02 March 2023
Reclaiming Fédon’s Rebellion: Identifying and Acknowledging the ‘Rebels’ in Modern Grenada
Suelin Low Chew Tung is a Grenada-based artist and was a 2020 Eccles Centre Visiting Fellow at the British Library.
During my Eccles Fellowship research at the British Library in summer 2022, I came across a familiar image: a print of a stipple engraving and etching of a memorial at the Anglican Church in the Town of St. George, the capital of Grenada (Fig. 1).
This engraving by Anthony Cardon is of a 1799 design by Richard Westmacott, part of King George III’s Topographical Collection, donated to the British nation by George IV. The accompanying description in summary reads, ‘Monument erected by the Legislature of Grenada to the memory of the Inhabitants... who were murdered at Mount Quaqua, 8th of April, 1795. By R. Westmacott, Jun. engraved by A. Cardon’ (British Library shelfmark: Cartographic Items Maps K.Top.123.113). Westmacott’s monument is described as being an ‘inscribed rectangular tablet crowned with urn and garland between female personifications of the Island of Grenada kneeling at its feet, flanked by two oval tablets also inscribed and decorated with military regalia, palm leaves, laurel and sugar cane hanging from chains.’
The church housing this memorial - St George Anglican Parish Church - sits on the site of the French-built St. James Catholic Church, confiscated in 1784 by the Protestant government for use as an Anglican church.1 Time, Hurricane Ivan, and recent renovations at the church, have collectively reduced the middle section of this memorial to rubble (Fig. 2, below):
There has been no such remembrance for participants of Fedón's Rebellion - the 'excitable Bandiitti', as inscribed on the central tablet - named in the Trial of Attainers record book of 1796. My two-part proposal honours both the participants of the Rebellion, as well as their descendants, many of whom make up contemporary Grenadian society.
2025 will mark 230 years since the start of this Rebellion, led and controlled by Julien Fédon, a free person of colour and an enslaver. Fédon's involvement with the Rebellion that later bore his name had little to do with ending slavery. Grenada’s French population—white, free people of colour, and Blacks—had suffered religious, social and political persecution under the British from the handover of Grenada in 1763. The Rebellion, which lasted until 19 June 1796, was primarily for the reassertion of their civil rights and the reinstatement of Republican French rule.2 Most of the enslaved people who dared take their freedom did so on the urging of Fédon, but some chose not to fight with him and most not to participate.3
In the end, the ‘Brigands War’ as it was called by the British, decimated Grenada’s agricultural base, made traitors of the people who rallied behind Fédon’s command, and caused the deaths of between 4,000 and 7,000 enslaved people, hundreds of British soldiers, and 47 British hostages, including Lieutenant Governor Home who was executed at Fédon’s Camp. According to J. A. Martin, an engraved stone pillar on Morne Fédon, or Fédon’s mountain, installed sometime in the 1970s by Premier Eric Gairy, is the only visible artefact marking Fédon’s Camp, (Fig. 3, below):
In mid-February 2023, I projected the names of the ‘rebels’ who were captured, deported/exiled or executed, onto the ruins of Westmacott's memorial. The rebels' names are listed according to race and class in the Court of Oyer and Terminer for Trial of Attained Traitors record book  (BL Shelfmark EAP295/2/6/1). The white French names start at Augustine Chevalier DeSuze (executed), and the names of the free people of colour and other rebels begin with Julien Fédon (unknown end).
For the projections, I decided to arrange the names alphabetically—single names, executed rebels, and then all of the names, alphabetically by surname. This arrangement introduces democracy into the listing and makes family names easier to locate. The names were projected across the baptismal font fronting the memorial (see Fig. 4). Serendipitously, the font was swathed with red, green and gold fabric to mark 7 February, Grenada’s Independence, with entwined stalks of sugarcane as part of the decoration. In capturing Grenada’s national colours and the sugarcane, the projections link the French population then fighting for independence from British rule and contemporary Grenada’s independence from British rule. The font symbolises the Church of England in Grenada as keeper of that knowledge and rebirth.
I have also proposed that the church install two permanent memorial tablets at either side of the existing ruins, plus a printed history on a nearby plaque to represent a more balanced narrative. Side tablets would be engraved with the names from the Attained Traitors book, in alphabetical surname order. The left tablet would be crowned with a jar of earth from Morne Fédon and the right tablet would be similarly crowned with a small boulder or other artefact from that location; a counterfoil to the Westmacott sculpture (Fig. 5, below). This addition will be sacred to the memory of the participants of the Rebellion, some of whose descendants live in villages named after persons in the Attained Traitors book—a more meaningful representation of their history than the Westmacott monument acknowledges.
The 1796 record book branded the participants in the Rebellion as traitors. While the names of a handful of the participating enslaved people are known, the majority remain nameless. At a time when former European colonies, including Grenada, are calling for reparations, I think a reparation of Grenada’s historical memory is also required.
- J. A. Martin, A~Z of Grenada Heritage. New and Revised. Gully Press, Brooklyn; 2022.
- T. Murphy, A reassertion of Rights: Fédon’s Rebellion, Grenada, 1795-96, La Révolution française, 2018 (14) at https://journals.openedition.org/lrf/2017#entries.
- Martin, 2022.
23 February 2023
Transatlantic Mormon Connections and Historical Fiction
Naomi Krüger is a senior lecturer in Literature and Creative Writing at the University of Central Lancashire and author of the novel May; she was a 2021 Eccles Centre Visiting Fellow at the British Library.
My current research project is a historical novel set in 1842 in two very different cities: Nauvoo, Illinois and Preston, Lancashire. These places, though geographically distant, are linked by the arrival of Mormonism and its turbulent growth, movement, and ongoing legacy.
Growing up as a Mormon in Preston, I was acutely aware of this history. I regularly heard stories about the missionaries who crossed the Atlantic, arriving in England in 1837 and travelling straight from Liverpool to Preston due to a family connection. I was told of their astonishing success in baptising converts, finding an unexpectedly warm welcome in Lancashire, the Ribble Valley and beyond. Subsequently, there were thousands of baptisms, and these new members were very quickly encouraged to emigrate and join with the American Saints in Nauvoo – a growing city on the banks on the Mississippi. By 1844 over four thousand British converts had made this journey, making them a significant minority in a city that was about to face new challenges after the death of the founding prophet Joseph Smith.
