American Collections blog

What's on the mind of Team America?

Introduction

Find out more about our Americas Studies collections on the Americas blog, written by our curatorial team and guest posts from the Eccles Centre writers in residence. Our collections cover both North and South America, as well as the Caribbean. Read more

06 August 2019

A tribute to Toni Morrison

In the midst of the very sad news that author Toni Morrison passed away on 5 August 2019, aged 88 years old, we shine a light on one of Morrison’s many items held in the Library’s collection: the beautiful, ‘Five Poems’ – a fine press book with illustrations by Kara Walker.

Toni Morrison was born Chloe Anthony Wofford on 18 February 1931 in Lorain, Ohio. Her portrayal of the black female experience through her writing has moved readers around the world for more than 50 years, and will continue to do so. The Bluest Eye was published in 1970 and would become a Novel Prize winner, and further bestselling novels would follow, namely Song of Solomon (1977), Beloved (1987) and Jazz (1992). It was not long before Morrison and her work were established firmly as ‘part of the fabric of American life … woven into high school syllabuses up and down the country’ (Richard Lea, The Guardian). Alongside her Nobel Prize, Morrison would be honoured with the Pulitzer Prize and a Presidential Medal of Freedom in celebration of her literary achievements during her lifetime.

Photograph of slipcase and cover of Toni Morrison 'Five Poems'
Slipcase and cover detail for Five Poems by Toni Morrison with silhouettes by Kara E. Walker, Las Vegas: Rainmaker Editions, 2002.

Upon joining the Americas Team just one month ago, one of the first treasures a colleague introduced me to was Five Poems (RF.2019.b.96) – a breath-taking fine press book compiled of Toni Morrison’s words and illustrations by Kara Walker. As I began to turn the pages, I was intrigued (and blown away) to say the least. ‘I never knew Toni Morrison wrote poetry’ I thought, careful not to share out loud for fear of making a fool of myself in front of my new team of experts. But upon closer investigation of the book, I realised there was perhaps a reason for this oversight of mine…

Photograph of title page of Five Poems
Title page for Five Poems by Toni Morrison with silhouettes by Kara E. Walker, Las Vegas: Rainmaker Editions, 2002.

Published in a limited run by Rainmaker Editions of Las Vegas, between the large books’ pages readers will be entranced by ‘Eve Remembering’, ‘The Perfect Ease of Grain’, ‘Someone Leans Near’, ‘It Comes Unadorned’ and ‘I Am Not Seaworthy’. Five short poems which compile Morrison’s only poetry book, alongside them are silhouette illustrations from the New York-based artist, Kara Walker.

Reading an article by Stephanie Li (‘Five Poems: The Gospel According to Toni Morrison’) in a bid to find out more, it transpires that, at the time of Li's research, ‘in the numerous interviews Morrison has given since the publication of Five Poems she [Morrison] has never mentioned the book or discussed her approach to writing poetry’ (p 899).

Photograph of Toni Morrison's 'Even Remembering' with silhouette print of a woman, by Kara Walker
‘Eve Remembering’ from Five Poems by Toni Morrison with silhouettes by Kara E. Walker, Las Vegas: Rainmaker Editions, 2002.

The book is said to have come about thanks to Wole Soyinka (the playwright, poet and essayist) who invited ‘Morrison … on behalf of Rainmaker Editions to submit an original unpublished manuscript. Morrison sent five short poems, the full text of the collection’ (p 899). Upon receiving the manuscript, the book’s designer, Peter Rutledge Koch, suggested that illustrations be included as well. Si explains that Kara Walker, whose work explores themes of gender, race and ethnicity, has often praised Morrison and the influence the author had on Walker’s own creativity; Koch saw the potential for the two artists’ work to complement each other in this endeavour. Walker was contacted and the book was made with Morrison’s words and Walker’s five relief prints side by side.

