02 November 2022
This blog celebrates the 30th anniversary of Desmond J. McTernan’s French Quebec: Imprints in French from Quebec, 1764–1990, in the British Library.
This wonderful catalogue was officially commissioned by the Foreign & Commonwealth Office in the spring of 1990 as Britain’s gift to Montreal for the 350th anniversary of the foundation of that city, due to be celebrated in 1992.1
As McTernan explains, the British Museum Library had begun collecting French language materials from Quebec in the 1830s and this has been continuously sustained since the late 1860s. Besides this continuity of acquisition, the British Library’s collection has also benefited both from the law of colonial copyright deposit which between 1895–1923 brought in many publications which would not otherwise have been obtained (described in a recent blog post), and from the very extensive programme of donations of new Quebec monographs by the Délégation générale du Québec in Paris from the mid-1960s to the early 1980s. McTernan’s catalogue therefore charts the evolution of French Quebec’s literary, artistic, social and political culture through material collected for nearly 160 years by the national library of a country that has shared a privileged relationship with both Quebec and Canada throughout that period.
In his rich and detailed Introduction, McTernan notes that Quebec City’s first printing business – Brown and Gilmore – opened in 1764. Twelve years later, the Frenchman Fleury Mesplet (Fig. 1, below) introduced the printing press to Montreal. Yet for the next five or six decades, their output was essentially restricted to government proclamations and notices, catechisms, teaching primers and almanacs, and it would not be until the late nineteenth century that Quebec's home-grown publications truly began to challenge the dominance of foreign imports.
This transition from mere printing to publishing, began, albeit tentatively, in the 1830s – a period of great political and cultural confrontation in Quebec, during which it became increasingly clear to the Francophone population that books printed in France could not articulate their specific cultural identity, nor the threat under which they felt it to be. It was at this time that Quebec itself – its history, society and literature – became the subject matter for local printers, thus beginning the tradition of Canadian scholarly writing and printing in defense of French Canada and its history.
As for how works from Quebec reached the British Museum Library, McTernan notes that the first major supplier of Canadian imprints was the well-known, mainly antiquarian bookdealer, T. Rodd of 12 Great Newport Street. An early invoice from Rodd, dated 8 December 1840, lists 42 titles from Lower Canada, 12 of which were in French. The majority of these were either printed or commissioned by government or corporate bodies, and focused in one way or another on aspects of local or North American government, law, politics and society. But the list also includes two of the earliest French-Canadian scholarly monographs: Amury Girod’s Notes diverse sur le Bas-Canada (1835) and G.B. Faribault’s Catalogue d’ouvrages sur l’histoire de l’Amérique et en particulier sur celle du Canada... (1837).2
Yet no regular commercial network for the export of Canadian books existed before the 1870s; partly because there were simply too few publications to make this worthwhile. As McTernan explains, the large-scale existence and widespread availability of books in any society depends on several factors, not least of which are a reasonably literate population and a good communication and transportation network. In 1840, neither of these existed in French Canada. However, the 1840s saw a series of Education Acts, the full impact of which was felt by the 1870s. And after Confederation in 1867, the construction of the railroad network – which had begun in the 1840s–50s – not only vastly expanded, but also geared itself towards the transport of passengers.
After exploring the impact of various copyright Acts – both ‘Imperial’ and colonial – upon the Library’s receipt of works published in Canada, McTernan ends by exploring the acquisition of material post-1930. Between 1930-1960, there was not only a diminution in the funds available for the purchase of materials from French Quebec, but also the need to repurchase works that had been destroyed by bomb damage in World War II rather than buy new works. Happily, however, 1960-1990 was a period of expansion and development. Indeed, the 1960s–70s was ‘a time of plenty’ for the Library as a whole, but the previously mentioned donation from the Délégation du Québec from 1964–1981 also added to the Library’s stock at least one third of the imprints that it holds for those years, and the money freed up by these donations enabled a wide-ranging purchase of older material.
By 1990, the Library’s collection of imprints in French from Quebec comprised around 11,000 titles, making it one of the largest such collections outside of Quebec itself. This magnificent collection continues to grow to this day.
Desmond J. McTernan, French Quebec: Imprints in French from Quebec, 1764-1990, in the British Library. London: The British Library; Montreal: Bibliothèque national du Québec, 1992-93. British Library shelfmark: Open Access Humanities 1 Reading Room: HLR 011.241; General Reference Collection 2719.k.1330.
Amury Girod, Notes diverse sur le Bas-Canada. Village Debartzch: J. P. Boucher-Belleville,1835. British Library shelfmark: 798.g.13; G.B. Faribault, Catalogue d’ouvrages sur l’histoire de l’Amérique et en particulier sur celle du Canada... Québec, 1837. British Library shelfmark: Cup.403.t.10.
19 October 2022
Suelin Low Chew Tung is an artist and writer and is based in Grenada; she was a 2020 British Library Eccles Visiting Fellow.
My days as an Eccles Fellow at the British Library, from July to August 2022, were happily spent pouring over maps, ledgers, bound letters, loose papers, and other documents related to Grenada, an island (and the name of the State of Grenada) located at 12°07’N 61°40’W.
