08 March 2023
‘… she was a foolish young woman who never realised the nature of her error,’ said Derek Freeman of Margaret Mead. Mead, an advocate of abortion rights and no-fault divorce, was one of many early women anthropologists who suffered from androcentric bias. While Ruth Benedict claimed that the purpose of anthropology is ‘to make the world safe for human difference,’ women faced various obstacles and discrimination and yet still played a crucial part in the formative years of cultural anthropology.
Even if some scholars such as Edward B. Tylor advocated for women to be included in the discipline, a woman, particularly professionally educated, was a rare breed in early ethnology and anthropology studies. We have heard of Mead or Benedict, both well-established figures in Western scientific circles. However, anthropologists and ethnologists from Eastern Europe whose work is important for humanities barely register in public consciousness.
Photograph of Julia Averkieva from Julia Averkieva and Mark A. Sherman’s Kwakiutl String Figures (Vancouver, 1992) YA.1993.b.7126.
Outside of specialist circles, it is unusual to hear about Julia Averkieva, a Soviet student of Franz Boas, or Branislava Sušnik, a Slovenian-Paraguayan anthropologist who has a street named after her in Asunción and a stamp issued by the Paraguayan Post with her portrait on it.
Photograph of Branislava Sušnik from Branislava Sušnik’s Artesanía indígena: ensayo analítico (Asunción, 1986) YA.1992.a.22026.
Equally, women ethnographers, such as the Czech Teréza Nováková, who had to publish her findings in a journal called Housewife (Czech: Domací hospodyně), are rarely celebrated. Nováková was not only a collector of patterns, embroidery, and ceramics, but also a passionate feminist fighting for women’s rights.
Illustration from Teréza Nováková’s, Kroj lidový národní vyšivání na Litomyšlsku (Olomouci, 1890) 7705.h.28.
One of the rare exceptions who managed to establish herself in the Western-oriented discipline was Maria Czaplicka. This Polish-born, British-educated anthropologist registered on the Western-centered academic radar and, to a lesser extent, in the British public awareness.
Portrait of Maria Czaplicka from her book My Siberian Year (London, 1916) 010076.ee.2.
Czaplicka passed her A-levels in partitioned Poland at a male school, as matura (A-levels) from a girls’ school would not allow her to continue to higher education. When, as the first woman in the history of the programme, she was awarded the Mianowski Scholarship, she could finally afford to study abroad at the London School of Economics and Political Science and later at Oxford. After her very successful Yenisei expedition, described in detail in the diary My Siberian Year, she became the first female lecturer in anthropology at Oxford University. Unfortunately, she had to give up this position when an academic whom she was replacing came back from the First World War. Czaplicka actively supported suffrage and combated anti-Polish propaganda present in the British press. After assisting Franz Boas in the United States, she moved to a new position at Bristol University. However, her career in a male-dominated academic field started to decline, and in 1921, after failing to secure funding that would allow her to pay her debts, the anthropologist committed suicide.
Czaplicka was one of the trailblazing female academics. Unfortunately, as in the case of many of her female colleagues, her gender and marital status played a role in the way she and her work were perceived. She had to deal with issues her male colleagues in the same discipline never encountered – gender was a stumbling block to a successful future in the field of academia. Even the fact that Czaplicka travelled during her expedition in the company of a man was frowned upon. Women doing fieldwork were perceived with a certain suspicion. In My Siberian Year, Maria recalls: ‘This reminds me…of ingenious conjectures put forward by certain Sibiriaks to account for the appearance of three foreign women in the remote region of their country. One thought we were traders; another said "Spies!"; a third added fresh terrors to the disagreeable possibilities suggested by the first two explanations – we were suffragettes, banished to Siberia by the British Government, through a special arrangement with the Tsar.’
Czaplicka, who herself could proudly wear a ‘suffragette’ badge, is one of the heroines of an exhibition currently on show at The National Ethnographic Museum in Warsaw. "Women Ethnographers, Anthropologists, and Professors" aims to change the focus from history to herstory. The curator's talk is available here.
Illustration from Maria Czaplicka’s My Siberian Year (London, 1916) 010076.ee.2. The original caption states ‘The author riding Dolgan fashion with a riding stick’. The presence of two, probably Dolgan, women who are in the picture is not mentioned. Except for her closest European travel companions and a ‘man-servant’, the subjects of Czaplicka’s photo remain nameless, identifiable only by their ethnicity. Such an approach, symptomatic of the early anthropology era, clearly demonstrates the imbalanced scientist-native power dynamic.