While I was proud of living somewhere that had such historical significance, I also became aware that my access to stories of these early converts in Lancashire was circumscribed. In the official narratives found in lesson manuals and church histories, these people usually became nameless, swallowed into a wider mass of emigrants, and later assimilated into the ideal image of hardy pioneers who made the trek west to Utah. In this oversimplified narrative, Preston is Babylon - a place of smoke, corruption and exploitation - and Nauvoo is Zion - the land of promise, a place of hope, community, and righteousness. Missionaries are unfailingly heroic, intelligent, and filled with power. Converts, on the other hand, are poor, humble, and self-sacrificing.
As a writer and researcher, I am eager to move beyond this. What about the converts who stayed in Preston because they couldn’t afford to go, or wouldn’t make the sacrifice? What about those who lost their faith part-way through the journey or found that Zion was not exactly what they expected when they got there? What would it have felt like to be a missionary who began to doubt? How did the social, economic, and religious conditions of Preston at that time, intersect with the desire so many people had to start a new life elsewhere?
My novel-in-progress follows a herbal physician converted to Mormonism and trying to establish himself in Nauvoo. He finds hope and spiritual sustenance there but is also drawn into a web of secrets, rituals, and unspoken rules. When he is challenged by the charismatic prophet to sacrifice his growing medical practice, travel to England, and persuade the converts in Lancashire to emigrate back to Zion, he discovers a town divided. Preston is still reeling from the aftermath of a massacre of striking millworkers and simultaneously preparing for a lavish, once-every-twenty-year celebration of civic pride. As he grapples with cultural differences, and his unsuccessful attempts to convert a woman still bitter after being left behind by a family member who has previously emigrated, disturbing dreams of Nauvoo begin to disrupt his present calling and his still fragile faith is put under increasing amounts of pressure.
The Eccles Centre's Mormon Americana bibliographic guide has been an invaluable tool for me as I explore these questions and develop my fictional world. From primary sources like pamphlets, hymnbooks, and scriptures, to a wealth of secondary texts that detail the challenges of life in Nauvoo as a frontier city, I have been able to gather important context - details that will not only inform my world-building, but even, in some cases, change the actions and decisions that my characters make.
Seeing illustrated plans of the Nauvoo temple during my research, for example, sparked new curiosity about ritual baptisms that has led to the development of an important subplot in the novel.
Reading letters written by women in Nauvoo discussing death and doctrine alongside recipes and household tips has enabled me to create a more detailed and textured picture of life in an unfamiliar place and time.
Handling a well-loved British hymnbook covered in the owner’s urgent annotations reminded me of the importance of honouring sacred experiences of faith as much as I seek to complicate them.
The challenge of writing historical fiction is to negotiate a balance between research and imagination, the needs of a story alongside the demands of historical evidence. I am still in the middle of this complex process, but I have no doubt that the notes and images I have gathered from my time as an Eccles Centre Visiting Fellow will continue to find their way into the creative work in unexpected and transformative ways.
14 February 2023
Writer's Award winner Philip Clark on the Sounds of New York City: Part II
In this second installment of a series of blogs, Philip Clark shares his experience of being a 2022 Eccles Centre and Hay Festival Writer's Award winner.1 The Writer's Award offers £20,000, a year's residency at the British Library to develop a forthcoming book, and the opportunity to showcase work at Hay Festival events in the UK and Latin America. Philip’s book – Sound and the City – will be a history of the sound of New York City and an investigation into what makes New York City sound like New York City.
For a few months at the end of last year, I communed daily with Dutch colonials of the mid-1600s. In various roles, taking various responsibilities, the likes of Peter Stuyvesant, Adriaen van der Donck, Peter Minuit, Willem Kieft and Cryn Fredericks established the city of New Amsterdam which, by 1664, had become the English colonial city of New York.
Having already taken the deepest of dives into 1920s New York, through the work of the composer Edgard Varèse and the novelist John Dos Passos, I decided that my book Sound and the City – my history of the sound of New York City – needed to flip the chronology on its head. The 1930s will follow, but later, and in the meantime I engineered a flashback to the beginnings of recordable time itself, and to the Ice Age. In the span of this history, the appearance of Dutch colonials a mere three-and-a-half centuries ago feels relatively contemporary. When they turn up, their interactions with the Indigenous People, who had populated that coast for centuries, pivots the story into something more like countable time, a reassuringly familiar turnaround of years, decades and centuries again after thinking about time in units of hundreds of thousands of years.
My subject is sound. Music-writers are often called upon to speculate about where music might be heading next, although writing this section of my book made me realise that second-guessing the root sounds of the deep past is no easy matter either. How do you ‘hear’ sounds of which no recorded example exists? Listening in to the modern-day city is normally a good starting point, and one afternoon last summer I took an ‘A’ train from Penn Station in midtown Manhattan to where the line terminates at Inwood 207th Street.
A fifteen-minute walk later, I found myself in deserted woodland, the trilling of sirens cutting through from downtown the only clue I was still in New York City. I’d come to Inwood Hill Park because this park, perched on the far northern tip of Manhattan, has preserved something of its prehistory. This is where you come to look at New York’s oldest rock formations; to trace how the imperceptible tread of glaciers scooped out what would become the landmass of New York. Inwood was the place Native Americans gravitated towards over centuries, its caves and bountiful ecosystem providing shelter and sustenance aplenty.