This edition is one of the 425 issues printed and has been signed by the author, illustrator and binder. It really is a fusion of skill, care and total masterfulness from across the United States. Alongside the contributions from Morrison and Walker, Peter Koch Printers printed letterpress from digital imaging and photo-polymer plates in Berkley, California, while the binding and housing was done by Jace Graf at Cloverleaf Studio, Austen, Texas. It’s a work of art in every sense.

Photograph of Toni Morrison's ‘It Comes Unadorned’ with silhouette print of a woman, by Kara Walker
‘It Comes Unadorned’ from Five Poems by Toni Morrison with silhouettes by Kara E. Walker, Las Vegas: Rainmaker Editions, 2002.

It is with great sadness that we have lost one of the world’s, not just America’s, most prolific writers. As chance would have it I’m currently reading Jazz and I’ll be sure to savour Morrison’s storytelling even more than normal during the commute home this evening, on a train journey that will be tinged with more than a little melancholy.  

[RSW]

05 August 2019

A Tour of Indigenous London

Tee Yee Neen Ho Ga Row portrait

Above: 'Tee Yee Neen Ho Ga Row, Emperor of the Six Nations' from Add MS 5253.

On July 22nd, the Eccles Centre was pleased to host a group of students from the University of British Columbia’s Institute for Critical Indigenous Studies, who were visiting London as part of their course led by former Eccles Visiting Fellow, Professor Coll Thrush. The plan for the day, however, was a little bit different from our usual student visit days. As part of our work with the Beyond the Spectacle project, we wanted to go beyond the usual collections display and highlight research being done on these collections and how students and members of the public could take a lead role in disseminating the findings of this research.

The day started with some of the Library’s more historic items. The Library’s founder collectors, especially King George III, Sir Hans Sloane and Thomas Grenville, had a strong interest in North America and, as a result, collected significant works relating to the indigenous peoples of Canada, the Caribbean and the United States. A significant part of the Library’s eighteenth-century collections are various materials relating to the ‘Four Indian Kings’ a visiting delegation from the nations of the Mohawk and the Mahican during the reign of Queen Anne. Etow Oh Koam, Sa Ga Yeath Qua Pieth Tow, Ho Nee Yeath Taw No Row and Tee Yee Ho Ga Row journeyed to England and London to make their case for greater support and interest from the monarch and their words were variously recorded and distributed. There were also illustrations made of the delegation, some crude and westernised while others, such as those found in the collection of Hans Sloane and reproduced here, are detailed and vivid. The display also highlighted the breadth of Library collections that speak to the history of contact between indigenous nations, North American colonists and Europeans, with material spread across the Library’s manuscript, map, newspaper, printed book and other collections.

Indigenous London display

Above: the display taking shape. Image by Cara Rodway.

These collections, specifically those relating to indigenous travellers to Britain across the centuries, are being used by the Beyond the Spectacle project, on which the Eccles Centre and other British Library colleagues are partners. In the second half of the day researchers from the project, Jack Davy and Kate Rennard, worked with Roberta Wedge, who frequently runs Wikipedia editathon days with the Library, to illustrate how collections such as those at the Library can be used for research and to improve the information found on public websites and encyclopaedias, such as Wikipedia. It is not unfair to say that some of the students started this part of the day dubious as to how they could use their learning and recent research to update something like Wikipedia but the day provided openings to a different perspective. Roberta’s work with Wikipedia and organising group edits of Wikipedia pages focusses on how the site can only reach its full potential if a wide range of individuals, publics and perspectives are contributing to the editing process. If this can be achieved, the content of Wikipedia and other online forums will reflect the diversity of the world in which we live and its complex history.

IMG_5262

Above: students from the group researching and editing. Image by Phil Hatfield.

Part of the afternoon focussed on encouraging students to conduct their own research, based on the display from earlier in the day and using online archives and resources to dig into some of the other materials the Beyond the Spectacle project has been using. We are grateful to the British Newspaper Archive and Adam Matthew (creator of the American Indian Newspapers database) who both provided access to students on the day so they could engage with the materials held in their collections and use them in research and editing. Students used these materials to update entries on a number of Wikipedia pages, adding information to the page, ‘Four Mohawk Kings’, the page for St. Olave’s Church (London), setting up a new page on the playwright and actor Gowongo Mohawk and making a number of other edits.