Despite facing many obstacles, in due course, women managed to put their stamp on ethnography, ethnology, cultural anthropology, and various fields in science. Czaplicka, Sušnik, Nováková, and their numerous counterparts in Western anthropology took a stand, firmly believing in their own abilities, and forwarded women’s cause. It is indisputable that we should re-evaluate their body of work, taking into consideration today's system of values. Pioneering women in anthropology were a part of the same system as their male colleagues, the system that enabled colonial attitudes that allowed empires to persist and thrive. However, this does not mean that we should not give credit where it is overdue. In the words of French anthropologist Françoise Héritier, ‘indeed, you must never take things as established; you must ask about their basis.’
Olga Topol, Curator Slavonic and East European Collections
24 November 2021
On 16 November 2021, the British Library, in partnership with the Ukrainian Institute London, hosted an event to celebrate the 150th anniversary of the Ukrainian writer and poet Lesia Ukrainka. The expert panel was chaired by Lucy Delap, Professor of History at the University of Cambridge and a Fellow of Murray Edwards College, and included Sasha Dovzhyk, a Ukrainian scholar and writer based in London, and Oksana Zabuzhko, one of Ukraine’s major contemporary writers.
The evening was opened by Katie McElvanney, Curator of Slavonic and East European Collections at the British Library. Oksana Zabuzhko, who joined the event remotely from Kyiv, highlighted that the complete collection of Lesia Ukrainka’s works (14 volumes) had only now been published, 150 years after her birth. She noted that Ukrainka was ‘misread’ in Soviet times and stressed the importance of re-reading and reviving her work and legacy.
Speaking about Ukrainka’s family, Zabuzhko emphasised that they were remarkable people who played an important role in the creation of modern Ukraine. She also spoke about the main themes and motifs of Ukrainka’s 21 plays, which were based on European culture and the European Christian tradition. In each of her dramas the main character is a woman and these women possess spiritual leadership, said Zabuzhko.
As part of the event, Olesya Khromeychuk, Director of the Ukrainian Institute London, announced the winner of the Institute’s inaugural Ukrainian Literature in Translation Prize. The condition of this year was the translation of Ukrainka’s works. First prize was awarded to Nina Murray for her translation from Ukrainka’s drama Cassandra. Daisy Gibbons received the second prize for her translation of extracts from Ukrainka’s letters to Olha Kobylianska and the short story ‘By the Sea’. Nina Murray, together with Uilleam Blacker, then read excerpts from Cassandra in Ukrainian and English. It should be mentioned that Zabuzhko’s novel The Museum of Abandoned Secrets was also translated into English by Nina Murray.
Continuing the panel discussion, Sasha Dovzhyk told the audience about the Ukrainian Institute London’s short film Fin de Siècle Ukrainian Feminism on Ukrainka, where she was an expert. She also spoke about Ukrainka’s letters to Olha Kobylianska. Among the subjects of their correspondence was the struggle for women's rights. Dovzhyk cited and conextualised the words of another outstanding Ukrainian poet and writer Ivan Franko who remarked of Ukrainka, ‘this fragile and sick woman is almost the only man in the whole of Ukraine’.
Oksana Zabuzhko and Sasha Dovzhyk answered a number of questions from the audience. They also stressed that 19th and early 20th-century European literature is not complete without Lesia Ukrainka. She was a part of European culture, even in her travelling, and it is vital that her work is translated into different languages. Discussing Ukrainka’s relevance and appeal in contemporary Ukrainian society, Dovzhyk noted that she has become part of mass culture in Ukraine; during the Euromaidan her image appeared on the building of the Institute of Literature of the National Academy of Sciences, along with the other prominent figures Taras Shevchenko and Ivan Franko.
The recording of the event will be available on the Ukrainian Institute London’s YouTube channel.
Nadiia Strishenets, British Library Chevening Fellow working on collections related to the Ukrainian writer, poet and artist Taras Shevchenko
Photos by Anna Morgan and Tetiana Kharchenko. With thanks to the Ukrainian Institute London for allowing us to reproduce the photos in this blog post.
17 November 2021
The Tudors were a formidably educated family, though Giovanni Carlo Scaramelli, Venetian Secretary in England, was doubtless laying it on thick:
[Elizabeth] possessed nine languages so thoroughly that each appeared to be her native tongue; five of these were the languages of peoples governed by her, English, Welsh, Cornish, Scottish, for that part of her possessions where they are still savage, and Irish. All of them are so different, that it is impossible for those who spealk the one to understand any of the others. Besides this, she spoke perfectly Latin, French, and Italian extremely well. (Calendar of State Papers relating to English Affairs in the Archives of Venice, April 1603, pp. 562-70)
The catalogue of the current British Library exhibition Elizabeth and Mary: Royal Cousins, Rival Queens says she studied French, Italian, Latin and Greek, and ‘knew some Spanish too’ (p. 29).