Although probably a wishful-thinking myth, Inwood Hill Park is also purportedly where, in 1626, Native Americans sold the island of Manhattan to the Dutch colonial governor Peter Minuit for 60 guilders. More likely, this meeting actually took place farther downtown, where Peter Minuit Plaza stands today, near Battery Park. But numerous mythologies all converge around the inlet of the park where the meeting was said to take place. This was where the British explorer Henry Hudson supposedly dropped anchor in September 1609, having made landfall a couple of weeks earlier at Sandy Hook. A tulip tree started growing there a century later and, as a commemorative plaque makes clear, the tree, 280 years old when it died in 1932, represented the last living link with the Native Americans who had lived here. In a city that became celebrated for high-rise structures, the tulip tree was a pioneer. Towering over the park, its height reportedly equivalent to a seventeen-storey building, it resonated as a marker of a past that had moved beyond collective memory – a potent symbol in a city that was otherwise engaged in relentlessly inventing its future.
Almost as soon as I arrived in the park, though, a shock. The 4G on my iPhone fizzled out, then Google maps froze, and I was rudderless. In an area of the park now called ‘The Cove’, the slug-like progression of glacial erosion spooned out the innards of the earth and the glacial potholes that resulted – some 50,000 years old – look bracingly abstract to me, like sculptures by Henry Moore or Seymour Lipton thwacked into the earth. They also look unmistakably like disembowelled speakers, I thought, with their cones ripped out, but still receptible to sound. My awareness that darkness was about to fall kept me moving, pushing through the woods, using paths trampled into the ground over centuries, with a covering of tulip trees above my head. I followed the reassuring rumble of cars and, more through good luck than canny navigation, found myself staring at the Henry Hudson Bridge, which crosses the river into the Bronx. At that precise moment my iPhone pinged back to life and I located my position. I was looking across at Spuyten Duvvil Creek – where the Hudson River meets the Harlem River Ship Canal – and the rock formations I could see, which I discovered subsequently are called Fordham Gneiss, are a billion years old.
A few weeks later, back in the relative safety of the Rare Books and Music Reading Room at the British Library, I searched for sources that might help explain my afternoon in Inwood Hill Park. This has been the rhythm of writing this book so far; intense field trips followed by equally intense research binges at the Library. Unpicking the mythologies surrounding the tulip tree took hours of poring over old newspapers and contemporary reports. Mythology should never be dismissed lightly. What mythologies tell us about a city’s sense of its own history is intriguing in itself. But chipping away the layers of folklore to reveal what actually happened was important too.
Something else that needed to be chipped away at: those ancient rock formations scattered around Inwood Hill Park. One great pleasure of British Library research is the ease with which you can slip outside your own area of expertise, and, in Rare Books and Music, I began a fingertip search through geological and flora-&-fauna reports relating to the park. My examination of New York’s oldest rock formations was about determining how nature created this giant resonating chamber later called New York City, where all sorts of sounds would happen. Slipstreams of sound ricocheting around the city is central to my obsession, and examining how geological activity established this field of play gave my book its roots.
The moment the colonials arrive, primary sources bounce into life. Adriaen van der Donck’s A Description of the New Netherlands (1641), Daniel Denton’s A Brief Description of New-York: Formerly Called New-Netherlands (1670) and Jaspar Dankers and Peter Sluyter’s Journal of a Voyage to New York (1679-1680) are all fantastically vibrant accounts of the emerging city of New Amsterdam and the surrounding wilderness. Colonial fascination with the possibilities of this new world against the reality of what had been there before, the presence of Indigenous people in particular, leaves a bitter aftertaste. Dutch colonialism was ultimately responsible for – through landgrab and brutal repression – the decline of Indigenous Peoples. One needs to be aware of this wider historical context using this material and read with caution, but there were little clues in each journal – a sound here, a sound there – that allowed me to build a soundscape.
A few basics became crystallised; the distinction between the ‘downtown’ of the New Amsterdam, the huburb around the fort, and the streets that fanned out around it, against the bucolic peace of the bouwerie farms beyond the city walls, where the East Village and Chinatown sit now. Jaspar Dankers and Peter Sluyter – a pair of visiting priests – took the same trip to Inwood Hill Park I did nearly 350 years later. Fortified by supplies of peaches from the local orchard, they tackled the churning “eddies and whirpools” of Spuyten Duvvil Creek in a hired canoe (which they complained was over-priced). My discovery, sitting in a reading room on Euston Road, that they saw the same rock formations which had filled me with awe: “two ridges of very high rocks, with a considerable space between them, displaying themselves majestically, and inviting all men to acknowledge in them the majesty, grandeur, power and glory of their creator”, sent shivers down my spine. Shaking hands across history with fellow travellers. Who, I note, had no need for 4G.
1. Philip Clark's first Writer's Award blog may be found here.
24 January 2023
Into the Crucible of Revolution: Hindu Anticolonialism and Radicalism in Early Twentieth Century America
Christopher Chacon is a PhD candidate in History at the University of California, Irvine, and was a 2022 Eccles Centre Visiting Fellow at the British Library.
At the dawn of the twentieth century, amid the rise and fall of global empires and transnational movement, Hindu anticolonialists like Lajpat Rai and Bhai Parmanand arrived on American shores in hopes of stoking the embers of anti-imperial revolution once again in the American imagination. They counted among their allies Indian labourers in the fields of Central California and the urban streets of New York, American civil rights activists, Indophiles, and internationalist union members. Socialism, democratic nationalism, and anarchism wafted throughout the political air and the scene hungered for action. Out of the birth pangs of the twentieth century emerged Rai and Parmanand, figures draped in nineteenth century nationalism and Hindu revivalism and capable of leadership among the extreme factions of Indian anticolonialism.