Grenada is part of an archipelago variously known as the Caribes Islands, Lesser Antilles, West India Islands, and Windward Islands, within a space called the West Indies or the Caribbean. My project is to list changes in names during the French and British colonial ownership of this small island nation and overlay them on a contemporary map. I will then have a better idea of where was called what, why, and if any of the original colonial names survived as the physical landscape both changed and changed hands.
I spent most of my time in the Maps Reading Room reviewing single maps, duplicate maps, maps on paper and fabric, both coloured and black and white, in books and boxes. I came across maps referring to Grenada as l’isle de la Grenade (British Library shelfmark: Maps 147.e.8.); las Islas Granada (Maps D.DE.H.SEC.9.(506.)); island of Granada (Maps 82410.(2.)); and l’Isola di Granata (Maps C.24.f.10.). No wonder there is confusion as to the correct pronunciation.
After the British gained control of the island from the French in 1763, however, the name changed from la Grenade to Grenada.1 So, it’s Gre-nay-dah, not Gra-naah-da. That’s in Spain.
I was determined to find all documents relating to Grenada in the British Library’s catalogue. The staff in Maps, Rare Books, Manuscripts, Asia & Africa and the Newsroom were accommodating, and I was grateful for their input. Regarding the former, the Library contains one of the best map collections on Grenada. Representations on early maps in Jomard’s collection and the Blathwayt Atlas, showed the island as a blob, a cross, a backwards L, and even a crab’s claw.2 I saw the island’s shape evolve from a smudge to the elegant outline we are accustomed to seeing on Google Earth—a green mango set against blue sea. Unfolding each map opened new ideas for artwork, and suddenly Grenada was not just a speck on the world map but a place that vibrated throughout history.
I was beyond thrilled.
Les monuments de la géographie, ou, Recueil d’anciennes cartes européennes et orientales:… by Edme-François Jomard, contains several maps showing Grenada:
• Map XIX. 1: Mappemonde peintre sur parchemin par order de Henri II, roi de France, is a 1542 map which shows an unnamed Grenada hanging off the edge of the image.
• Map XX.1: Mappemonde de Sébastien Cabot, pilote-major de Charles-Quint, de la première moitié du xvie siècle. On this 1544 map, the shark tooth-shaped island is called la Granada. It is connected to I. vicente (St. Vincent) by two strands of unnamed islands; the effect is of a necklace, a Kalinago caracoli.
• Map XVI: Mappemonde de Jean de la Cosa, pilote de Christophe Colomb, fin du xve siècle. On this map, Grenada is called Mayo.
According to J.A. Martin (2013), de La Cosa’s map showing Grenada took information from Vincente Yañez Pinzón’s map of his exploration of the Americas in 1499-1500.3 Though Christopher Columbus is credited with ‘discovering’ and naming Grenada as Conception, Pinzón apparently visited Grenada on 1 May 1500 at what is now St. George’s Harbour. Map XVI shows Grenada as a blue cashew nut shape, identified as Mayo. Pinzón’s landfall is listed as “poyna” a corruption of Puerto de la Reyna, meaning Port of the Queen (Isabella).
In the Blathwayt Atlas Volume 1 (British Library shelfmark: 196.e.1.), John Sellers’ Chart of the Caribe Islands (p. 25) enlarges that backwards L so the island shape is recognisable as a smaller version of modern-day Trinidad. On the 1656 map by Nicolas Sanson d’Abbeville and George duRoy, Les Isles Antilles (p. 26), Granada is a crab’s claw at the end of a shattered arm of granular rocks they called Granadilla. John Sellers’ The Island of Tobago (p. 29), includes a Chart of the Carriby Islands where the Granada claw is less pronounced, and the smaller rocks are called Granadillos. The Venezuela cum parte Australi Novae Andalusiae (p. 37), is a map of Venezuela showing the Caribbean archipelago. On this, Granada looks more like an opened nutmeg, eerily similar to the one on our national flag.
My visit with the Library's Philatelic team was also an absolute pleasure. I got a good introduction to how stamps are made, the Grenada stamps in the Tapling Collection, and Grenada stamps in general. As they explained: stamps hold a mirror to history. Indeed, these vignettes of our island’s story will inspire a series of artworks on the currency of stamps, given that fewer people are using stamps as postage.
Apart from creating a series of artworks inspired by the British Library’s collections, my main intention is to render a single map of Grenada place names. This will connect old place names with new, identify places which no longer exist and new spaces which fill that void. I hope to start conversations on shifting landscapes and narratives of Grenada’s past, and heritage education/appreciation/conservation policy.
This was my fifth visit to the British Library since 2011, but the first on a fellowship. The Eccles Visiting Fellowship provided opportunity and funding for research at the British Library, a safe space to dream, to learn and be inspired. I needed at least another month.
- Martin, J. A. (2022). A~ Z of Grenada Heritage. New and Revised. Gully Press, Brooklyn, USA.
- Les monuments de la géographie, ou, Recueil d’anciennes cartes européennes et orientales:… by Edme-François Jomard (British Library shelfmark: Asia, Pacific & Africa X 11); Blathwayt Atlas Volume 1 (British Library shelfmark: 196.e.1.).
- Martin, J.A. (2013). Island Caribs and French Settlers in Grenada, 1498-1763. Grenada National Museum Press. Kindle Edition.
05 October 2022
Dr. Tatiani Rapatzikou is Associate Professor in the Department of American Literature and Culture, Aristotle University of Thessaloniki, Greece, and was a 2020 Eccles Visiting Fellow at the British Library.