As part of her education Roger Ascham taught her Greek; Battista Castiglione Italian. The same Ascham paid credit to ‘her perfit readines in ... Spanish’ (Randall, 231n).
Portrait of Elizabeth holding a book, from Lucas de Heere, Corte Beschryvinghe van Engheland, Schotland, ende Irland, 1573-5, Add MS 28330, f.4r
Her reading knowledge of languages is clear from the translations she made. From French: Marguerite de Navarre, Miroir de l’âme pécheresse (for Katherine Parr); Calvin, Institution de la religion chrestienne (ch. 1); from Italian: Ochino, Che cosa è Christo and possibly Petrarch; from Latin: Seneca, (Epistle CVII), Cicero (two epistles), Boethius (De consolatione philosophiae) Horace, and Plutarch (De curiositate, via the Latin of Erasmus). (Unless otherwise stated sources are Mueller and Scodel and their reviewers.)
She also had writing skills in various languages. She wrote a letter in Italian to Katharine Parr (aged ten), wrote 27 stanzas in French, and translated Katherine Parr’s Prayers or Meditations into French, Latin and Italian as a new year’s gift to her father. Mueller and Marcus say the Latin is closer to the original than are the French and Italian.
Elizabeth’s French translation of Catherine Parr’s Prayers or meditations BL. Royal MS. 7.D.X. f.39r
Her translation of Erasmus’s Dialogus fidei into French for Henry is lost. She also wrote letters in Latin to her brother Edward VI and letters in French, including one to Mary Queen of Scots. And prayers in Spanish (Autograph Compositions, 141-43).
A halfway house between reading and writing is the collection of Latin tags she gathered in Sententiae.
A page from Elizabeth’s collection of Sententiae, in Precationes priuatę Regiæ E. R. ([London], 1563). Huth 139.
As regards speaking, she addressed the University of Oxford in Latin. She spoke in Latin to the Polish ambassador. On her first meeting with Guzman de Silva, the Spanish Ambassador, she spoke in Italian, ‘diciendo que no sabia en que lengua hablarme’ [‘saying that she did not know in which language to speak to me’]; he in Latin. But when the two rode together to Lord Burghley’s residence on July 26th, 1564, she, being mounted on a Spanish jennet, spoke to him in Spanish, ‘mostrandole gran contentamiento del caballo y de las lenguas’ [‘showing great content [perhaps ‘fluency’] with the horse and the languages’] (Ungerer 44). Mueller and Marcus say Elizabeth ‘had learned [Spanish] but deliberately avoided [it] later in her reign for political reasons’ (141).
Barry Taylor, Curator Romance Collections
Gustav Ungerer, Anglo-Spanish Relations in Tudor Literature (Madrid, 1956) 11872.w.20
Janel Mueller and Joshua Scodel (ed.), Elizabeth I: Translations, 1544-1589 [-- 1592-98] (Chicago, 2009)
YC.2009.a.8501; YC.2009.a.15444; reviewed by Retha Warnicke, Journal of Modern History, 82:4 (Dec. 2010), 923-27; Ac.2691.d/43.p
Roger Ellis, Translation and Literature, 19: 2 (Autumn 2010), 225-32. ZC.9.a.3123
Janel Mueller and Leah S. Marcus (ed.), Elizabeth I: Autograph Compositions and Foreign Language Originals (Chicago, 2003) YC.2004.a.5929
Dale B. J. Randall, The Golden Tapestry: a Critical Survey of Non-chivalric Spanish Fiction in English Translation (1543-1657) (Durham NC 1963) 011881.d.7
11 November 2021
Literary awards are given to authors for their work. Sometimes this leads to controversy, such as in the case of this year’s winning author of the prestigious Prijs der Nederlandse Letteren (Dutch Literature Prize) Astrid Roemer. The prize is awarded every three years to a Dutch or Flemish or, since 2005, Surinamese author, and Roemer is the first black and Surinamese author to win it. She is known for being outspoken and an independent mind. The jury praised her work for being ‘unconventional, poetic and authentic’. These traits are bound to lead to controversy at some point. This is not the place to comment on the furore around the award and its winner. I have included some links to articles that discuss this in more detail at the end of the blog post.
Astrid Roemer, Over de Gekte van een Vrouw (Haarlem, 1982) X.958/16031.