By the end of the day many of the students were motivated by the realisation of how much agency they have to develop content on sites like Wikipedia and excited by the new research skills they had learnt by using the resources of the British Newspaper Archive and Adam Matthew. For me a favourite moment was when a student, asked how the day had influenced their perspective on Wikipedia noted that now, ‘Wikipedia is my new stomping ground’. The day showed the potential of supporting students and other researchers in gaining access to historic and digitised collections, it also highlighted how the knowledge gained from these can contribute to influential public sites. We hope to run similar events again, on a wide range of subjects, and thank Adam Matthew, the British Newspaper Archive, Wikipedia, Beyond the Spectacle and UBC for their support and partnership.

[PJH]

01 August 2019

Herman Melville at 200

Today – 1 August 2019 – marks 200 years since the birth of Herman Melville.

To celebrate we are sharing a few images from Lakeside Press’s beautiful 1930 edition of Moby Dick (British Library shelfmark: L.R.50.b.1) illustrated by artist, printmaker, writer and voyager, Rockwell Kent. 

Moby dick title III  Moby dick real tale 2 Moby dick tail 3

(Herman Melville, Moby Dick. Chicago: Lakeside Press, 1930. 3 Vols. (British Library shelfmark: L.R.50.b.1)) 

While now regarded as a masterpiece and one of the greatest American novels of all time, such acclaim could never have been predicted for Moby Dick when it was first published in 1851. Unlike Typee (1846) and Omoo (1847) in which Melville exploited his own sailing and whaling adventures to critical acclaim and commercial success, his sixth novel - published as The Whale in London and as Moby Dick; or, The Whale in New York shortly thereafter - garnered mixed reviews and poor sales. Indeed, Melville published his final work of prose just six years later and by his death in 1891 his reputation was in the doldrums.

Thankfully, his centenary in 1919 prompted a reappraisal of his work, so much so that in 1926 R. R. Donnelley and Lakeside Press chose Moby Dick as part of its 'Four American Books' campaign - the other three being Poe's Tales, Thoreau's Walden, and Richard Henry Dana Jr.'s 1840 memoir Two Years Before the Mast, which whilst little known today was one of America's first literary classics and a work Melville himself declared to be 'unmatchable'. 

For Donnelley and Lakeside Press, 'Four American Books' represented an opportunity to demonstrate the capacity of its modern machinery to produce fine press editions that would capture the imagination of the mass market. William A. Kittridge, the company's Head of Design and Typography who commissioned Rockwell Kent, believed their three volume version of Moby Dick to be 'the greatest illustrated book ever done in America' and nearly a century later it is still regarded as one of the finest books printed in the United States. Only one thousand copies of the three volume edition were published. However, a few months later Random House issued a one volume trade version that included all of Kent's illustrations, thereby bringing this incredible work to a wider and hugely appreciative readership. 

Moby dick smash 2 Moby dick ahab 2

(Herman Melville, Moby Dick. Chicago: Lakeside Press, 1930. 3 Vols. (British Library shelfmark: L.R.50.b.1)) 

Finally, and somewhat as an aside, readers might like to know that while Lakeside Press is included in Modern British and American Private Presses (1850-1965): Holdings of the British Library (London: British Museum Publications, 1976; shelfmark 2708.aa.36), the Eccles Centre is currently compiling a list of American fine presses established since 1965 that have works held by the British Library. Updates to follow in due course. 

30 July 2019

James Knight’s “History of Jamaica”

We are delighted to share this blog by Jamie Gemmell. Jamie is a third year undergraduate at the University of Edinburgh and was awarded a Carnegie Vacation Scholarship to produce a partial digital edition of James Knight’s “History of Jamaica”, focussing on its account of the social and cultural aspects of enslaved Africans. He recently presented his work at the British Library as part of the Eccles Centre's Summer Scholars season.