My visit to the British Library in April and August 2022 was fully dedicated to the exploration of diverse primary and secondary sources that fall under the theme of book design, materiality, and storytelling in the context of print and digital American literary practice.
With the Library having in its holdings an array of uniquely made books by contemporary US-based print makers, I felt that I had only scraped the tip of the iceberg.
While searching for my own project, I came across and I was tempted to explore a number of paper-made gems that fueled my curiosity and whetted my appetite for this area of American literary, as well as publishing, experience. The first example I’d like to share is the Loujon Press 1966 volume titled Order and Chaos Chez Reichel by Henry Miller (see Fig. 1) that I had been reading about but had never seen.
Made out of a range of materials such as coloured paper, cork and tissue-lace paper, and coming in a decorated cardboard slipcase, this is a unique codex creation. This special volume contains, in addition to Miller’s own text, an introduction contributed by Lawrence Durrell, one of his close friends, written in red ink on light blue and beige-coloured paper. In the opening paragraph of the introduction, Durrell writes: “This little book is, if my memory serves me right, only one of several which Miller completed around this time (1937-38) and gave to his friends as personal gifts” (7). This particular book creation was dedicated to Miller’s painter friend, Hans Reichel, whom he met during his Paris days in the late 1930s. Building on Miller’s initially handwritten book-letter to Reichel on printer’s dummies, Jon and Louise "Gypsy Lou" Webb, the founders of the New Orleans-based Loujon Press, published Miller’s Order and Chaos in six limited editions, each one resorting to different materials and bindings.
The specific book mentioned here serves as a memento of a special friendship. Ιt is the tactile and visual as well as colour quality of the materials used (paper, cork, tissue, ink) that transfer to the readers Miller’s diverse thoughts and feelings for his painter friend.
The second example, I’d like to point at is the limited edition of a broadside poem project (see Fig. 2), which started in 1982 with Alastair Reed and continued in 1984 with Dana Gioia, aiming to bring together a diverse range of poems by American poets residing in fourteen different US states. Amidst the poets who participated in this special endeavor were: May Swenson, W.S. Merwin, Jay Parini, Judith Hemschemeyer, Amy Clampitt and others. This project was completed in collaboration with James Trissel, who was the designer and printer of the letterpress and book arts studio known as The Press at Colorado College in Colorado Springs, Colorado.
In the booklet accompanying the broadside poem creations, Gioia writes in her “Introduction”: “Printed on one side of a single sheet of paper, a poetry broadside is the most intense and unified genre of printing. […] While a book may have hundreds of pages to create its effect, a broadside has only one forceful gesture to satisfy simultaneously the requirements of both literature and design.” While in “The Printer’s Comment,” contained in the same booklet, Trissel notes: “These twenty four broadsides […] represent the opportunity to deal with poetry in an expansive range of typographic situations” by resorting to special paper materials and an array of printing techniques. He also points out that, “Unlike the book, the broadside tries within a single plane to strike a resonance between the poetic text and its visual circumstance.” These two comments offer an insight into the crucial role materials, typographic design and printing can play in the delivery not only of an aesthetic effect but also of a multilayered and synthesizing experience.
It was thanks to the Eccles Centre's US Fine Presses Established after 1945: A Guide to the British Library's Holdings, which is available both on the Centre's website and in the British Library's Shared Research Repository, that I was able to systematize and expand my research as well as broaden my knowledge about American specialist presses and their print-based projects.
What is certain is that materials enhance the experience of writing, since they strive not merely for a conceptual, but also a bodily and even gestural engagement with the texts composed and the narratives brought forward. Each one of the examples presented here sheds light on a different way of printing and manifestation of creativity. These kinds of material creations both bring to our attention an alternative artistic and literary activity that values craftsmanship and collaboration between the print-maker and the writer or the poet, while also personalizing the overall experience and establishing a meaningful connection with the readers on the basis of the materials and printing method chosen.
In a reality governed by mass production and commercialization, material design and book-making invite us to reevaluate literary practice. This has become even more pertinent since the turn of the 21st century due to the ubiquity of digital technologies. It is not accidental that in the context of current scholarship on American literary production there is a resurgence of interest in digitally-assisted book design and materials, with “bookishness” being the term that is now used in order to mark this kind of turn. Jessica Pressman interprets bookishness as a “creative movement invested in exploring and demonstrating love for the book as symbol, art form, and artifact” (1), which increases in intensity as our every day actions also demand an increased engagement with digital technologies.
Considering this observation in tandem with the examples shared in this short blog, one can realise that materials, even though overlooked at times, play a decisive role in enhancing the literary experience by multiplying the opportunities readers have for imaginative exploration and immersion into the story told.
Henry Miller, Order and Chaos Chez Reichel. Tucson, Ariz.: Loujon Press, c1966. British Library shelfmark: YA.1992.b.1551.
Jessica Pressman, Bookishness: Loving Books in a Digital Age. New York: Columbia University Press, 2020. British Library pressmark: YC.2022.a.2100.
Alastair Reed and Dana Gioia, editors. The Printed Poem/The Poem as Print: Twenty-four Broadsides of American Poetry. Colorado Springs, Col.: The Press at Colorado College, 1985-1986. British Library shelfmark: HS.74/2350.