I must admit that until recently I had never read any of Roemer’s work, but through research for this blog post I got the impression of a warm-hearted, compassionate woman, who has very nuanced views. ‘Identity’ plays a huge part in her work. Identity as an individual, or as a group, as a man or woman, as a black man or black woman, as a child or a parent, as a citizen in Suriname, or in the Netherlands, etc. She tells her stories usually through women who struggle to take their rightful place in society; who are keeping families together, no matter how fragmented these are.
It is as if she sees a parallel between individuals and families and Suriname itself. A young country still fighting for its place in the world, whilst at the same time different ethnic groups search for their place in the big Surinamese family within Suriname. And a country that struggles to find a relationship with its former ‘parent’, the colonial power that was the Netherlands and where many Surinamese people moved to study and work. Maybe that is why she is so good at presenting ‘big’ events and ‘big’ themes on a human scale.
The problems Surinamese immigrants to the Netherlands face in adapting to Dutch life whilst trying to stay faithful to their Surinamese identity is very well described in Neem mij terug, Suriname, Roemer’s first novel. First published in 1974, it was reprinted in 1975 and 2005. In 1983 it was published as Nergens ergens (Nowhere Somewhere) and in 2015 a jubilee-edition appeared, in celebration of its 40 year anniversary and for being awarded the P.C. Hooftprijs for her whole prose oeuvre.
Astrid Roemer, Neem mij terug, Suriname (Schoorl, 2015) YF.2017.a.33 and Astrid Roemer, Nergens ergens (Amsterdam, 1983) YA.1990.a.18843.
When she says: ‘I am married to Suriname, the Netherlands is my lover, I am in a gay relationship with Africa and I am inclined to have one-night stands with every other country’, she conveys the complexity of ‘identity’, as well as a sense of being a ‘world citizen’, but she doesn’t want to be labelled as such. She has lived in many different countries, but feels most at home in Paramaribo, the place of her birth.
When her mother died in 2019 she moved there, partly as a way to process her loss. She finds comfort and solace there as well as space to write in her day-to-day routine. And write she does.
What is called her ‘Suriname trilogy’ Gewaagd Leven (Risky Life) from 1996, Lijken op Liefde (Resembling Love) from 1997, and Was Getekend (Was Signed) from 1998 will be re-issued as Onmogelijk moederland (Impossible Motherland) early next year. About this trilogy Roemers said: ‘On the rubbish heap of slavery, colonialism and the present I searched for irreducible remains to experience my identity as Suriname-Dutch woman anew.’
Astrid Roemer, Gewaagd Leven (Amsterdam, 1996) YA.1996.a.19238, Lijken op Liefde (Amsterdam, 1997) YA.1999.a.10270 and Was Getekend (Amsterdam, 1998) YA.2000.a.36919.
She will publish a new novel in 2022: Dealers Daughter, set in Paramaribo about a young woman whose father gets involved in a murder. Roemer has also worked on a selection of poems by Maya Angelou for a Dutch audience: En Toch Heradem Ik : Haar 25 mooiste gedichten (Amsterdam, 2022). Her English-language debut, Off-White, translated by Jan Steyn, is due to be published next year.
I cannot wait to discover more of Roemer’s work.
Marja Kingma, Curator Germanic Collections
Other works by Astrid Roemer held by the British Library:
Levenslang Gedicht (Haarlem, 1987) YA.1990.a.23555
Waarom zou je huilen mijn lieve, lieve... (Schoorl, 1987) YA.1990.a.21044
De achtentwintigste dag (Breda, 1988) YA.1990.a.15920
Het Spoor van de Jakhals (Schoorl, 1988) YA.1990.a.8974
Niets wat pijn doet (Amsterdam, 1993) YA.1993.a.24646
Suriname : een gids voor vrienden (Amsterdam, 1997) YA.1999.a.9861
‘Miauw’ (Breda, 2001) YA.2002.a.35999
Liefde in Tijden van Gebrek (Amsterdam, 2016) YF.2016.a.26486
Olga en haar driekwartsmaten (Amsterdam, 2017) YF.2017.a.3034
Gebroken Wit (Amsterdam, 2019) YF.2019.a.17264
Hugo Pos, ‘Inleiding tot de Surinaamse literatuur’. In: Tirade 17 (1973), p. 396-409
Hilde Neus, ‘Roemer in redeloos redeneren’, Neerlandistiek, 15 August 2021
Tessa Leuwsha, ‘Astrid H. Roemer: ‘Dutch Will Slowly but Surely Disappear From Suriname’’ (interview with Astrid Roemer, translated by Anna Asbury)
01 November 2021
The current struggle can only end with the triumph of the popular cause [...] Paris will not retreat, because it carries the flag of the future.
These words are taken from the manifesto of the Paris Commune’s largest and most effective organisation, l’Union des Femmes pour la défense de Paris et les soins aux blessés (the Women’s Union for the Defence of Paris and Care of the Wounded).