When I first came across James Knight’s “History of Jamaica” (1742) I was unsure what I would find. Historians have often neglected British Jamaica during the early eighteenth century. Instead, they have focused on the later seventeenth century, when the British conquered and established themselves on the island, or the later eighteenth century, when the slavocracy was at its peak. This meant it was difficult to have any expectations about Knight’s manuscripts, although it did provide an opportunity to develop new insights.

Jamie G book title I

James Knight, "History of Jamaica". Vol. 1, title page. (Add MS12415)

My primary concern was to see whether Knight could provide new information on the debate surrounding the origins of enslaved people’s cultures. Following a first read, I was disappointed. Like most European planter-historians, Knight’s primary focus was on the political debates between the metropole and colony or great acts of piracy committed by the likes of John Davis or Henry Morgan. I began to realise why most historians of Atlantic slavery begin their analyses by discussing the fragmentary nature of the evidence.

However, whilst Knight was by no means concerned with enslaved people, they appear throughout the manuscript. In the first volume, predominantly a narrative history of the island dating from the Spanish discovery, Knight described several rebellions by enslaved people as well as a relatively detailed account of the Maroons, communities of people who had escaped slavery. For Knight, the leader of the Leeward Maroons, Cudjoe, was a “very sensible fellow,” whilst the enslaved people who rebelled at Guanaboa in 1685 were “desperate Villains.”

Jamie G 2

Edward Long's letter collection. (Add MS 22677)

The second volume takes the form of an ethnography, covering subjects ranging from the climate to the legal system in Jamaica. Knight dedicates a significant portion to his views on enslaved people within the chapter describing the inhabitants of Jamaica. He discusses enslaved physicians, and advices Europeans to learn their “many secrets.” He embarks on a long discussion of slavery, fighting accusations of the “Inhumanity of and Cruelty of the planters,” which may prove useful to scholarship in the way that it deals with early criticisms of slavery. For my own research, Knight’s description of the traits of the various African ethnic groups proved most pertinent.

Despite not being Knight’s primary focus, his manuscript raises new questions about enslaved cultures. Currently, the historiography has been primarily concerned with tracing cultural connections between enslaved groups in the Americas and specific regions of Africa. Over time significant research has been undertaken, such as James Sweet’s work on Portuguese Brazil.[1] After reading Knight’s manuscripts, I believe new questions can be raised. It seems inappropriate to accept Knight’s links between ethnicity and behaviour. Instead, further work must be done to understand the origins of these stereotypes and how they functioned in the European worldview. If we can grasp why Knight thought it pertinent to associate “particularly Eboes” with suicide or “Angolas” with the consumption of human “flesh,” we may come to a greater understanding of how the system of Atlantic slavery maintained itself.

Jamie Gemmell

 

http://www.jamesknightjamaica.com/

[1] Sweet, Recreating Africa (2003).

 

07 June 2019

Is ‘America’s National Pastime’ Up for Grabs?

Professional baseball heads to London later this month with its sacred status in American culture once more in the spotlight. While the two-day series between the historic rivals, the Boston Red Sox and the New York Yankees, was an instant sell-out in London, back home crowds are declining, television ratings are falling and, despite the best efforts to speed-up play, games are dragging-on for longer than three hours - an eternity in today’s era of instant gratification. Those fans that do attend games or watch on TV are older and whiter than America as a whole. On social media Major League Baseball is dwarfed by the sporting behemoths of the NFL and NBA, the fame of baseball’s elite players a fraction of that enjoyed by the global superstars of professional football and basketball. It’s not surprising that each new season begins with commentators questioning whether the so-called ‘national pastime’ is in irreversible decline.

Baseball blog June I

Ed Linn, The Great Rivalry: The Yankees and the Red Sox, 1901-1990. New York: Ticknor & Fields, 1991. British Library Shelfmark: General Reference Collection Mike Ross 281.