05 July 2022
Owen Walsh is a Lecturer in Modern History at the University of Aberdeen and was a 2021 Eccles Centre Visiting Fellow at the British Library.
NB: This article contains historical images and descriptions relating to slavery which readers may find upsetting.
‘We are not safe in the United States’, warned the Jewish intellectual Anita Brenner in 1943, ‘without taking Mexico into account’. This fact of North American interdependence, she argued, ‘is something that Mexicans have long known, with dread, but that few Americans have had to look at.’1
My research at the British Library has been motivated by a conviction that scholars of US culture and political radicalism in the early-mid twentieth century have too often averted their gaze from Mexico while chronicling the making of an internationalist American Left. The Mexican revolutionary era, spanning c. 1910-1940, was the first major revolution of the twentieth century and a key moment in the unfolding of the global anticolonial struggle. The Revolution’s cultural legacy was described by Brenner and other contemporary critics as nothing less than ‘the first great modern art created in America’.2
My work in the British Library marks the start of a project in which I explore the travel experiences and writings of Leftist US intellectuals in revolutionary Mexico. The project traces the impact of Mexico, its rapidly changing culture and its inspired people, on radical cultural formations (New Negro writing, the proletarian literature movement) in the interwar United States. The rare books and radical journals contained in the British Library’s collections have been indispensable for this work.
The list of figures who might be included in a history of American travel in revolutionary Mexico is long and distinguished. Leftist journalists John Reed, Lincoln Steffens, and Ernest Gruening wrote sympathetic and romantic reports of the political and military struggles of the era. Future leading Communists Mike Gold, Charles Shipman, and Lovett Fort-Whiteman passed through the country and participated in the germination of revolutionary labour unionism and embryonic Party organisation. Major writers of American modernism including John Dos Passos and Langston Hughes found inspiration in Mexico and mixed with the cosmopolitan cultural networks around Mexico City.
During the most violent phase of the revolution in the 1910s, most of the American visitors were journalists seeking an unmediated view of the chaotic cascade of conflicts – over land, liberty, and individual egos – which together constitute the Mexican Revolution. Through the 1920s and 1930s, political and cultural pilgrims flocked to Mexico. They were often escaping persecution, but they also sought to witness and report on the social conflicts that continued to convulse their southern neighbour and to draw inspiration in their own mission to build a modern, socialist cultural order in the US.
In this short post, I want to focus on one of the earliest and most influential accounts of Mexican society in the era of revolution. Published in 1911, Barbarous Mexico (Chicago: Charles Kerr & Co.; British Library shelfmark 10481.pp.11), was a sensational exposé of life under the rule of the pre-revolutionary dictator Porfirio Díaz. It was the product of investigative reportage by John Kenneth Turner with the help of Lázaro Gutiérrez de Lara. It helped to ignite a movement in support of the radical Magón brothers (Mexican revolutionaries imprisoned in the US) and informed American sympathies with the Mexican Revolution for years to come.
Turner journeyed to Mexico in the immediate pre-revolutionary period, in 1908 and 1909, after hearing rumours of slavery prevailing in large swathes of the country, which was under the political and financial domination of US capitalism. Much of his reporting was done undercover, using disguises and employing the anti-Díaz activist Gutiérrez de Lara to help bridge cultural gaps, build networks, and provide translations. Turner’s travels took him across Mexico, from the Yucatán peninsula, where the henequen plantations were worked by indigenous Yaqui people enslaved after defeat in their war with the Mexican state, to Valle Nacional in Oaxaca, ‘the worst slave hole in Mexico’, where a racially mixed population were forced to labour on tobacco farms by the mostly Cuban planters and the Porfirian state authorities.3
Throughout Barbarous Mexico, Turner was concerned to connect the problem of slavery in Mexico with American policy. Turner’s definition of slavery was somewhat specific and limited: ‘the ownership of the body of a man, an ownership so absolute that the body can be transferred to another, an ownership that gives to the owner a right to take the products of that body, to starve it, to chastise it at will, to kill it with impunity.’4 But in Barbarous Mexico, Turner explores slavery in various subtle forms, including the informal trading of people that occurred under the legal guise of debt peonage. Indeed, in his introductory remarks Turner’s use of the slippery term ‘slavery’ went so far as to describe the imperial relationship between the two North American republics in the same terms. The US, Turner wrote, ‘enslaves the Mexican nation’ while the US media collaborated with the Porfiriato to keep ‘the American public in ignorance’.5 Such political arrangements, Turner is careful to point out, is what defines Mexico as ‘barbarous’, rather than any deficiency of its people.6
Despite its republican trappings, Díaz’s Mexico had discarded constitutional rule and the rights ‘which all enlightened men agree are necessary for the unfolding of a nation’.7 Confronted with such a nation, Turner presciently wrote that the ‘country is on the verge of a revolution in favor of democracy’.8 When the Revolution did come, Turner was a leading figure in the US solidarity movement, and he went on to pen a book-length argument against US intervention.
The concerns in Barbarous Mexico with republican principle and democratic rule override any specifically socialist propagandising in Turner’s account. But his work could only find an audience via the socialist press. Turner’s despatches were published first in the Socialist Party-aligned newspaper Appeal to Reason. The success of these articles opened a route for him to publish in the liberal American Magazine, which soon closed due to the backlash fuelled by the well-funded Porfiriato lobby. The only publisher who accepted Turner’s book was the socialist Charles H. Kerr and Co.