‘Manifesto of the Women’s Union for the Defence of Paris and Care of the Wounded Central Committee’, taken from Carolyn Eichner, Surmounting the Barricades: Women in the Paris Commune (Bloomington (Indiana), 2004) C.2006.a.8599.
The final signatory, Dmitrieff, belongs to one of the most interesting and important actors through the Paris Commune, the socialist and anarchist insurrection which toppled the hegemonic order for 72 days in the Spring of 1871.
Born in Saint-Petersburg, Elizaveta Lukinichna Kusheleva had already encountered socialist ideas thanks to her exposure to Nikolai Chernyshevksy’s novel What is to Be Done? (1863). Though born into a family of significant wealth, growing up she occupied a liminal social space because of the disparity in her parents ranking: a Russian aristocrat and a German nurse.
Nevertheless, a marriage blanc to retired colonel Mikhail Tomanovskii in 1867 saw her able to travel freely outside of Russia.
She chose Geneva to continue her studies. There, she was amongst the founders of the Russian émigré section of the International, as well as utilising what remained of her sizeable inheritance to fund their newspaper, Narodnoe delo, ‘The Cause of the People’.
In 1870, the Russian émigré section of the International sent her as an envoy to London. It was there she would meet and befriend Karl Marx. Their relationship was one defined by productive intellectual interactions, with Dmitrieff relaying to Marx her realities of economic and social formation in the communes of Russia.
After just three months in London, she was deployed again as an envoy of the International to Paris, this time on behalf of Marx. Arriving in late March, just as the Paris Commune had been proclaimed, she chose Dmitrieff as her nom-de-guerre in the hope that it would help her evade authorities.
Standing 1.66m tall, dressed with a certain elegance and a particular penchant for wearing black, Dmitrieff, aged just 20, would go on to be one of the most important figures of the insurrection.
Portrait of Élisabeth Dmitrieff, taken from Ivan Sergeevich Vetrov, Russkie deiateli pervogo Internatsionala i Parizhskoi Kommuny. E. D. Dmitrieva, A. V. Zhaklar, E. G. Barteneva [With portraits.], (Moscow, 1964). X.709/595.
In the weeks following her arrival, an ‘Appeal to the Women Citizens of Paris’ was published onto the streets of Paris, which alongside calls for revolutionary justice, appealed to women to join the newly formed Union des Femmes, set up by Dmitrieff and Nathalie Lemel. Though its immediate interest was finding work for women, the Union also pursued the task of economically and socially redefining traditional notions of women’s work.
Dmitrieff worked frantically through the Commune to the point of illness. This is demonstrated by the aforementioned manifesto, published on May 6th. Towards the end, the document states that:
The women of Paris will prove to France and to the world that they, at the supreme moment of danger – on the barricades, on the ramparts of Paris, and if the reaction forces it, the doors - will give their brothers their blood and their life for the defence and the triumph of the Commune, that is, the People!
Dmitrieff was no mere propagandist. She was injured on the barricades through the conflict in the last week of May which saw as many as 20,000 communards die. After a period of hiding in the home of a friend, Dmitrieff managed to evade capture and flee to Geneva, before returning to Russia.
After the death of her ‘husband’ in 1873, she married again, this time for love, to Ivan Mikhailovich Davydovskii. Together they had two children, before moving the family to Siberia following the exile of her husband – who had been implicated in an attempt by the so-called 'Jack of Hearts Club' to defraud a man of 20 thousand rubles by getting the victim drunk. Fascinatingly, the couple opened a pastry shop, hoping to cater to the political prisoners sent to Siberia. The venture would prove to be unsuccessful.
By 1902, Dmitrieff had left Davydovskii and returned to Moscow. It is here she and her daughters somewhat fall off the historical record. There is no clarity on the date of her death: estimates identify either 1910 or 1918 as likely dates.
As a figure of historical study, she was largely overlooked until Soviet histories emerging through the 1930s. Nevertheless, the Library holds several books across several languages which demonstrate her importance to both the Commune and its historians.
A starting point would be Russkie deiateli pervogo Internatsionala i Parizhskoi Kommuny. E. D. Dmitrieva, A. V. Zhaklar, E. G. Barteneva (‘Russian leaders of the First International and the Paris Commune. E. L. Dmitrieva, A. V. Zhaklar, E. G. Barteneva’) by Ivan Sergeevich Vetrov. Even if you don’t read Russian, the wonderful portraits included are still worth checking out.