And yet this simple contest of pitcher and batter is this year celebrating its 150th anniversary as a professional sport with its role as an emblem for American culture still jealously defended. Indeed, that very longevity is a source of strength:  baseball’s romanticized all-American creation story, which rejects its origins in the English game of rounders, may now be acknowledged as myth, but it provides the bedrock for its many cultural claims.  Ever since 1919, when the philosopher Morris Cohen first declared baseball a ‘national religion’ which offered ‘redemption from the limitations of our petty individual lives and the mystic unity of the larger life of which we are part’, baseball-obsessed scholars and multiple purveyors of cultural output have offered the game as a lens through which to view the complexities of American history. It is a rural game popularized in America’s industrializing cities; a team sport of democratic instincts soiled by its shameful record of racial and gender exclusion. It captures the essence of American capitalism in the endless struggle between owners and players over the division of its revenues. With baseball’s twentieth century expansion south and west, and the suburbanization of its fan base, it mirrors the march of post-war prosperity into new regions of the country; and all the time it demonstrates its capacity to cater simultaneously to two conflicting strains of the national character - unbridled consumerism and anxiety-fueled nostalgia.

Baseball blog june 2019 2

Morris Cohen, 1880-1947. Painted by Joseph Margulies. CCNY Library collection. Image courtesy Wikimedia Commons.

Re-enforcing these connections, a lively stream of cultural output still flows – in literature, language, film and music – which celebrates the continuity of American life and the mythical role of fathers in the generational transmission of American values.  Baseball’s story, so the argument goes, is America’s story

Of course, not everyone accepts these sweeping metaphorical claims – the baseball historian Daniel Nathan has lamented the sentimentality, ignorance and nationalism that ‘becloud our sense of baseball history and reality’. In baseball, Nathan asserts, romance has obscured the reality of the commercial and cultural onslaught from America’s other big sporting beasts. Similarly, Edward White has complained of the ‘unfounded assertions, rampant over-generalizations and exercises in wish fulfilment’, made by baseball’s scholarly and media boosters.

So which side is right in this long-running battle over cultural inheritance? Is the label of America’s ‘national pastime’ up for grabs, or was it surrendered long ago? These issues will be debated in a special event at the British Library, Take Me Out to the Ballgame: Baseball and American Culture, on Friday 28 June, 19.00 – 20.15, the eve of the Red Sox-Yankees London series. Taking part in the panel discussion will be distinguished baseball writers, baseball historians and past-practitioners of the game, with the event chaired by Matthew Engel, the eminent cricket writer, now a wholehearted convert to America’s game. If you want to join the conversation, book your tickets here: https://www.bl.uk/events/take-me-out-to-the-ball-game-baseball-and-american-culture

Chris Birkett

The British Library is the home to the Mike Ross Collection of baseball books and memorabilia which contains more than 300 items relating to America’s national pastime.

Chris Birkett is undertaking postgraduate research on the Clinton presidency and baseball at King’s College London, where he is a Professor Sir Richard Trainor Scholar, supported by the Eccles Centre at the British Library

22 May 2019

The Power of Memoir

Where does the personal reside in our understanding of history, social issues and human experience? And what does the form of the memoir distinctively illuminate?

In 2018 novelist Tessa McWatt used her residency as an Eccles British Library Writer’s Award holder to work on a memoir on race and story-telling which traced the hybridity of her genetic make-up and the issues of racism she has faced on both sides of the ‘divide’. Her practice-based research is engaged in issues of colonialism and the historical and structural underpinnings of the creation of race and how her personal experience has been embedded in those structures.

On 3 June, Tessa will be speaking at the British Library in conversation with two historians, Sarah Knott and Norma Clarke, chaired by Erica Wagner, to talk about how embracing their own experiences and investing in the memoir form has enabled them to develop and extend their work as scholars and writers.  In preparation for their event, we asked them to given an example of how an historical item from the archive helped inform their projects: Sarah on maternity, Norma on family and Tessa on race.