The role Turner and his Appeal to Reason comrades played in exposing forced labour in Mexico demonstrates the continuous histories of socialist, abolitionist, and anti-imperialist politics in the US. In making his report on slavery in the province of Yucatán, Turner’s mind repeatedly returned to ‘the slaves of our southern states before the Civil War’.9 The comparison invites us to imagine that Turner was consciously mimicking the abolitionist journalism of nineteenth-century journals such as William Lloyd Garrison’s The Liberator. Like his abolitionist forebears, Turner sought to puncture the well-funded lies of a southern slaveocracy with terrifying reports and haunting visual evidence of injustice and brutality carried out with the sanction of the US state.
Many of the thematic concerns, rhetorical strategies, and ideological negotiations that operate in Turner’s important text continued to be visible in writing by American radicals on Mexico for many years. Time and again, American radicals called on their readers to look favourably on the Revolution, to oppose US meddling in Mexican affairs, and to visualise the Mexican people as a noble and patriotic mass struggling for freedoms that were already familiar – and dearly held – to most Americans. Such appeals combined mainstream republican principles with the radical thrust of American socialism, and were often aided by Mexican Leftists who deeply understood the vulnerabilities and opportunities that come with being a subordinate neighbour to the US.
1. Anita Brenner, The Wind That Swept Mexico: The History of the Mexican Revolution 1910-1942 (Austin and London: University of Texas Press, 1971) p. 3.(British Library shelfmark X.800/5804).
2. Brenner, p. 65.
3. John Kenneth Turner, Barbarous Mexico (Chicago: Charles Kerr & Co., 1911) p. 67 (British Library shelfmark: 10481.pp.11); Claudio Lomnitz, The Return of Comrade Ricardo Flores Magón (Cambridge: MIT Press, 2014) p. 161 (British Library shelfmark: YC.2014.a.6131).
4. Turner, p. 16.
5. Turner, Preface.
6. Turner, Preface.
7. Turner, p. 11.
8. Turner, p. 10.
9. Turner, pp. 34-5.
17 June 2022
This new series will shine a light on the British Library’s Canadian Copyright Collection.
The British Library’s Canadian Copyright Collection occupies a unique and quite intriguing place in its Canadian holdings. As well as books and periodicals, it includes maps, sheet music, insurance plans, photographs, and city and area directories, and its comprehensive nature means it offers a vital window into Canadian life and culture between 1895 and 1923. Yet, why does the Library have this Collection? And how can researchers make the most of it?
In this introductory blog, we will answer the first question; subsequent blogs will then illuminate different aspects of the holdings. However, we cannot begin the series without acknowledging the invaluable contribution of Patrick B. O’Neill – Canadian theatre historian and bibliographer extraordinaire.
In the 1970s, O’Neill began work on a research project to illuminate the full corpus of Canadian drama. Quite quickly, he ran into all sorts of obstacles. Yet he was nothing if not tenacious. In 1979, his quest for printed copies of playscripts published in Canada brought him to the British Library and here his conversations with curators – and their conversations with long-retired colleagues – led to the “re-discovery” of the Canadian Copyright Collection in its entirety. Several years later, O’Neill – then professor at Mount Saint Vincent University – returned to the Library on sabbatical to document the collection and it is thanks to his painstaking work, and that of several Dalhousie University colleagues, that it is so accessible today.
In a wonderfully clear and informative article, O’Neill recounts that the genesis of the Copyright Collection lay in an 1895 amendment to the Canadian Copyright Act of 1875.1 Up until 1895, obtaining copyright under Canadian law had involved meeting two conditions. First, the literary, scientific or artistic work had to be published and printed or reprinted in Canada. Second, two copies of the work – be it a book, map, chart, musical composition, photograph, print, cut or engraving – had to be deposited at the Office of the Minister of Agriculture. The 1875 Act instructed the Minister to deposit one copy of the work in the Library of Parliament and to retain the other copy in the Copyright Office.
In 1895, Section Ten of this Act was amended to require that three copies be sent to this Minister, and this third copy was to be forwarded to the Library of the British Museum. Thankfully, the Department of Agriculture appears to have been extraordinarily diligent in ensuring that these third copies reached the UK. Indeed, O’Neill notes that the "Canadian Copyright Lists" (that were found in the office of that retired member of staff and later used by O’Neill to document the collection) indicated nearly 100% receipt of the material copyrighted in Canada between 1895 and 1923. And the Department’s diligence would prove even more significant in light of subsequent events at the other two repositories.
In 1916, the Library of Parliament suffered its first of two disastrous fires, with the second one occurring in 1953. In both cases, water damage caused more destruction than the fires themselves and although its copyright collection was not totally destroyed, it was seriously depleted.
The Copyright Office Collection fared even worse. Having drawn a blank in finding any trace of this collection himself, O’Neill resorted to writing to his then Member of Parliament, the Hon. Robert Stanfield, to find out what had happened. Stanfield’s response arrived within 24 hours, but was far from encouraging. It appears that in 1937 the Copyright Office was due to move premises. Given that the new offices lacked enough space for its collection, advice was sought on how to proceed. The Committee of the Privy Council’s assessment was that few of the "several thousands of volumes of books, catalogues, periodical pamphlets, sheet music, maps" had any value. An Order-in-Council (whose signatories included then Prime Minister Mackenzie-King) therefore ordered that the material be offered for selection to the Secretary of State Library; anything remaining after that was to be disposed of by the Copyright Library. In total, the former chose 155 books of prominent Canadian statesmen and some 60 volumes of Canadian fiction. The remaining 50,000+ items in this copyright collection seem to have been destroyed.
