23 November 2022
The British Library has digitised and made available online the only known copy of Una Marson’s pioneering play ‘At What a Price’ (1932).
Una Maud Marson was born in Jamaica in 1905. Throughout her lifetime she would live and work in the Caribbean, the UK and the USA. An editor, poet, playwright, activist, writer and BBC producer, Marson had a versatile and prolific career. The phenomenal breadth and range of Una Marson’s creative and critical outputs are yet to be fully appreciated, but there has been a recent renewed interest in the contributions she made to the cultural landscape of the British Empire and North America. Una Marson was the subject of a BBC production, Una Marson: Our Lost Caribbean Voice, which brought to life her incredible career and creations. Many of those creations can be found here, in the British Library, including her poetry collections. However, some of her works are a little harder to find.
Through a recent project at the British Library, the Eccles Centre for American Studies has been supporting the research of Professor Kate Dossett and her project ‘Black Cultural Archives & the Making of Black Histories’. Part of this project involved examining the Lord Chamberlain’s Play’s (LCP) collection for plays produced in Britain written by Black playwrights. The LCP’s are the largest collection of manuscripts in the British Library. The collection consists of plays collected by the Office of the Lord Chamberlain from the years 1824 to 1968. They were collected because the censorship laws which existed at the time specified that plays had to be approved for a licence before a performance. This collection therefore provides an illuminating record of drama performed in the UK up to 1968. The research project has utilised this collection to find and promote the, often hidden, work of Black theatre makers in the early twentieth century.
One of the plays within the collection is Una Marson’s, ‘At What a Price’. Marson first wrote this play whilst living in Jamaica where it staged in 1932. The play was so successful that she used the profits to travel to London, England, where it was staged before British audiences. In London she got involved in anti-racist activism and became secretary to the League of Coloured Peoples, which fought for racial equality in the UK. The league and its founder, Harold Moody, sponsored Marson’s London production of her play in 1933. Yet, despite its international popularity no copy of the play’s script is known to have survived beyond the one kept in the Lord Chamberlain’s Plays collection.
The play follows Ruth Maitland, a young Jamaican woman who moves from the countryside to Kingston, Jamaica, to work as a stenographer where she is pursued by a white Englishman. The play examines women’s agency in love and work, as well as issues of interracial relations and sexual harassment. The unique play script that Una Marson and her production team sent to the Lord Chamberlain’s Office has now been digitised in its entirety and has been made accessible through the British Library’s Digitised Manuscripts website. Researchers can now view this play and the related reader’s report from the Lord Chamberlain’s Office which outlines the department’s response in terms of whether the play was suitable for licensing. These images are available to view here.
With the digitisation of this play and related Lord Chamberlain’s Office correspondence, we hope to preserve and widen access to Una Marson’s many and varied cultural outputs. With the digitisation of this play, and others created by black theatre makers, researchers and audiences can discover ways in which black playwrights across the British Empire and Americas were frequently creating new cultural narratives and were at the forefront of movements for change that were an integral part of the British theatrical landscape in the early 20th century.
Jessica Gregory, Project Officer, Modern Archives and Manuscripts
Digitisation funded by the Eccles Centre for American Studies.
14 November 2022
My thanks go to Alan Stein for granting permission to use images of his artwork in this blog
The Americas team is fortunate to work with some fascinating items that cross our desks for a variety of reasons from exhibition loans to Reader queries. Through the On my desk blog series, we ask the team three questions which will give you an insight into the work of curators and cataloguers at the Library and a behind-the-scenes peek at some of the items in the collections. Today’s post features Rachael, one of the curators for the Library’s North American Published Collections Post-1850.
What is the item?
On Spirit Lake: Georgian Bay Stories with wood engravings by Alan Stein and introduction by Tom Smart (RF.2022.b.35) – a fine press book from 2018 printed by The Church Street Press, based in Parry Sound, Ontario, Canada.
Why is it on your desk?
While standard Canadian monographs are processed by our teams in Boston Spa, the more delicate fine press items are invoiced, stamped, catalogued and stored at our London site in St Pancras.