Sarah Knott:

An Interesting Condition excerpt

Excerpt from Abigail Lewis [Otis Burger], An Interesting Condition (London: Odhams Press Ltd, 1951), pp. 180-181. Shelfmark 8417.cc.29.

1949 New York. Otis Burger wanted to stop each contraction and see what it felt like. It was odd having an entirely new sensation inside. She had been reading the English doctor Grantly Dick-Read, who thought childbirth should be painless ‒ disliking his determination to reduce women to their biology, but appreciating his tenderness. Her fear was the hospital feeling of being naked, and at the mercy of strangers, like a specimen of some sort. Male doctors were condescending; they seemed to think the difficulty was all in the mother’s mind and that birth was too much of a commonplace for the mother to make such a silly fuss.

Otis Burger wrote her remarkable maternal memoir, An Interesting Condition, some decades before the women’s liberation movement encouraged others to pick up their pens and make maternity properly visible. The book was unusual enough that it was printed not just in her New York but also in London, thus making its way into the hands of ordinary English readers as well as the collections of the British Library. That she published under a pseudonym was some indication of the taboos that needed to be broken.

In writing Mother: An Unconventional History, I plundered personal writings like these to understand past experiences of pregnancy, birth and being with an infant. And I took inspiration, too, from what happens when you think, like Otis Burger, in a memoir form. Blending memoir into history, and history into memoir, I found myself asking questions I might otherwise have overlooked. In bleary sleeplessness and with an infant close at hand, I wondered, what was the history of the maternal night? Or, what were the new sensations of feeling continually interrupted, or hearing the sound of an infant’s cry? I found answers not just in past memoirs but in a host of other kinds of materials to be found in libraries and archives, from leather-bound how-to guides to slave narratives and social scientists’ surveys, to private letters and scribbled diaries.

Sarah Knott, Mother (Penguin Viking, 2019)

***

Norma Clarke:

My Daugter Maria Callas cover

Evangelia Callas, My Daughter – Maria Callas, as told to Lawrence G Blochman (London: Leslie Frewin, 1967) Shelfmark W77/5490

Not Speaking tells the story of a family quarrel and it does so partly through conventional narrative, partly through oral history interviews and partly by means of investigations into literary subjects: Homer’s Iliad with its quarrelling heroes features throughout, Pope’s poem, The Rape of the Lock, has traction (brother hairdressers Nicky and Michael Clarke are at the heart of the story) and Robert Graves and George Sand in Majorca figure because Majorca is one of the settings, along with Athens and London. I had no intention of researching Maria Callas and it was only by accident that she became included. But asking my mother questions about her life as a girl growing up in Athens led me down unexpected byways. The mother of Prince Philip, for example, Princess Alice, had remained in Athens during the war, and spoke very good Greek; my mother admired her. Maria Callas was also in Athens. Maria left Greece in 1945 and turned her back on her mother and sister, declaring that they hated her and she them. The women were no longer on speaking terms. And then I read a quote from Callas that riveted me: ‘I know my mother wrote a book about me, but I never read it.’

Her mother wrote a book about her! Books by daughters about mothers are ten a penny, but books by mothers about daughters? I couldn’t wait to read it. I rushed to the British Library, and within 70 minutes I had in my hands, My Daughter – Maria Callas, by Evangelia Callas (1960). It’s a book that vibrates with fury, and I reflected that Maria was probably right to keep it at a distance, but for me it was revelatory.

Norma Clarke, Not Speaking (Unbound, 2019)

***

Tessa McWatt:

Chinese Oracle Bones

Shang dynasty characters on fragments of an oracle bone dating between 1600 and 1050 BC. British Library, Or. 7694/1516

“What Are You?”

It’s a question I was asked as an eight-year old in a suburban Toronto classroom by my teacher, after the word “Negro” came up in a book the class was reading. It was a word that none of the kids in the room – all ‘white’ except for me -- knew the meaning of.