Given these events, it is not surprising that the British Library now holds the most complete record of Canadian printing and publishing – in French and English, and in all its manifestations – for the period between 1895 and 1923. The reason for this particular cut-off date was that on 1 January 1924, the Canadian copyright Act of 1921 came into force and it no longer required items to be deposited in repositories in Canada or elsewhere. It should be noted that this was later amended by a 1931 bill that required publishers to send two copies of all books published in Canada to the Library of Parliament, thereby forming the basis of a Canadian national library.
Next time, we will focus on the sheet music published in Canada during this time, and in subsequent blogs we will explore maps, city and directories, insurance plans (more fascinating than one might initially imagine!) and photographs…
1. Patrick B. O'Neill, From Theatre History to Canadiana: The Canadian Deposit Collection in the British Library. Papers of the Bibliographical Society of Canada, Vol. 25, No. 1, 1986.
16 June 2022
We are delighted to let you know that the Eccles Centre has just published its first Caribbean-focused bibliographic guide: Caribbean Publishing: A Selective Bibliography of British Library Holdings, 1800-1974, by Naomi Oppenheim.
Caribbean Publishing: A Selective Bibliography of British Library Holdings, 1800-1974 is the unexpected outcome of research conducted for my doctoral thesis, ‘“Writing the Wrongs”: Caribbean Publishing in Post-war Britain from a Historical Perspective’. This thesis uses publishing as a channel to explore socio-political transformations and the relationship between print and politics. The bibliography emerged from what I had initially assumed would be a quick research exercise in which I’d call up a selection of nineteenth and twentieth-century Caribbean publications in order to garner a sense of key publishers. It soon became a much more ambitious task!
In essence, I decided to go on a mission to locate everything in the British Library collections that was published in Barbados, British Guiana, Grenada, Jamaica and Trinidad and Tobago, between 1800 and their respective independences: 1966, 1970, 1974, 1962 and 1962, excluding Government Printing Office publications. This entailed creative navigations of the online catalogue, using a combination of territories, cities and date ranges.
Although the bibliography began as personal research endeavour for my thesis, doing a PhD Placement with the Eccles Centre at the British Library – where I worked on the Caribbean Foodways project – meant that I had time to continue working on it with guidance from the Centre’s staff and thus turn it into a public resource. By the end of the project, I had tracked down over 500 books, many of which I had called up and looked at, driven by the curiosity that a sparse catalogue record provokes.
I believe that books are vessels for producing knowledge about history, culture, politics and the nation. My interest in the Caribbean publishing landscape as a lens to understand societal and cultural shifts motivated me to create a detailed subject index for the bibliography: I wanted to know what types of books were being published, by who, and when. I divided this subject index into 11 categories – including Cultural, Economics, Geography and Space, History, Literature, Slavery, Travel and Tourism, and Religion – and I gave each of them multiple sub-categories. The index reveals that history texts, which were the most popular genre, account for a quarter of all books published between 1800 and 1974. Likewise, a quarter are literary - poetry, fiction, memoir, folktales and plays.
As well as aiding British Library users’ navigation of the Caribbean collection, this subject index also helps us to understand historiographical, literary and print trends. And there is
a list of more than 50 digitised items that are accessible from the comfort of your home, local library or school.
Publishing was hugely important in shaping ideas of the Caribbean through articulations of history, literature and vernacular language: whether it’s Frank Cundall’s prolific writing about Jamaican bibliography, biography and history, published by the Institute of Jamaica in the late nineteenth and early-twentieth centuries [Fig. 1], Claude McKay’s Songs of Jamaica (1915) [Fig. 2], or Eric Williams’ self-published Historical Background of Race-Relations in the Caribbean (1955).1
Published in Kingston in 1912 by Aston W. Gardner & Co., Songs of Jamaica is one of the earliest printed examples of Creole poetry. The introduction was written by Walter Jekyll, a planter who had a keen interest in collecting the songs and stories of the Jamaican peasantry, writing works that reproduced and appropriated this folk culture such as Jamaican Song and Story: Anancy Stories, Diggins Sings, Ring Tunes and Dancing Tunes (1907).2 Jekyll classified Jamaican Creole as a ‘feminine version of our masculine language’ and introduced the volume as offering ‘the thoughts and feelings of a Jamaican peasant of pure black blood.’ Despite his deeply essentializing and gendered framing of McKay’s poetry, Songs of Jamaica gives us insight into the early blossoming of Creole literature and the profound importance of publishing as a vehicle to express and circulate vernacular cultures. Published during a period of proto-nationalist sentiment – the Jamaican National Club was founded by Sandy Cox in 1910 – the book was indicative of a Caribbean, especially Jamaican, publishing boom that signified shifts in terms of author, language and audience.