On Spirit Lake: Georgian Bay Stories is on my desk because it's a new acquisition which needed to be stamped before passing onto the Americas Cataloguer who makes the item available and, very importantly, findable in the British Library catalogue.
I always love visiting the stamping room; seeing the team delicately place a handstamp on an item means it’s one step closer to being made available to Readers. The stamping team make sure all new acquisitions display a British Library stamp in a way that clearly shows a mark of ownership but which is discreet enough to not invade or obscure the content on the item’s pages. A steady hand is needed, particularly where artists’ books, fine press and other visually appealing items are concerned, materials you might see displayed in exhibitions for example.
As you’ll notice, this book displays a small British Library (BL) stamp and crown (unlike the larger round stamps used on standard monographs) in red ink, indicating this has been a purchase – rather than a donation (green) or arrived via Legal Deposit (blue).
Why is it interesting?
For me this item is interesting for a number of reasons. Firstly, having lived in Canada for a short time in my youth, I always find it a bit of a treat to look through books which focus on the unique landscapes found there.
Painter and a printmaker Alan Stein established Church Street Press in 1998; through his private press, he hand prints limited edition books which feature his own illustrations in wood engravings, like the ones here, or stone lithography. Alan states that much of his work ‘has been influenced by summers spent on Georgian Bay’, and this book, as the title implies, epitomises that. Alan’s archives are held at the Thomas Fisher Rare Book Library, University of Toronto.
Georgian Bay – a large bay of Lake Huron – is located entirely within the borders of Ontario. As Tom Smart (art historian and curator) explains in his introduction, the book comprises a number of authors whose ‘prose poems, fictional narratives, autobiographical episodes and…invented passages from historical records’ examine the influence the Bay has had on their lives and works. I find it fascinating how the same natural spectacle has had such deep connections with so many authors and artists, many more beyond the pages of this book I’m sure, and how that influence manifests itself so differently from person to person; inspiring them to write on topics from climate change to culinary encounters.
One contribution that stood out for me when reading this item is Manido-gaming by Waubgeshig Rice. An eight-year-old Anishinaabeg boy fishes on the side of his lake, his grandmother beside him, the boy asking the elder about the Anishinaabeg presence that has been at the lake before his lifetime, and before hers. Through their exchange, the lake becomes a kind of metaphor for the Anishinaabeg experience: ‘It gives us all life. It’s sacred. And it’s your home, my boy’ his grandmother tells him. But looking at the town of recreational homes across the bay, reminders of displacement are ever-present: the young boy observes that ‘[u]nder the wind-swept evergreens of its shoreline, Georgian Bay’s flowing contradictions whirled.’ The title of this story, Manido-gaming, refers to the name by which the innumerable Anishinaabeg generations who have lived on or near the Bay’s shores, know the body of water: “Manidoo gaming,” or “spirit lake”.
As well as being of potential research interest to those studying Canadian and Indigenous authors and Canadian landscapes in literature, I should also mention the beauty of this book physically. The mottled watery effect cover invites the reader to dive into the pages.
Stein’s prints not only interpret the words as image, but also ‘trace a personal iconography testifying to his own deep connection to the land and water and to the histories of the place’. These comprise 14 wood engravings including one stunning hand-coloured in blue, green, yellow and red showing a more tempestuous scene printed on Gampi Torinoko. Alan kindly gave me some insight into the inspiration for this frontispiece image: this being a tale Alan was told by his friend, Canadian poet and diplomat, Douglas Valentine LePan, about the dream of a local native Ojibway guide by the name Peter Pemajuan. The rough, rocky-coloured pages add a real tangible element to reading the book will no doubt appeal to researchers interested in paper- and book-making techniques, engraving, printing and binding.
Remember you just need a free Reader Pass to gain access to this and hundreds more fine press items in the Library’s collections. Find out more about the titles available using our collections guide and the bibliographic guide from the Eccles Centre for American Studies.