Shame on Me began as a journey to understand how to answer the question. It looks at all of the strands of my genetic make-up – Scottish, African, English, Irish, Chinese, South Asian -- to find some kind of meaning in biology. But when I began to research the history of race, of the particular ‘miscegenations’ that formed me, it occurred to me that it’s all down to story-telling. I might as well ask an oracle.

Then I came across the Chinese Oracle Bone (dating from between 1600 BC and 1050 BC) in the British Library. I was hooked. I started to frame my book around the idea that ‘knowing’ is storytelling. I saw the Chinese oracle bone as an ancient 23&Me. Diviners used them to answer the elite’s questions about health, birth and death; about crops, the weather; about the outcome of battles or simply whether a particular ancestor was causing a king’s headache. The shoulder blades of ox, sheep, boars, horses and deer, or the shells of tortoises were cleaned of flesh, scraped, polished, and then diviners carved questions into them using a sharp tool. During a divination session, the bone was anointed with blood before questions were posed to ancestors. The diviner then applied such intense heat that the bone or shell cracked, and he interpreted the pattern of the fractures to answer the questions posed.

A bone with the power to provide these kinds of answers would surely provide an answer to ‘What are You?’

If only.

Tessa McWatt, Shame on Me: An Anatomy of Race and Belonging (Scribe UK, forthcoming, October 2019)

***

Mother and Not Speaking covers

To find out more, join Sarah, Norma and Tessa in conversation with Erica Wagner at the British Library on Monday 3 June. More details: https://www.bl.uk/events/memoir-identity-experience

 

 

 

 

 

 

30 April 2019

The New York World's Fair, 1939

Today marks 80 years since the Official Opening by President Franklin D Roosevelt of the 1939 New York World’s Fair.

First conceived by New York City business leaders in the midst of the Great Depression, the Fair was intended to raise the spirits – and economic outlook – of the city and the nation. Located at Flushing Meadows, Queens, on land that had been part salt marsh, part ash dump, the 1,200 acre site was three times the size of the Chicago World’s Fair, held just six years earlier. Indeed, the amusement park alone was larger than the entire Paris Exposition of 1937.

World fair cookbook 3

The New York World's Fair Cook Book: The American Kitchen. By Crosby Gaige. New York: Doubleday, Doran & Company, 1939. (Shelfmark: 7944.t.37) 

Although the Official Opening commemorated the 150th anniversary of George Washington’s inauguration in NYC (then the nation’s capital), this Fair was all about looking forward. With its hugely optimistic, yet commercially minded theme – 'Building the World of Tomorrow' – nearly 45 million visitors were encouraged to see themselves as co-creators of an exciting, progressive and essentially urban future. Yet, unlike previous world expos, which had tended to celebrate technological, scientific and medical innovations in their own right, this fair wholly embraced the vision and output of corporate America.

Perhaps one of the most captivating early exhibits – unveiled in 1938 to help publicise the Fair – was the Westinghouse Time Capsule. With contents ranging from Camel cigarettes to the works of Alfred Einstein, and Life magazine to corn and tobacco seeds, it was plunged 15 meters below ground with instructions not to be opened for 5000 years.

Time capsule 4

The Book of Record of the Time Capsule of Cupaloy. New York: Westinghouse Electric & Manufacturing Company, 1939. (British Library shelfmark: 20033.d.15) 

The Fair itself was organised across seven vast 'zones', including Communication and Business, Production and Distribution, and Transportation. Huge pavilions were sponsored by the giants of American industry and manufacturing - Ford, Chrysler, National Cash Register, General Electric, Lucky Strike, Kodak and others. Here they showcased current and soon-to-be released consumer products, including television, air conditioning, washing machines and nylon. Yet many also offered imaginative, even breath-taking conceptions of the future, perhaps none more so than Norman Bel Geddes's 'Futurama'; a unique exhibit and ride, it offered a tantalising view of the city in 1960 and was sponsored by General Motors.