Caribbean Publishing contains all of these works and a plethora of riches, yet like any research guide, it has its limitations. Publishers across the British Empire were required by law to send copies of all published works to the British Museum, so, technically the British Library should hold a copy of everything that was published in the Caribbean before independence. Yet, this is not the case, for several reasons to do with collecting and archiving. For example, ephemeral publications – which likely included radical, unofficial and DIY pamphlets – would have escaped legal deposit, thereby never becoming part of the collection. And even once items had arrived safely, they were vulnerable to loss, damage and destruction. For example, many of the cookbooks in the bibliography, including Caroline Sullivan’s The Jamaica Cookery Book: Three Hundred and Twelve Simple Cookery Receipts and Household Hints (Kingston: A. W. Gardner & Co., 1893) and 100 Jamaica Recipes (Kingston: Gleaner Co., 1934), were destroyed by bomb damage to the Museum during World War II. Despite these gaps, I hope that this bibliography will support further study of Caribbean publishing, book history, literature, and any of the subjects covered in this extensive guide.
I would like to end by noting that it was thanks to the Arts and Humanities Research Council’s student development fund that I was able to do a placement at the Eccles Centre focusing on Caribbean collections. And I would like to thank all of the wonderful Eccles Team!
Dr. Naomi Oppenheim
1. Eric Williams, The Historical Background of Race Relations in the Caribbean. Trinidad: [s.n.], 1955; British Library shelfmark: Document Supply W9/3965.
2. Walter Jekyll, Jamaican Song and Story: Anancy Stories, Diggins Sings, Ring Tunes and Dancing Tunes. London: Published for the Folk-Lore Society by David Nutt, 1907; British Library shelfmark: Ac.9938/24.
03 May 2022
The fortieth anniversary of the Falkland Islands War is an opportunity to draw attention to the extensive collections on the subject, British and Argentinian, in the BL.
One immediate effect on the then Hispanic Section of the Library, responsible for acquisitions from all Spanish- and Portuguese-speaking countries (we are now split into European Collections and American Collections) was that books from Argentina bought for the Library were impounded at Dover and curators had to examine them to satisfy the authorities that they were not a threat to national security.
Showcase items from the period might include the volumes of ephemera collected and donated to the BL by Argentinian journalist Andrew Graham-Yooll (1944-2019), who had fearlessly exposed the Junta’s ‘dirty war’ at risk of his life.
[A collection of communiqués issued by the Argentine government relating to the Falkland Islands War of 1982]. Shelfmark: HS.74/2206
[A collection of communiqúes issued by the Argentine Government and printed ephemera relating to the Falklands Islands War of 1982]. Shelfmark: HS.74/2207
[A collection of newspaper cuttings from US and Argentine papers relating to the Falkland Islands War]. Shelfmark: HS.74/2208
Researchers though don’t go to a library to see standout items but common or garden books and journals. According to Explore, we have 618 books on the subject (Search “Falkland Islands War 1982”), 333 in English and 263 in Spanish. One shouldn’t give greater attention to one publisher over another, but 44 of these are published in Buenos Aires by Falklands specialists Ediciones Argentinidad and 4 by Grupo Argentinidad. On both sides of the Atlantic the anniversary year has encouraged publication of personal testimonies by combatants of both parties.
Blog post by Barry Taylor, European Collections
30 March 2022
It’s been a while since we’ve been able to do ‘in real life’ show and tells for students attending the Library’s Doctoral Open Days so the Americas and Oceania Collections Curatorial team and Eccles team were delighted to be able to discuss a selection of items from the collections with researchers at the latest on-site sessions.
On 4 and 7 March 2022, a number of students from all disciplines visited the Library’s site at St Pancras to get better acquainted with the services and collections available for their research, inspiration and enjoyment. Theses practical sessions were offered to all who attended our PhD webinars that took place earlier in the year.
The days give the chance to attend Reader Registration appointments, go on building tours, take advantage of drop-in sessions with Reference Services, see how collection items are handled and conserved, and come along to show and tells with curatorial teams across the Library to see and discuss items from different collections.
Asian and African Collections, British and European Collections, Music Collections, Digital Collections and Resources, Contemporary Society and Culture Collections, and Maps and Visual Arts Collections all took part. We love being part of these days; not only do we get to meet new researchers and discuss their work, but we also get the chance to see colleagues from other collection areas and chat with them about the items in their remit and beyond – both things that have been much-missed in-person activities over the past two years.
For those unable to attend, we thought we’d share a few things with you digitally instead! Here are a selection of items that the Americas and Oceania team displayed over the two days:
DOWN THE RABBIT HOLE
Text by Lewis Carroll; designed by Tara Bryan
Flatrock, Newfoundland, Canada: Walking Bird Press, 2016
Lewis Carroll’s original manuscript for Alice's Adventures Under Ground is housed at the British Library, so we are always excited to see how the tale has been re-imagined, re-interpreted and re-illustrated over the last 160 years. This item invites readers into the rabbit hole, with the words from Carroll tunnelling down and down… just as Alice did. This artists’ book was designed by Tara Bryan in her studio in Newfoundland. One of only 40 copies, it is made from delicate handmade Thai Bamboo paper and Japanese paper.