Two French biographies, the first by Yvonne Signer-Lecocq, Rouge Élisabeth, and a second by Sylvie Braibant, Elisabeth Dmitrieff, aristocrate et pétroleuse, both take Dmitrieff as their centrepiece, offering sharp insights into her first experiences of Paris: a city she had never visited before her arrival in late March, 1871.
Another book worth consulting is Surmounting the Barricades: Women in the Paris Commune by Carolyn Eichner. The book takes three communardes as its subject: André Leo, Paule Mink and Dmitrieff, while referring to many others, to demonstrate the plurality of feminist-socialist interventions through the Commune. Eichner has written extensively on the subject, including a recent article on Louise Michel and the transportation of communards to New Caledonia and their eventual conflict with the indigenous Kanak community.
Place Élisabeth Dmitrieff, 3rd Arrondissement, 1851-1918. Militant feminist, co-founder of the Women’s Union for the Defence of Paris (1871). Source: Flickr
Now recognised by Paris in the form of a small square in the city’s third arrondissement, Dmitrieff’s involvement cannot be underestimated. Her practical applications of highly-centralised socialism, emanating from her experiences in Russia and Geneva, as well as her interactions with the works of Chernyshevksy and Marx, means that Dmitrieff’s star still shines over the Commune.
Anthony Chapman, CDP Student at the British Library and Royal Holloway, University of London
Sylvie Braibant, Elisabeth Dmitrieff, aristocrate et pétroleuse (Paris, 1993). YA.1993.b.11074.
Catherine Clément, Aimons-nous les uns les autres : roman (Paris, ). YF.2018.a.11194
Carolyn Eichner, ‘Language of Imperialism, Language of Liberation: Louise Michel and the Kanak-French Colonial Encounter’, Feminist Studies, vol. 45, no. 2-3 (2019), pp. 377-408. Special issue: Indigenous Feminisms in Settler Contexts. 3905.197800
Yvonne Signer-Lecocq, Rouge Élisabeth (Paris, 1977). X:709/24054.
Ivan Sergeevich Vetrov, Russkie deiateli pervogo Internatsionala i Parizhskoi Kommuny. E. D. Dmitrieva, A. V. Zhaklar, E. G. Barteneva (Moscow, 1964). X.709/595.
28 October 2021
The modernist Ukrainian writer Lesia Ukrainka (pen name of Larysa Kosach-Kvitka) pioneered a new feminist literature at the forefront of European trends of the time. Her dramas, poetry and prose address concerns from gender and race to feminism and environmentalism. In the year of the 150th anniversary of her birth, the British Library and the Ukrainian Institute London will shine a light on this remarkable figure at an event on 16 November 2021.
In the second of a two-part blog post, we explore aspects of Ukrainka’s life, work and legacy through items held in the British Library. It is co-authored by Dr Sasha Dovzhyk, a Ukrainian writer and scholar based in London, who will take part in the event.
Lesia Ukrainka, Dumy i mriï (L’viv, 1899). 20009.e.44.
Thoughts and Dreams
In a review of Lesia Ukrainka’s second poetry collection, Dumy i mriï (‘Thoughts and Dreams’), the writer Ivan Franko, who was a considerable influence on her work, remarked, ‘[…] one cannot resist the feeling that this fragile, invalid girl is almost the only man in all our present-day Ukraine (Spirit of Flame, p. 19).’ Intended as praise of her directness in addressing Ukrainian identity, Franko’s assessment of Ukrainka and her work nevertheless speaks volumes about the construction of gender roles in the society in which she lived and wrote.
For more than two centuries, the Imperial Russian government had sought to stamp out the existence and understanding of a separate and distinct Ukrainian national consciousness. This first edition of Dumy i mriï was published in 1899 in L’viv, then part of the Austro-Hungarian Empire, as books and pamphlets in the Ukrainian language were banned in the Russian Empire from 1876 by a secret decree known as the Ems Ukaz.
The theme of subjugation and liberation, as told through historical examples, is present throughout much of Ukrainka’s work, not least in the collection Dumy i mriï. The second poem, ‘Robert Brus, korol’ shotlands’kyi’, tells of the struggles (and ultimate success) of the Scottish people under Robert the Bruce, King of Scots, to free themselves from the English King.