In the Government zone, 60 nations – more than at any other US fair – created and curated their own unique pavilions, enthusiastically embracing Andre Maurois’s faith in their being 'excellent publicity albums.' The British Pavilion included Lincoln Cathedral's copy of the Magna Carta, 'an object of interest and indeed of reverence,' which left Britain for the first time in its history.

Magna carta hall

The Magna Carta Hall, British Pavilion. London, 1939. (British Library shelfmark: 7960.df.12) 

Yet, for all these displays of international friendship and diplomacy, the Fair opened at the most perilous of times. The French Pavilion programme notes: At the time when the present volume leaves the printers, [France], has entered upon war, as a result of Germany’s brutal aggression against Poland. All the more stirring will be its message to America and the world…'

When the Fair opened for its second six-month season in April 1940, its theme had changed to 'For Peace and Freedom' and numerous countries, including the Netherlands, Norway and Poland did not take part.

World fair france

France. Paris: Art Printing and Packaging Works, 1939. (British Library shelfmark: 7745.a.10)

The Fair closed in October 1940 millions of dollars in debt and having failed to attract the visitor numbers that had been hoped for. Yet, it lived on in the imagination of those who attended and its vision and hope still resonates today.

The British Library holds a unique and eclectic collection of materials from this – and all other – US hosted Fairs.

Jean Petrovic, Eccles Centre

 

 

03 April 2019

América Latina: Artists’ Books at the British Library

In early February the British Library held its third hugely successful Artists’ Books Now event: América Latina. The evening brought together artists, collectors, academics and curators to consider the multiple dynamics at work in the creation of Latin American artists’ books. It also enabled the audience to handle and explore the works on display and to discuss them with the contributors and each other.

Jerry - group shot

Artists, curators and members of the audience engaging with the artists' books. Image: Jerry Jenkins.

Amongst the items considered were cordel literature and cartonera, both of which are richly represented in the Library’s collections. Cordel literature are popular and inexpensively printed booklets or pamphlets containing folk novels, poems and songs which often have decorative covers printed from woodcuts.

Jerry book

Brazilian woodcut prints illustrating cordel publications from Connie Bloomfield’s collection.  Image: Jerry Jenkins.

Cartonera is a publishing movement which originated in Latin America in the early 2000s and which employs recycled material to make literary works. Historically these works have social, political and artistic significance. The British Library holds cartonera from Argentina, Uruguay, Peru, and Mexico. Beth Cooper, Curator for Latin America and Caribbean collections, has been working with Lucy Bell and Alex Flynn on an AHRC funded cartonera research project ‘Precarious Publishing in Latin America: relations, meanings and community in movement'.

The Library also holds works from Ediciones Vigía, an independent publishing house located in Matanzas, Cuba. Vigía originally opened as a space for writers and artists to gather and discuss their work. Participants began creating single-sheet flyers that advertised meeting times for interested artists, and eventually they evolved into a book publishing house. Many of their works are produced in coarse paper from substances including sugar cane, offcuts of cardboard and other leftovers. They are decorated with drawings, cut by hand and enhanced with material objects: scraps of tissue paper, cloth, cord, as well as less likely ornaments including sand, twigs, leaves and nails. The maximum number of any work produced by the house is two hundred. Clearly there is an intersection with the cartonera, although the roots of each movement are differentiated by time, with Vigías being a backlash to the uniformity of Cuban printing and publishing of the 1980s.  

Jerry woman speaker

Artist Francisca Prieto discussing her work The Antibook [British Library shelfmark: RF.2003.a.233]

América Latina offered a wonderful opportunity to explore and unpick the ways in which  artists’ books can be seen as a transnational and international medium which does not respect boundaries or borders.

Huge thanks are due to all of the contributors: Michael Wellen, Curator, International Art, Tate Modern; researchers and collectors Lucy Bell and Connie Bloomfield; artist book and zine maker Rafael Morales Cendejas; visual artist Francisca Prieto; and Beth Cooper, Curator, Latin America and the Caribbean, The British Library.

Jerry Jenkins, Curator Contemporary British Publications, Emerging Media