Islander Australians verses settler Australians.
It is with this background that I have approached my three month placement at the British Library. As with most PhD projects, my work is rather specific in that is only discusses textile design and only in relation to Aboriginal groups in one specific area of Australia. This placement has provided me with the opportunity to ‘widen my horizon’ and engage with the cultural outputs and representations of knowledges of Aboriginal and Torres Strait Islander groups across Australia. Generally, I have been surprised at how comprehensive the British Library’s collection on Indigenous Australian writing is. I have learnt about an array of talented Indigenous Australian novelists, playwrights and poets, such as Andrea James, Daisy Utemorrah and Oodgeroo Noonuccal. I have also learnt a lot about the challenges of collecting and writing about Aboriginal and Torres Strait Islander knowledges, a topic I hope to write about in a future blog post. I am now constantly on the look out for exciting new publications in this field that I can add to my growing list of suggestions of books for the library to collect. I am particularly interested in activist or grass roots publications such as zines that relate to current discussions on Constitutional Recognition of Aboriginal and Torres Strait Islander groups in Australian politics.
As a non-Indigenous dual nationality British/Australian scholar, I have taken the role as an ‘informed outsider’ in both my PhD research and the British Library placement. In my PhD work I hope to use oral history interviews in order to put the voices and experiences of Aboriginal Australian textile designers and printers at the centre of my research. I have reflected upon this during the British Library placement where I have focused on written material created by, or in collaboration with, Aboriginal, Torres Strait Islander and Maori people of Australia and New Zealand. I have paid most attention to attempts to share cultures and histories with a wider audience; one area I have been particularly interested in is children’s stories and comic books as they provide visually stimulating texts that can be widely disseminated. From the 1980s onwards, there have been quite a few Aboriginal comic book characters but, as Luke Pearson outlines in his article for Indigenous X, ‘very few [characters] have been designed by Aboriginal artists, or written by Aboriginal authors.’ Some of these are represented in the British Library collections, such as the Reg Saunders comic by Hugh Donlan and Adrian Threlfal which depicts the true story of the Indigenous war hero Reg Saunders. I hope to compliment this existing collection with other comics, such as the newly released Cleverman comic which accompanies the television series of the same name by Ryan Griffen who created it so his son could have Aboriginal super heroes to look up to.
After spending four weeks of the placement looking at the Australian collections, I have now turned my attention to the New Zealand collections. This is a new area of research for me and I am excited to learn more about postcolonial politics and culture within Māori groups in New Zealand. I will be interested to compare how the representations of the Indigenous groups of Australia and New Zealand differ in a contemporary context. I welcome any feedback and advice on this project, please feel free to tweet me: @JoannePilcher1
All of the works I have been looking at are available on the British Library Explore Catalogue.
I would like to thank the Arts and Humanities Research Council, Design Star Student Development Fund whose financial support has enabled me to undertake this placement.
By Joanne Pilcher
 As my research focuses on Indigenous Australian groups in the Northern Territory, I have used only ‘Aboriginal’, when I am referring to Indigenous Australians across Australia I will use ‘Aboriginal and Torres Strait Islander’.
 James, A., Playbox Theatre Company, & Melbourne Workers Theatre. (2003). Yanagai! Yanagai! (Current theatre series). Sydney: Currency Press in association with Playbox Theatre, Melbourne. [Shelfmark: Asia, Pacific & Africa YD.2004.a.5544]
Utemorrah, D., & Torres, Pat. (1992). Do Not go Around The Edges Broome: Magabala. [Shelfmark: General Reference Collection LB.31.a.4409 General Reference Collection LB.31.a.4409]
Oodgeroo Noonuccal. (2008). My People. (4th ed.). Milton, Qld.: John Wiley & Sons Australia. [Shelfmark General Reference Collection: YK.2012.a.29602 General Reference Collection YK.2012.a.29602]
 This article from the Guardian’s Indigenous Australians blog gives some of the context behind recognition. https://www.theguardian.com/australia-news/2017/may/25/constitutional-recognition-and-why-the-uluru-talks-matter-explainer
 Dolan, H., & Threlfall, Adrian. (2015). Reg Saunders : An Indigenous War Hero. Sydney, Newsouth Publishing [Shelfmark: General Reference Collection YKL.2017.b.766]
23 April 2014
Front cover from, Fighting Australasia. You can see more on the Library's item viewer.
As Friday marks ANZAC Day Team Americas and Australasia dig into the Library's Europeana contributions and look back on Australia and New Zealand in the First World War.
Quoting from from the Australian War Memorial Website, ‘ANZAC Day – 25 April – is probably Australia's most important national occasion. It marks the anniversary of the first major military action fought by Australian and New Zealand forces during the First World War.’ To mark the event, the British Library’s ‘Item of the Week’ is currently, Fighting Australasia: a souvenir record of the Imperishable story of the Australian Forces in the Great War.
Sinking of R. M. A. T. "Ballarat", from Fighting Australasia. You can also view the item on the Library's World War One learning resource.
Published in London in 1917 the publication sits alongside other works such as, The Anzac Book, which commemorate the actions of Australian and New Zealand forces in the war, often while working as a means to raise money for the soldiers’ Comfort Funds. While publications such as The Anzac Book were written and assembled by members of the Australian and New Zealand fighting corps (in this case, in Gallipoli itself) Fighting Australasia is very official in tone and was produced and printed in London’s Piccadilly. Inside the publication is fascinating for a number of reasons, not least the wealth of advertising material the flanks the main text, which includes a Bovril advert using the text of letters from Gallipoli before proclaiming, “Bovril Gives Strength to Win!” (p. 89). The account is heavily photographically illustrated and contains a number of artist’s illustrations, including one of the sinking of R.M.A.T. Ballarat.
Photographs from, Regimental History of the New Zealand Cyclist Corps.
Both Fighting Australasia and The Anzac Book have been digitised as part of the library’s contribution to ‘Europeana Collections, 1914 – 1918’ where they form part of a large selection of material detailing how people from the then British Empire contributed to the First World War. Within this there is a wide range of Australasian materials from, Australia in the Great War: the story told in pictures; to, The Maoris in the Great War: a history of the New Zealand Native Contigent and Pioneer Battalion and; Regimental history of New Zealand Cyclist Corps in the Great War, 1914-1918 (seen above). Some of this material can be found with further details in the British Library World War One learning resource and the rest can be found on the Library’s Image Viewer.
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