For Rai, public fame and organizational support provided the foundation for his agenda in America. An ardent believer in education reform and social advancement, Rai built coalitions that strengthened his call for Indian independence. By engaging with the social and racial tensions that made America, Rai established a presence amongst the minds of the civil rights movement and helped gather support for independence through the Indian Home Rule League of America and through his works such as the Young India journal and The United States of America: A Hindu’s Impressions and a Study.1
Parmanand, by contrast, arrived in America not to bring about a social movement but instead to nurture a global revolutionary army that would topple the British regime in India. Under the guise of pursuing a master’s degree in pharmacy at Berkeley, Parmanand networked with other student radicals both in California and Oregon in order to procure weapons and cash for an anticolonial rebellion born simultaneously in the homeland and the global diasporic community.2 Already a prominent name in nationalist circles for his travels as an envoy for the Hindu revival organization, the Arya Samaj, Parmanand wielded the gravitas – and the imperial notoriety – required to move people in the direction towards open rebellion. It is for the latter that Parmanand’s mission failed. British imperial intelligence quickly identified his actions as a threat to their dominion over the Punjab and, upon his return to India, incarcerated him on the grounds that he possessed illicit materials and espoused seditious rhetoric.3
Through the generosity of the Eccles Centre, this research project acquired invaluable materials related to Parmanand’s involvement in the Ghadr Party of San Francisco as well as the movement at large. Among the collection gathered on American sources at the British Library, two specific pieces stand out as definitively exceptional: a ten-page report on Bhai Parmanand and a Ghadr Party poster that encompassed the spirit and reality of global intellectual movements. In the case of the former, most secondary literature on Parmanand assures the reader that he participated in the Ghadr Party movement – despite his autobiographical claims that he merely was at the wrong place at the wrong time. However, these same materials often omit how he functioned in the organization and what roles he fulfilled by its conclusion.4 With the incorporation of this report and other documents related to his roles as nationalist and revolutionary, a clearer picture emerges that resolves both questions about his imprisonment as well as inquiries into his future as a diehard spin master of the Hindu Mahasabha in the 1930s and 1940s.
As for the Ghadr Party poster, this masterpiece connects the dream of socialist revolutionaries with the vision of global Hindutva ideologues. The name 'The United States of India' resides over the idealized map of an independent and unbroken India signifying its place of prominence in Asia. The open border with the Indian Ocean lays claim to the seas. However, the text that surrounds the image speaks to its special relationship to the US. 'In Union There Is Strength' and 'Resistance to Tyranny is Obedience to God' borrow from the American Revolution and contextualize the American war of independence against the British as the preamble for the Indian war to come. Finally, the reader comes to its zenith, the clarion call to arms: 'What Are YOU Doing to Liberate India?'5 This question does not discriminate based on nationality or appearance. Rather it divides the world into two camps: freedom fighters and imperialists. Visual materials such as this poster elevate the historical conversation and provide insight into the psychology of Rai and Parmanand in the 1910s. Without it – and the financial support of the Eccles Centre – this project would lack these vital pieces to the story of global Hindutva and its revolutionary phase in the 1910s.
1. Lajpat Rai, The United States of America: A Hindu’s Impressions and a Study. Calcutta: R. Chatterjee, 1916. For more on this subject, I recommend: Manan Desai, The United States of India: Anticolonial Literature and Transnational Refraction. Philadelphia, PA: Temple University Press, 2020; Vivek Bald, Bengali Harlem and the Lost Histories of South Asian America. Cambridge, MA: Harvard University Press, 2013; and Dohra Ahmad, Landscapes of Hope: Anti-Colonial Utopianism in America. Oxford: Oxford University Press, 2009.
2. See the autobiography, Bhai Parmanand, The Story of My Life. New Delhi: Ocean Books Pvt. Ltd., 2003. To further the conversation, see, Maia Ramnath, Haj to Utopia: How the Ghadar Movement Charted Global Radicalism and Attempted to Overthrow the British Empire. Berkeley, CA: University of California Press, 2011; Seema Sohi, Echoes of Mutiny: Race Surveillance & Indian Anticolonialism in North America. Oxford: Oxford University Press, 2014; and Harold A. Gould, Sikhs, Swamis, Students, and Spies: The Indian Lobby in the United States, 1900-1946. New Delhi: Safe Publications, 2006.
3. For more on the subject, see, Richard J. Popplewell, Intelligence and Imperial Defence: British Intelligence and the Defence of the Indian Empire 1904-1924. Oxfordshire: Routledge, 1995.
4. IOR/L/PJ/6/1405, File 4095 – Lahore Conspiracy Case and the Lahore Supplementary Conspiracy Case. Sep 1915-Dec 1916. Number 56 in the list of the accused, “Bhai Parma Nand” is given a lengthy 10-page backstory which provides much context for both his ventures prior to and following his San Francisco and Portland interlude.
5. Mss Eur C228 -- Ghadr Party papers. 1920. `Flag of the H G Party': a map of `The United States of India', surrounded by party slogans. Published by the Hindustan Gadar Party, San Francisco, c1920.
17 January 2023
Sculptures, time machines and vampires: items from the Americas collections on display in Leeds
The Henry Moore Institute in Leeds is currently displaying seven items from British Library collections as part of their FREE exhibition, The Colour of Anxiety: Race, Sexuality and Disorder in Victorian Sculpture – open until 26 February 2023
Two of the items in the Institutes’ main galleries for this spectacular exhibition are from the Americas collections held here at the British Library. It’s always great to be able to loan items from the Library to other museums and galleries. For starters, it means more people gain access to viewing the works, those who might not ordinarily consult collection items in the Library’s Reading Rooms, or be in the London vicinity to see items on display at our St Pancras site. Secondly, it’s wonderful to see the items interpreted by a multitude of experts and curators, often placing the item in a completely different context from the library setting we’re used to. In this case, as the title of the exhibition suggests, the books are alongside an array of fantastic sculptures as the display brings into focus a rich yet largely overlooked body of sculptural work collected in Britain between 1850 and 1900. The exhibition examines objects that introduced colour and new materials into the sculptural process, situating them within the context of the anxiety which often weighed upon Victorian society in the face of social change and scientific advances.
The exhibition has had great reviews from The Observer and The Telegraph so don’t miss out on seeing it. Here’s a quick peek at the items from the Library’s Americas collections on display – if you want to find out more and see some remarkable sculptures do make time for a visit to Leeds.
The Time Machine by H. G. Wells (BL shelfmark: 012629.de.20.)
This science fiction novella by H. G. Wells is generally credited with popularising the concept of time travel by using a device to travel forward or backward through time. Indeed, the term itself, ‘time machine’, was coined by Wells and is now commonly used to refer to such a vehicle. This edition of The Time Machine was printed in New York in 1895 by the American book-publishing house Henry Holt and Company.
