It’s 31 October so seems appropriate to take a look at a few items from the collection perfect for All Hallows' Eve.
It seems that both Halloween (and a blog written by me) wouldn’t be complete without a nod to Edgar Allan Poe. The Library holds a number of volumes of the Southern Literary Messenger, a 19th-century literary magazine ‘Devoted to Every Department of Literature and the Fine Arts’. It was Poe’s friend, novelist John Pendleton Kennedy, who encouraged him to write for the Messenger. Poe both edited and had some of his works included in the periodical.
Title page of The Southern Literary Messenger (shelfmark: P.P.6380)
Berenice – A Tale was first published in the March 1835 edition of the Messenger. Richard P. Benton writes that this is ‘one of Poe’s most sensational and horrible tales. Some readers have found it too horrible, and Poe himself confessed it to be such’ (page 123, ‘The Tales: 1831 – 1835’ in A Companion to Poe Studies, YC.1997.b.2189). Indeed, the story caused quite a stir when it appeared in the Messenger, which was considered a ‘refined’ kind of reading.
And it’s not surprising why. Even by today’s standards it’s grotesque. Egaeus, a man driven by his head over his heart, becomes fascinated with his beautiful cousin, Berenice. In contrast, Berenice is a loving woman guided by her emotions. When Berenice falls sick, her beauty fails and Egaeus is gripped by her demise: ‘An icy chill ran through my frame … a consuming curiosity pervaded by soul … my eyes rivetted upon her … My burning glances at length fell upon her face.’ (page 334, Edgar A. Poe ‘Berenice – A Tale’ in the Southern Literary Messenger, P.P.6380) He recounts her sunken eyes, her darkened hair and her thinned lips – a picture ‘lifeless and lustreness’ (page 334, ibid). It is her teeth that he becomes obsessed with. He gradually slips in and out of consciousness picturing the teeth and imagining holding and studying them.
Spoiler alert. It is only at the end of the story that Egaeus comes back to some kind of reality. He is told by a servant that a grave and body – still ‘palpitating’ – has been found. Egaeus notices his clothes are ‘muddy and clotted with gore’ (page 336, ibid), and that there is a spade in his room along with ‘instruments of dental surgery, intermingled with thirty-two small, white and ivory-looking substances’. (page 336, ibid)
Darkness. Monomania. Bloodshed. If you’re looking for a tale with bite, look no further than Berenice.
It was a fearful page in the record my existence: illustration by Henry Clarke for Berenice (shelfmark: 12703.i.44.)
Rather get your teeth into something less revolting? We don’t blame you, so we’ve turned to Betty Crocker for some inspiration. You’ve made your Jack-o’-lantern, now what to do with the flesh you’ve scooped out from your pumpkin?
Betty Crocker’s New Picture Cook Book was printed in 1961 by the McGraw Hill Book Company, Inc, in New York. Designed as a guide for making both simple and sophisticated ‘foreign-inspired food and old-fashioned American dishes’, the opening pages boast that each basic recipe in the book ‘has been tested at least 100 times’. As well as being fool proof, the added bonus of calorie charts and ‘celebrities’ favorite menus and recipes’ are also included. Who knew President Eisenhower was a fan of sirloin steak followed by apple pie?
When it comes to pumpkins, the General Mills Betty Crocker Kitchens in the Golden Valley (amazing photos of said kitchens can be found on pages 2 and 3) are not short on ideas. Pumpkin muffins, pudding and, of course, pie (both autumn and spicy options), are all on the menu. Needless to say evaporated milk and sugar are vital components. We’re told that “Pumpkins, or ‘pompions,’ were a standby of the early New England settlements” and an old poetic verse is included with the recipe for those gifted enough to able to sing and bake simultaneously.
One slice or two? Pages 350 – 351 Betty Crocker's New Picture Cook Book (shelfmark: 07938.cc.33.). The book contains an impressive 48 full-colour pages of food to show a number of culinary delights in all their glory.
And it’s not just pumpkins Betty’s got covered: Jack-o’-Lantern popcorn balls with gumdrops and candy corn and Batter Franks with catsup are also recommendations for a 1960s Halloween party.
Of course, pumpkins aren’t just for Halloween, also being key players on the Thanksgiving menu. The pumpkin is an unmistakable symbol of fall in the US. Whether as a Halloween prop or part of a Thanksgiving dessert, it is now so much more than the unassuming vegetable it once was: Jacqueline Mansky affirms that ‘the orange field pumpkin, especially the giant version, [has] became wrapped up in the American agrarian myth’ (How the Great Pumpkin Became Great, Oct 21 2019) and is an icon of key US holidays. Why? Read this very enjoyable article on JSTOR to find out.
This broadside from 1932 promotes the all-important components for Halloween in the aptly named Wildwood, New Jersey: ‘FUN… GOBLINS… WITCHES’. Attendees are told to ‘Be prompt’ for the 8pm parade and that only decorated vehicles are permitted.
Hallowe’en Parade broadside. Currently being catalogued and available in Reading Rooms soon.
Traditionally in Europe in the 12th century, criers would parade the streets on Halloween in memory of lost souls. Yet the parades that we may be more familiar with today and that became popular in the US during the 20th century include fancy dress, music and elaborately dressed floats. Events like the well-known Village Halloween Parade in New York City, one of the largest in the world, is now in its 46th year and attracts tens of thousands of spectators to the night-time spectacular.
The Halloween parade referred to on this broadside is held ‘Under the Auspices of Wapella Tribe, 238, I. O. R. M’, the IORM being the Improved Order of Red Men. Despite its name, the group was for white men only. Their membership was at its peak in the 1930s when this item was made. The event was organised by this men's fraternal group that claimed descent from the Sons of Liberty and the Boston Tea Party and based itself on a stylized but problematic interpretation of Native American culture.
(Blog by RSC)
Officially Indian: symbols that define the United States by Cecile R. Ganteaume; foreword by Colin G. Calloway; afterword by Paul Chaat Smith. (Washington, DC: National Museum of the American Indian, 2017) Shelfmark: YD.2019.b.673
Southern Literary Messenger (Richmond, Va: J. R. Thompson, 1848-1864) Shelfmark: P.P.6380
A Companion to Poe Studies edited by Eric W. Carlson (Westport, Conn.; London: Greenwood Press, 1996) Shelfmark: YC.1997.b.2189
Tales of Mystery and Imagination by Edgar Allan Poe, illustrated by Harry Clarke (London: G. G. Harrap; New York : Brentano's, 1923) 12703.i.44.
Betty Crocker's New Picture Cook Book. Decorations by Joseph Pearson (New York: McGraw Hill Book Co, 1961) Shelfmark: 07938.cc.33.
Death Makes a Holiday: a Cultural History of Halloween by David J Skal (New York, N.Y.: Bloomsbury, 2002) Shelfmark: m02/39931
Celebrating Ethnicity and Nation: American Festive Culture from the Revolution to the Early Twentieth Century edited by Geneviève Fabre, Jürgen Heideking and Kai Dreisbach (New York, NY: Berghahn Books, 2001)
Object Analysis of the Giant Pumpkin by Cindy Ott from Environmental History, Vol. 15, No. 4 (OCTOBER 2010), pp. 746-763 (18 pages)
How the Great Pumpkin Became Great by Jacqueline Mansky, Oct 21 2019