Poster for the Ukrainian Literature in Translation Prize run by the Ukrainian Institute London
Ukrainka was a prolific poet, translator, prose writer, and cultural critic. However, it is her 20 poetic dramas that form the core of her legacy. The subjects and settings range from Homeric Greece and the ancient Middle East to the 17th-century Tsardom of Muscovy. The Stone Host (1912) reviews the classic story of Don Juan, while Cassandra (1907) looks at the fall of Troy through the eyes of a seemingly marginal female character. During Ukrainka’s lifetime, her plots were deemed too ‘exotic’ by Ukrainian critics who, in accordance with the 19th-century populist doctrine, identified the Ukrainian nation with the peasant class. Ukrainka’s ambition lay elsewhere. Envisioning Ukrainian literature as an equal participant in the conversation with major world literatures, she almost single-handedly coined the required cultural vocabulary through her dramas. Poetic translations of several of these works by Percival Cundy were printed in Spirit of Flame in 1950 (12263.d.14.). A selection of dramas was also translated by Vera Rich and published in Lesya Ukrainka: Life and work in 1968 (X.900/3941.). Run by the Ukrainian Institute London, the Ukrainian Literature in Translation Prize 2021 has focused on Ukrainka’s work and is promising to give an English voice to a greater number of her dramatic characters. The winners will be announced at the event on 16 November.
Lesia Ukrainka, Lisova pisnia (Kyïv, 1914). 20001.g.48.
The neo-Romantic Lisova pisnia ('Forest Song') is a poetic drama that has historically introduced young Ukrainians to Ukrainka’s work. Even in Soviet Ukraine, the neo-Romantic story of a forest nymph Mavka’s love for a peasant seemed a fitting choice for school syllabi and, unlike Ukrainka’s dramas that openly deal with the questions of power, an ideologically harmless one. The first book-form edition of Lisova pisnia appears to lay the groundwork for the provincialising perception of the drama as a naïve folk tale. Apart from the text and the author’s picture, the book includes three photographic landscapes and three portraits of peasant ‘types’ from the Volyn region of Ukraine as well as 16 musical notations for a reed-pipe (supposedly the simple songs played by Mavka’s beloved). Such a quasi-folkloric presentation distracts from some of the more radical aspects of the drama, including Ukrainka’s subtle commentary on female agency, creativity, and embodiment. Indeed, Lisova pisnia taps into the foundational questions of European literature about the power of art, traceable from the myth of Orpheus to Gerhart Hauptmann’s The Sunken Bell (1896). Unusually for this tradition, Ukrainka subverts the male-centric plot and transfers the creative power to her female character. As she straightforwardly stated in a letter to her mother, ‘Mavka’s story can only be written by a woman’. Lisova pisnia was translated into English by Percival Cundy (12263.d.14.) and by Virlana Tkacz and Wanda Phipps (YF.2009.a.28990).
Oksana Zabuzhko, Notre Dame d’Ukraine: Ukraïnka v konflikti mifolohiĭ (Kyïv, 2007). YF.2007.a.26516
Notre Dame d’Ukraine
An intriguing reading of Lisova pisnia in the light of Gnosticism and chivalric culture is offered by a pioneering and widely translated Ukrainian author Oksana Zabuzhko, who interprets Ukrainka’s fairy-tale drama as the Ukrainian version of the Grail epic. Starting with her influential novel Fieldwork in Ukrainian Sex (1996), Zabuzhko’s writing has foregrounded feminist and postcolonial perspectives on Ukrainian culture while repeatedly acknowledging her debt to Ukrainka. The most significant testament of Zabuzhko’s commitment to reviewing and reviving Ukrainka’s legacy is the 600-page magnum opus Notre Dame d’Ukraine. This volume positions Ukrainka as the last representative of the Ukrainian chivalric tradition. Aided by her passion for the subject and her engrossing literary style, Zabuzhko argues that Ukrainka and her small intellectual milieu had embodied the idealism and knightly code of honour exterminated in Ukraine under Soviet rule. Pointedly, Zabuzhko is also the most compelling advocate of Ukrainka’s Europeanism and of the international significance of her oeuvre. This accent is particularly important in relation to the canonised national writer whose image has been habitually subjected to reductionist nationalist approaches. As Notre Dame d’Ukraine will not let us forget, Ukrainka’s worldview is not only firmly grounded in European culture; her literary voice is also this culture’s knowledgeable and at times subversive interlocutor.
Screen shot from a Zoom performance of 'Virtual Forest Song' in June 2021. Credit: Yara Arts Group
Some of the most innovative productions of Ukrainka’s work have been created by the New York-based Yara Arts Group. Taking Lisova pisnia as a starting point, in 1993 Virlana Tkacz and Wanda Phipps created an award-winning English translation of the play. Over the years, Yara Arts Group has staged different versions of the play, including a bilingual show at the Kurbas Theatre in L'viv and at La MaMa in New York, and the immersive ‘Fire Water Night’ in 2013. Their translation of the play is included in the bilingual anthology In a Different Light, which was published in 2008.