This first American edition, first issue, preceded the British edition and you’ll see the author’s name is misspelled as H. S. Wells on the title page and on the Authors Note as ‘H.S.W.’ – something that was later corrected in the British edition. Unable to let the error slide, a past reader ever in search of correctness has at some point noted in pencil the correction of ‘H. G. Wells’ on the title page under the misprint, initialled simply by the letter ‘K’. As well as the misspelling of Wells’s name being corrected for the English edition, according to science-fiction editor Mike Ashley, this American edition is a shorter version than the English but was published two weeks earlier and is regarded today as particularly collectable. It will certainly be interesting to see this item on display in the Henry Moore Institute Galleries as just one example illustrating anxieties about rapid social change and developments in science that were occurring during the Victorian era.
The Vampire. A poem ... Written for a picture by Philip Burne-Jones exhibited at the New Gallery in London, 1897. [With a reproduction of the picture.] by Rudyard Kipling (BL shelfmark: Cup.402.a.30.)
Also on display from the British Library Americas collections is The Vampire by Rudyard Kipling, printed by Woodward & Lothrop of Washington DC in 1898. Whilst doing some digging in the archives for approving this outward loan, I discovered the item was acquired by the Department of Printed Books at the British Museum Library in the spring of 1961. Purchased from a second-hand bookstore based in New York for the handsome price of £5 it was bought along with a scarce pamphlet on Rudyard Kipling entitled American Oats (BL shelfmark: Cup.503.l.26.). The Vampire was catalogued by the British Museum Library team swiftly as is shown by the red Library stamp dated 15 May 1961.
Kipling wrote the poem to gather publicity for what was then considered a mildly pornographic painting by his cousin, the artist Philip Burne-Jones, entitled ‘The Vampire’ (1897) – the piece would become Burne-Jones’s most famous work. The painting depicts a woman leaning over an unconscious man and was believed to have been modelled by the actress Mrs Patrick Campbell – with whom Burne-Jones had been romantically linked. This painting is an example of how, despite Victorian ideals of virginity and chastity circulating at the time, male artists responded to and reinforced an increasingly sexualised representation of the female body in art, reflecting fears regarding the changing role of women. Indeed, Kipling’s poem echoes this notion also.
Alongside items from British Library collections, visitors to The Colour of Anxiety: Race, Sexuality and Disorder in Victorian Sculpture will be able to see artworks from the Royal Academy of Arts, the Royal Collection Trust and Aberystwyth University School of Art Museum and Galleries and pieces created by artists sculpting during the Victorian period, as well as more contemporary spectacles from the likes of Sanford Biggers and Maud Sulter. The exhibition runs until 26 February 2023 and is free to visit. Find out more and plan your visit via the Henry Moore Institute website.
Blog by Rachael, Curator for North American Published Collections Post-1850
 Out of this world: Science fiction but not as you know it by Mike Ashley, page 49 (London: British Library, 2011), BL shelfmark: YK.2011.b.8873
12 December 2022
Towards a People’s History of the 'Permissible Dose'
Thomas Bishop is Senior Lecturer in American History and Programme Leader of the BA History degree at the University of Lincoln; he was a 2021 British Library Eccles Visiting Fellow.
In 1957 Walt Disney broadcast 'Our Friend the Atom'. Designed to both educate and reassure, the forty-minute special encouraged viewers to put aside their fears of destruction and instead embrace the limitless potential of the atom. Likening atomic power to that of a jinnī being unleashed from a magic lamp to grant wishes, the narrator tells audiences that with enough hard work 'the atomic genie might spread across the world granting the gifts of science to all mankind.'
'Our Friend the Atom' took centre stage during President Dwight Eisenhower’s 'Atoms for Peace' campaign. Through the 1950s, as the Soviet Union and United States increased atmospheric testing of weapons of even greater destructive potential, Eisenhower launched a public education campaign to sell the positive benefits of atomic energy. Seeking allies in this quest to neutralise anxieties over existing weapons technology, Eisenhower turned to the nation’s foremost animator to help create a new cultural imagination of the benign atom. The result is a striking vision of a nuclear future shaped by harmless radiation, accident proof industries, and smiling scientists. This sanitised, Hollywoodised vision of a nation rushing headlong into the promise of the atomic age, conceals the everyday realities and occupational risks associated with working life inside the most iconic industry of the Cold War.
At the British Library, I set out to investigate the hidden histories of nuclear technology in the United States. Specifically, over the last few years I have been keen to research and write a new history of radiation protection standards during the Cold War from the perspective of the thousands of blue-collar workers whose labour powered the nation’s reactors. Talking to archivists often leads to important, unexpected discoveries that can define a research project. I arrived at the Library hoping to make inroads into unearthing a complicated yet critical episode in American history.
The British Library is a treasure trove of material for those interested in nuclear history, with records reaching from the factory floor to the Oval Office. Initially, I looked over the Federal Government Collections in order to understand the changing political landscapes over occupational safety during a period of peak commercial growth in nuclear power during the late 1960s, often called the 'turn-key' era of reactor construction. What might appear to some as dry bureaucratic history is in fact brimming with human stories as civil servants, scientists, employees, and activists debated the health hazards of working with radiation. Out of these records, I started to hone my research around a concept all too familiar to those working within the sector, known as the 'permissible dose'.
Throughout the Cold War the 'permissible dose' governed both the lives and livelihoods of those working within the nuclear sector. To cut through the quite dense technical terminology, the permissible dose refers to the legal amount of ionized radiation a body can receive over the course of a year. This federally sanctioned level of radiation was the cornerstone of the occupational nuclear frontier. How radiation threshold levels were measured, what risk was deemed 'acceptable', and how regulation was understood and enforced across an entire industrial sector was the most significant question facing this rapidly changing industry. With questions of individual workers’ experiences still very much at the front of my mind, I searched for documentation that might shed light on how blue-collar workers experienced and understood this concept of acceptable risk.