 Lithography being a ‘flat-surface printmaking process in which a design is drawn onto a flat stone, or prepared metal plate, usually zinc or aluminium, and affixed by means of a chemical reaction’. Definition provided by The Metropolitan Museum of Art, for more details see https://www.metmuseum.org/about-the-met/collection-areas/drawings-and-prints/materials-and-techniques/printmaking/lithograph
 From the book’s introduction by Tom Smart
 ‘Ancestral Waters’ by Waubgeshig Rice, an excerpt from Locations Of Grief: An Emotional Geography: http://hamiltonreviewofbooks.com/blog/2020/5/15/ancestral-waters
 From the book’s introduction by Tom Smart
 ‘Gampi Torinoko is a strong, crisp sheet that is translucent, with almost no visible fibres. Gampi is a bush found in the mountainous, warm areas of Japan’. Definition provided by Legion Paper, for more details see https://legionpaper.com/gampi-torinoko
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.
03 October 2022
The Americas and Oceania team is fortunate to work with some fascinating items that cross our desks for a variety of reasons from exhibition loans to Reader queries. Through the On my desk blog series, we ask the team three questions which will give you an insight into the work of curators and cataloguers at the Library and a behind-the-scenes peek at some of the items in the collections. Today’s post features Rachael, one of our curators for North American Published Collections Post-1850.
What is the item?
Double Persephone by Canadian author Margaret Atwood – which is a self-published poetry collection written in 1961.
Why is it on your desk?
Our team were recently tasked to update some British Library webpages related to the collection areas we are responsible for. Jobs like this always make for a great opportunity to dive into the collections and gain a better understanding of our holdings. Alongside lesser-known authors, I was looking for particularly interesting or unexpected titles by popular Canadian authors which might help give Readers approaching our collections an idea of the sheer breadth of what’s available at the British Library. It was a real delight when I discovered we held a copy of Margaret Atwood's rare first book, the poetry collection Double Persephone (Cup.503.i.1.)
Why is it interesting?
Margaret Atwood would have only been around 21/22 years old when she self-published (meaning, ‘made public’) the chapbook, Double Persephone. The collection would see her enter and win a poetry competition for students at the University of Toronto, awarding her the E. J. Pratt Medal. I wonder if the selection committee reading those poems and deciding on Atwood as the winner knew the gem they were holding in their hands at the time, or what lay ahead for the young author?
Her follow-up poetry collection published three years later would win the Governor General's Award (The Circle Game, of which the British Library holds the fourth printing at X.950/8654.). As we now know, Atwood would go onto publish in excess of 100 works, from poetry collections to short fiction, novels, graphic novels, television scripts, works of non-fiction, and children’s books. To think this unassuming-looking little collection of seven poems was the start of that, I think is quite amazing.
The small, private press, Hawkshead Press of Kitchener and Toronto, in Atwood’s home province of Ontario, published Double Persephone. In order to afford to self-publish the collection, student Atwood was hands-on in the design and publishing process; she handset the book herself with a flat bed press, designed the cover with linoblocks, and only made 220 copies. The copies were sold for 50 cents apiece.
In a talk Atwood delivered in 2011 (which is available to watch online – see link below in footnotes), she joked at wishing she’d made and kept more of the publication – on the market today, the item can fetch some considerable amounts. The Library’s copy has a red British Museum Library stamp with the date 15th December 1961, so whoever was responsible for purchasing the item some 60 years ago acted quickly indeed, securing a copy for the Library in the same year the item was published, and at what is now considered a bargain price no doubt!
Double Persephone is available to view in the Library’s Rare Books and Music Reading Room in St Pancras, London. Anyone with one of our FREE Reader Passes can order and consult the item, as well as the thousands more collection items available for your research, inspiration and enjoyment held at the British Library.
 TOC 2011: Margaret Atwood, "The Publishing Pie: An Author's View" https://www.youtube.com/watch?v=-6iMBf6Ddjk#t=784s
 Rare book library celebrates Canada’s small presses by Nick Davies (published 3rd July 2013) https://www.mhpbooks.com/rare-book-library-celebrates-canadas-small-presses/
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.
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