FOR HOME USE: A BOOK OF REFERENCE ON MANY SUBJECTS RELATIVE TO THE TABLE
Proprietors of Angostura Bitters
Trinidad: Angostura Bitters (Publication year unknown/Donated)
This item speaks to culinary social history, especially concerning those deemed belonging to the middle and upper classes of Trinidad and Tobago. ‘Invaluable to the Host and Hostess’, this book of recipes by the makers of Angostura Bitters, is an example of great marketing from a bygone era.
SÃO FERNANDO BEIRA-MAR: CANTIGA DE ESCÁRNIO E MALDIZER
São Paulo: Dulcinéia Catadora, 2007
LA MUJER DE LOS SUEÑOS DEL DOMADOR DE YAKARÉS
Asunción: Yiyi Jambo, 2008
TRIPLE FRONTERA DREAMS
Buenos Aires: Eloísa Cartonera, 2012
CARTONERAS IN TRANSLATION = CARTONERAS EN TRADUCCIÓN = CARTONERAS EM TRADUÇÃO: ANTOLOGÍA
Lucy Bell et al., eds.
Cuernavaca: La Cartonera, 2018
Cartoneras are books of poetry, literature, and translations made with covers from salvaged cardboard with original illustrations in acrylic colours made by members of cartonera workshops. Their illustrated cardboard covers are often anonymous, even when created by famous artists, or signed by all members of the publishing group in a clear attempt to promote the community effort over the individual artist. The focus is on making books together and giving everyone access to reading and writing their stories.
Cartonera books are not only visually beautiful, but also make a critical intervention in publishing and reading cultures in Latin America starting in the wake of the financial crisis in Argentina with Eloísa Cartonera in 2003. This type of cheap community publishing spread quickly across the region and allowed other Latin American countries plagued by economic and social inequality to appropriate reading and book-making practices creatively and in a community-based way.
LIP MAGAZINE ISSUE 1
Frances (Budden) Phoenix (featured artist)
Melbourne, Australia: Women in the Visual Arts Collective, 1976
Lip was an Australian feminist journal self-published by a collective of women in Melbourne between 1976 and 1984. The art and politics expressed in the journal provide a fascinating record of the Women’s Liberation era in Australia. The inaugural issue seen here includes articles on writer Dorothy Hewett, Australian embroidery, and Australian feminist art, film and performing arts, as well as a double page removable centerfold: a doily vulva artwork called ‘Soft Aggression’ by artist Frances (Budden) Phoenix. Phoenix was an Australian feminist artist who helped to establish the Women’s Domestic Needlework Group, and known for her provocative textile and needlework which subverted traditional notions of women’s domestic crafts. In her centerfold here, she revisits the tradition of women inscribing messages into their work and includes the directive to readers: “female culture is in the minds, hearts and secret dialogues of women. Use your culture in your own defence: use soft aggression.”
THE LITERARY VOYAGER OR MUZZENIEGUN
Henry Rowe Schoolcraft, edited with an introduction by Philip P. Mason
[East Lansing]: Michigan State University Press, 1962.
ALGIC RESEARCHES, COMPRISING INQUIRIES RESPECTING THE MENTAL CHARACTERISTICS OF THE NORTH AMERICAN INDIANS: FIRST SERIES: INDIAN TALES AND LEGENDS
Henry Rowe Schoolcraft
New York, 1839.
In 1962, scholar Philip P. Mason collected and republished the entirety of the manuscript magazine The Literary Voyager. Originally produced between December 1826 and April 1827 by Henry Rowe Schoolcraft, it is considered to be the first periodical related to Native American culture. Its alternative title, Muzzeniegun is Ojibwe for ‘book’.
Schoolcraft, an ethnologist and Indian Agent in Sault Ste. Marie, Michigan, handwrote a few copies of each issue which were posted to friends and family. Schoolcraft was married to Bamewawagezhikaquay, also known as Jane Johnston Schoolcraft, who was of Ojibwa and Scots-Irish ancestry. She is considered to be the first known Native American woman writer. Notably she wrote in both English and Ojibwe. Many of her poems and traditional stories were included in The Literary Voyager, however she does not receive credit for her work. Her mother, from whom Schoolcraft also collected traditional stories and cultural knowledge, is also not named. It has taken considerable efforts by Native American literary scholars to correct this historical omission, and to bring attention to this important Ojibwe voice.
Some of Bamewawagezhikaquay’s stories were later published in Algic Researches, also compiled by Henry Rowe Schoolcraft. This Library copy is an original edition from 1839.
We’d like to thank our colleagues in the Library’s Research Development Team for organising the webinars and in-person sessions, and to our friends in the Eccles Centre for American Studies for their support in helping the days run smoothly.
As the Library continues to working hard at both our sites to make sure everyone can visit us safely, we are looking forward to the opportunity to run similar sessions and meet more of you in person over the coming year.
Americas and Oceania Collections blog recent posts
- Sculptures, time machines and vampires: items from the Americas collections on display in Leeds
- Rotimi Fani-Kayode Transatlantic Vision
- Towards a People’s History of the 'Permissible Dose'
- Celebrating the work of Aline Kominsky-Crumb
- “The Flying Researcher”: South Asians and Indigenous Peoples of the Pacific Northwest
- Black Theatre Makers: Una Marson
- On my desk – On Spirit Lake: Georgian Bay Stories from Church Street Press
- E-resources: Performing Arts in the Americas
- French Quebec Imprints, 1764-1990
- Gre-nay-dah, not Gra-naah-da. That’s in Spain.