Uncovering blue collar workers’ experiences with radiation is laden with difficulties. Often, in lieu of self-made sources, historians seek out instances of workers engaging with the industrial and political elite in the fight for workplace safety. Here, the British Library plays an essential role in magnifying the subtle archival presences of the working communities who helped regulate nuclear power. Through recent digitization efforts, readers can now access records ranging from blow by blow breakdowns of the decisions made around radiation exposure levels found in the Nuclear Regulatory Commission (NRC), to industry trade publication Nucleonic reviewing safety challenges facing a rapidly commercialised industry. A rich collection of material waiting for anyone interested in these records, it contains interviews with workers, debates over compensation cases, and even whistle-blowers willing to go on the record about the substandard safety practices they encountered. Together these collections allowed me to track the controversies surrounding radiation protection standards and start putting together a picture of nuclear regulation that seems far more complex than studies have previously acknowledged.
In the records of the specific industrial accidents held in the files of the Environmental Project Agency (EPA), the health and science periodicals of the 1960s, I noticed the central role that workers’ testimonies played during fights for reform. Far from being passive actors in the fight for stricter regulation, blue collar workers were active and vocal in making their voices heard for better working conditions. With this material, I can prove that ordinary working Americans are the forgotten 'policymakers of the nuclear age': organisers who marched, blew the whistle, litigated, and turned to the press, unions, and White House for support. This time in the archives has allowed me to knit top-down perspectives of regulatory policy with local experiences of labour activism, pushing our understanding of the ability of ordinary working Americans to fight for and enact meaningful change for themselves and their communities.
While this project is still very much a work in progress, the records of the British Library provide a critical start for anyone interested in researching our often-complicated relationship with nuclear technologies. In an age where renewable energy and climate change are defining global concerns, and politicians talk about the promise of a 'Green New Deal' it is important that we seek out our nuclear past, to make sure it is not forgotten during a moment of renewed interest in our nuclear futures.
05 December 2022
“The Flying Researcher”: South Asians and Indigenous Peoples of the Pacific Northwest
Rishma Johal is a PhD candidate in History at McGill University and was a 2022 Eccles Centre Visiting Fellow at the British Library.
As an academic in training, I believe that most PhD Candidates—particularly *cough cough* myself—are young, wide-eyed, naive students who hope to use their magical wings to fly from source to source in a matter of seconds. If any of this were remotely true, my thesis would be complete in a few days. However, no matter how aware I am of my naivete, there is always the glimmer of hope that the next research trip will be 'the one' in which I read every source at the archives. Needless to say, this hope is shattered as soon as an archivist hands me a file weighing a few good pounds in the morning of my very first day. Perhaps, the British Library experience has been my most dramatic encounter in terms of the amount of information available versus the amount of information that I can read in a short period of time. This autumn, as an Eccles Centre Visiting Fellow, I enjoyed five weeks at the British Library, yet even that felt too little to complete my research. Thus, if I had to select one challenge over any other, it would be my fight against time. Nevertheless, the availability and versatility of sources at the Library ensured that my visit was both fruitful and rewarding.
My research entails analysing files on South Asian migrants and Indigenous peoples of the Pacific Northwest—both marginalised communities about whom information at archives is generally limited. Specifically, my thesis examines intersections and dissension among early South Asian migrants and Indigenous communities of the Pacific Northwest from 1857–1947. This means that I am examining files on diverse groups of people. It is quite time-consuming to search for these sources, although the British Library holds a wealth of data. For this reason, the limit on the number of sources that I could request in one day quickly became another challenge, though I managed to power through most of the sources on my research list.
Conducting research at the British Library was imperative as it enabled me to access many archival records about early South Asian migrants in both Canada and the United States. Most of these files were held in the India Office Records and I also found correspondence among various levels of government on South Asian migration, from reading views of inspectors, politicians, and ministers in Vancouver and British Columbia to Ottawa, Britain, and India. I found numerous instances of concern over increasing numbers of South Asians in the Pacific Northwest that incorporated correspondence with American officials. The British Library has a priceless amount of information on the Ghadar movement (early Indian independence struggle that began in North America) and clandestine activities run by South Asians from California extending to Argentina, Panama, South Africa, Afghanistan, and Australia. However, the British Empire’s vast network of information gathering and sharing is only visible when files are accessed that discuss the Ghadar movement, “Hindu immigration,” and event specific files such as IOR/L/PJ/1325, File 3601 Canadian Immigration; the Komagata Maru Incident. These sources discussed the status of South Asians in Canada and noted the companies that they owned as well as the land purchases that they made, which was vital information concerning South Asians’ role in settler colonialism and Indigenous dispossession.
In one or two instances, I also found comparisons that officials made between the Indigenous peoples of British Columbia and South Asians. My favourite sources were rare finds that may not have been as useful as the above files for my thesis but were integral in terms of South Asian diasporic activity. For instance, I was thrilled to view a flag made by the Ghadar Party of San Francisco with a map that envisioned the borders of a free India as early as 1920 (Mss Eur C228: 1920). I was also able to view several maps made by South Asian surveyors and assistants within the British Indian army. These included maps of boundaries in Tibet, China, Afghanistan, and parts of Africa. The maps portray the role that some South Asians played as intermediaries within the colonisation of the Indian Ocean Arena before many migrated to North America.
I was also interested in sources on Indigenous communities of the Pacific Northwest, though finding archival materials associated with specific tribes was difficult. For this aspect of my research, I utilised the vast collection of books that covered substantial components of the history of Indigenous peoples from California, Washington and Oregon. However, I was able to locate a few important firsthand documents such as the Report on the Condition and Needs of the Mission Indians of California (British Library shelfmark: A.S.217/19, 1873) made by special agents Helen Jackson and Abbott Kinney and The Report of the Special Agent for California Indians to the Commissioner of Indian Affairs by C.E. Kelsey (British Library shelfmark: Mic.K.2130, 1906). The former report provided a significant account of how white colonists dispossessed Indigenous peoples in Southern California, despite US government orders that recognized Mission Indians’ lands as reservation lands. The 1906 report outlined the conditions of Indigenous peoples living within California and described the areas that remained populated by them. Reading these reports in comparison to one another was particularly useful for my research. The Quarterly Journal of the Society of American Indians (British Library shelfmark: P.P.3437.bad) was another important source that discussed Native American issues, although individuals interested in Native Americans, rather than those of Indigenous ancestry, published most of the articles. More importantly, I was able to read a wide variety of books written about Indigenous peoples and to corroborate movements of certain Indigenous communities with the migration and land purchases of South Asians.
Overall, my magical wings were quite elated to fly from one source to the next at the British Library whether that was in a matter of hours, days, or weeks as I continue to read files that I photographed in October. I had an amazing experience as an Eccles Centre Visiting Fellow, and I would highly recommend this fellowship opportunity to other researchers in American Studies. Although I did not have a chance to attend many events, connecting with other Fellows and the Eccles Centre team at one of their Researchers' Packed Lunches was wonderful. Nevertheless, time is always of the essence. Alas, this researcher flies away to the next archive!
28 November 2022
Tracing Italian Opera Performers in the Nineteenth Century Americas
Barry Robinson is the Robert Haywood Morrison Professor of History at Queens University of Charlotte and was a 2020 British Library Eccles Centre Visiting Fellow.
In August 1895 a committee of prominent musicians and members of the Italian community in Lima, Peru announced a benefit concert to be held on behalf of the seventy-seven-year-old composer Carlos Enrique Pasta. Their stated purpose was “to alleviate the pitiful situation in which the well-known and respectable maestro finds himself in his old age.”1 Pasta had first come to Lima in 1855 as part of the many waves of Italian performers who travelled through and to the Americas during the nineteenth century.
Italian migrants like Pasta brought European content to American audiences, but they also created new performances that drew from local themes and contemporary politics. Pasta’s zarzuela ¡Pobre indio! debuted in Lima on 3 March 1868. The performance included two yaravies and a huayno (indigenous Andean folk ballads and dance, respectively), with the overture incorporating the chorus of the Peruvian National Anthem.2 This cultural exchange filtered back across the Atlantic, with productions of American-inspired work making their way to the most prominent opera houses of Europe.
Pasta’s best remembered work, the opera Atahualpa, recast the Inca emperor as a tragic and nuanced figure, set to a melancholy and melodious score. His librettist, Antonio Ghislanzoni, also authored the libretto for Verdi’s Aida. Pasta returned to Italy for the debut of Atahualpa in November 1875 at Genoa’s Teatro Paganini, where critics reported “applause galore – more than twenty calls to the maestro – Bravo Maestro Pasta!”3 Atahualpa’s success continued at the Teatro alla Scala in Milan, but by January 1877 Pasta had returned to Lima for the opera’s Peruvian debut at the Teatro Principal.4 He continued to compose zarzuelas over the next few years. As of 1887 he was offering his services to the citizens of Lima as a piano and voice teacher.5
Along with my colleague, Dr. Lucia Galleno, I have been constructing a database of hundreds of individuals like Carlo Enrico Pasta to track the movement of Italian opera performers (singers, musicians, and empresarios) from Italy to the Americas in the nineteenth century. We are employing traditional historical research along with techniques from the digital humanities and geospatial analysis to identify broader patterns among the companies, theatres, and performers who formed part of this influential cultural transference. Their stories might best be visualized as a fluid network of journeys spanning the Atlantic and centering on urban hubs with theatres connecting to the international tour circuits.6
Lima makes for a revealing node from which to begin charting these transatlantic opera networks. Italian opera served as a vibrant element of the city’s cultural life, drawing large crowds of passionate supporters who often engaged in vigorous public critiques and debates, occasionally spilling over into physical violence.7 In 1896, the year after the benefit concert for Maestro Pasta, famed Peruvian literary figure Manuel Moncloa y Covarrubias recalled the vigorous partisanship surrounding the career of soprano Clotilde Barilli in the 1850s, labelling it “a scandal of colossal proportions.”8 Barilli’s fans developed such a furious rivalry with those of the O’Loghlin theatre company that in the 1852 season grave wounds were delivered with a rapiers and firearms, to the point that General Pedro Cisneros de la Torre called in an infantry battalion to restore order. In his Mujeres de teatro, Moncloa y Covarrubias notes that, given the politically fluid nature of those times, this action put the inhabitants of the entire city in a state of great alarm.9
The British Library Reader Pass has provided an invaluable opportunity to connect nineteenth century Italian migrants more fully to the communities in which they lived and performed, and to trace their movement across the Atlantic from cities like London, Madrid, and Milan through our focal point of Lima, Peru, and around the Americas to cultural hubs such as New York, Havana, and New Orleans.
The career of Clorinda Corradi Pantanelli, credited by Basadre with “definitively popularizing” Italian opera in Peru during the season that began on 2 September, 1840, illustrates the scope of this movement.10 After initiating her career in Italy and Spain in the 1820s and 1830s, Corradi Pantanelli sang in Havana, Cuba as a part of a company managed by her husband, Raffaele Pantanelli, from 1836 to 1839. During an interim 1837 season at the St. Charles Theatre in New Orleans, two other performers “absconded” from the company and the empresario engaged in a heated financial dispute with the owner of the St. Charles.11
Corradi Pantanelli’s company arrived in Peru in 1840. The immediate popularity of Corradi Pantanelli’s performance in Lima prompted conservative literary figure Felipe Pardo y Aliaga to publish an essay entitled “Opera y nacionalismo” in October 1840, in which he critiqued what he viewed as a liberal, mercantile fascination with this foreign art form as an ornament of national modernity. Pardo y Aliaga protested that “Nonsensical nationalism has produced few more original phenomena than the one observed on the occasion of the arrival of the Italian company that today charms this capital.”12
Corradi Pantanelli’s company remained in Lima until April 1844, when they continued southward to Chile. They opened the newly constructed Teatro Victoria in Valparaiso in December.13 Corradi Pantanelli continued to perform in Chile over the next decade. Records of the University of Chile show that she took a post as a professor at the National Conservatory of Music in May of 1861.14
The career of mezzo-soprano Estefanía Collamarini provides a final example of the migrant trajectories of these performers. In 1898 Moncloa y Covarrubias characterized Collamarini as “the most splendidly beautiful Carmen we have had [in Lima]”.15 The following year Collamarini ranged as widely as Mexico City, San Francisco, and even Kansas City, Missouri, where she personally funded a reorganization of the stranded Lombardi Opera Company to enable it to complete its tour of the United States.16 Collamarini returned to South America where she continued to perform through at least 1905, when she performed at the Teatro de Sao Pedro d’Alcantara in Rio de Janeiro.17
The British Library affords world class access to a wealth of source material that is not accessible at our home institution, including memoirs, catalogues of performances, photos and paintings, diagrams of theatres, an outstanding general reference collection, and excellent nineteenth century newspaper collections (including both hard copy and digital databases). The Eccles Centre Visiting Fellowship has enabled me to track the locations and management of theatres, the movement of individuals and opera companies, and the public reactions and responses to their performances in the major cities of South and North America. These materials help us to transcend the violence of abstraction by putting a personal and individual contour onto the data, adding a human voice to the historic drama that the performers experiences represent.
1. El Comercio (Lima, Peru) 19 August 1895. British Library e-resources, Readex: World Newspaper Archive.
2. Jorge Basadre, Historia de la República del Perú (Lima, 1961-1968), Vol. IV, p. 1903, BL shelfmark: W31/3274. Basadre points out that this debut occurred during a period of heightened indigenismo in Lima. A zarzuela differs from an opera in that it intersperses the music and singing with sections of unaccompanied spoken verse. Vera Wolkowicz views the huayno and yaraví as part of the early foundation of national Peruvian music, and cites Pasta as the first composer of any nationality to incorporate Andean folk elements into his compositions. Vera Wolkowicz, Inca Music Reimagined: Indigenist Discourses in Latin American Art Music (Oxford University Press, 2022) p. 57.
3. Carlo Civallero, “Gazzetino di Genova,” 29 November and 9 Dicembre, in: Appolonio e Caprin, L'Arte: Rassegna di teatri, scienzi e lettere con annessa Agenzia. Trieste, 30 November 1875 No. 33, p. 3 and 13 December 1875, No. 34, p. 3.
4. On August 6, 2015, Lima’s Gran Teatro Nacional hosted a resurrected performance of Pasta’s Atahualpa for the first time since the nineteenth century. El Comercio (Lima, Peru) 7 August 2015. British Library e-resources, Readex: World Newspaper Archive.
5. El Comercio (Lima, Peru) 9 October 1887, British Library e-resources, Readex: World Newspaper Archive. The Hotel de Francia é Inglaterra was located at 204 Calle Judíos.
6. John Rosselli has identified a number of seasonal patterns to this movement, which he categorizes into three distinct circuits: 1) Austral America (including Brazil, Uruguay, and Argentina), 2) the Circum-Caribbean, including Havana, Caracas, and major cities in the Eastern United States, and 3) a Pacific circuit extending from Mexico up to San Francisco and down through Central America to Peru and Chile. John Roselli, “The Opera Business and the Italian Immigrant Community in Latin America 1820-1930: The Example of Buenos Aires.” Past & Present, May, 1990, No. 127, pp 165-166.
7. Robert Stevenson’s Foundations of New World Opera (Lima: Pacific Press, 1973) BL shelfmark YM.1991.b.9 and Chad Gasta’s Transatlantic Arias: Early Opera in Spain and the New World (Madrid: Iberoamericana, 2013) BL shelfmark YD.2014.a.786, identify Peru as a center of early New World Opera through the eighteenth century, but scholars of nineteenth century opera tend to overlook Peru.
8. Moncloa y Covarrubias often used the pen name M. Cloamón. M. Cloamón, “De telón adentro,” El Comercio (Lima, Peru) 29 May, 1896, British Library e-resources, Readex: World Newspaper Archive. His extensive Diccionario teatral del Perú (Badiola y Berrio, 1905) offers a vital foundation for identifying specific Italian opera performers at a date and theatre in Lima, and identifying their company and the works they performed.
9. Enrica Jemma Glickman, “Italian Dramatic Companies and the Peruvian Stage in the 1870s,” Latin American Theatre Review, Spring 1973, p. 43; Manuel Moncloa y Covarrubias, Mujeres de teatro: apuntes, perfiles, y recuerdos (Callao, Imp. El Progreso, 1910) p. 11.
10. Jorge Basadre, Historia de la República del Perú (Lima, 1961-1968), Vol. II, p. 399, BL shelfmark W31/3272.
11. Times-Picayune (New Orleans, Louisiana) 8 June 1837. British Library e-resources, Readex: World Newspaper Archive; Katherine K. Preston, Opera on the Road: Traveling Opera Troupes in the United States, 1825-60. (Music in American Life. Urbana: University of Illinois Press, 1993) pp. 113-117, BL shelfmark 93/24434.
12. Felipe Pardo y Aliaga, “Opera y nacionalismo,” in: El espejo de mi tierra. Edición y estudio preliminar de Alberto Tauro (Lima: Editorial Universo, 1971) pp. 74-89, BL shelfmark X.907/12764.
13. José Manuel Izquierdo Konig details the process of constructing the Teatro Victoria in: “The Invention of an Opera House: The 1844 Teatro Victoria in Valparaiso, Chile,” Cambridge Opera Journal, Vol. 32, 2021, p. 140.
14. Anales de la Universidad de Chile: memorias científicas y literarias, Volume 18 (Universidad de Chile, 1861) p. 603, BL shelfmark Ac.2693.
15. Moncloa y Covarrubias, Diccionario teatral del Perú (Badiola y Berrio, 1905) p. 51.
16. Manuel Mañon, Historia del Teatro Principal de México (México, 1932) p. 209, BL shelfmark, 11795.tt.36; “Stranded Opera Company Reorganizes.” New York Times (1857-1922); Oct 24, 1899.
17. Richard Langham Smith and Clair Rowden, eds. Carmen Abroad: Bizet's Opera on the Global Stage (Cambridge University Press, 2020) p. 162, BL shelfmark YC.2022.b.205.
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