150 years after her birth, Ukrainka’s work continues to inspire and adapt to a changing world; in June 2021, Yara Arts Group performed its ‘Virtual Forest Song’ on Zoom. Reviewing the production in Ukrainian Weekly, Olena Jennings praised the online format, observing that it ‘[…] emphasizes the connection between nature, humans and technology. The space between the Zoom boxes becomes fluid as actors reach across boundaries.’
Sasha Dovzhyk, writer and scholar, and Katie McElvanney, Curator Slavonic and East European Collections
The event The Unknown Feminist of Fin-de-siècle Europe: Lesia Ukrainka will take place at the British Library on 16 November 2021.
Additional reading and resources:
Sasha Dovzhyk, ‘Subverting the Canon of Patriarchy: Lesya Ukrainka’s Revisionist Mythmaking’, The Los Angeles Review of Books, 25 February 2021
Olga Kerziouk, ‘Lady on Banknotes’, European Studies Blog, 1 August 2013
Lesia Ukrainka: Fin-de-siècle Ukrainian Feminism (short film), Ukrainian Institute London, 2020
Lesia Ukrainka, Dramatychni tvory (Kyïv, 1923). 20009.ee.71.
In a Different Light: a bilingual anthology of Ukrainian literature, translated by Virlana Tkacz and Wanda Phipps; compiled and edited with foreword and notes by Olha Luchuk; introduction by Natalia Pylypiuk (L’viv, 2008). YF.2009.a.28990
26 October 2021
The modernist Ukrainian writer Lesia Ukrainka (pen name of Larysa Kosach-Kvitka) pioneered a new feminist literature at the forefront of European trends of the time. Her dramas, poetry and prose address concerns from gender and race to feminism and environmentalism. In the year of the 150th anniversary of her birth, the British Library and the Ukrainian Institute London will shine a light on this remarkable figure at an event on 16 November 2021. To whet your appetite, this two-part blog post explores aspects of Ukrainka’s life, work and legacy through items held in the British Library. It is co-authored by Dr Sasha Dovzhyk, a Ukrainian writer and scholar based in London, who will take part in the event.
Cover of Pershyi vinok: zhinochyi al’manakh (New York, 1984). X.958/33534
The First Wreath
Born in 1871 into a family of intellectuals, Ukrainka’s upbringing profoundly shaped her socio-political outlook and literary career. Her mother, Olha Kosach (better known by her pseudonym, Olena Pchilka), was a writer, ethnographer, activist and central figure in Ukrainian literary life. Unusually for the time, she educated her children exclusively in Ukrainian, laying the foundations for Ukrainka’s love and command of the language. It was Pchilka who encouraged her daughter to write, inventing Ukrainka’s pen name, ‘Lesia (a diminutive of Larysa) of Ukraine’, when she sent her first poems for publication as a young teenager.
Pchilka was also active in the Ukrainian women’s movement, which emerged in the late 19th century. Together with Nataliia Kobrynska, she edited and published the first Ukrainian feminist almanac, Pershyi vinok (‘The First Wreath’) in 1887. The teenage Ukrainka was among its contributors with her poem ‘Rusalka’ and other verses. Published by the Ukrainian Women’s League of America in 1984, almost a century later, this second, expanded edition includes an introduction and biographical notes by Larissa M. L. Z. Onyshevych.
Cover of Lesia Ukrainka, Starodavnia istoriia skhidnykh narodiv (Luts’k, 2008). YF.2013.a.13005
The Ancient History of Eastern Peoples
The Ancient History of Eastern Peoples is a textbook Ukrainka wrote in 1890–91 at the age of 19 to help with the education of her younger sister, Olha Kosach-Kryvyniuk. In popular introductions to the author’s life and work, this prodigious textbook is routinely mentioned among the top ten quirky facts. Olha Kosach-Kryvyniuk published it in 1918, and a facsimile edition was produced 90 years later. What is most surprising about this volume is the sheer distances Ukrainka travelled in her research, both time- and geography-wise. The 252 pages of her History delve into the beliefs and literatures of ancient India, Media, Persia, Egypt, Assyria, Babylon, Phoenicia, and Israel. The book also includes Ukrainka’s poetic translations of sacred hymns from Rig Veda, one of the earliest and most important texts in the Hindu tradition.
Working on her study in a remote Ukrainian village, Ukrainka relied on the correspondence with her uncle, a revered Ukrainian historian and political thinker in exile Mykhailo Drahomanov, as well as works by French orientalist scholars Louis Ménard (Histoire des Anciens Peuples de l'Orient, 1883 (9055.bbb.5.)) and Gaston Maspero (Histoire ancienne des peuples de l’Orient, 1875 (9055.a.34.)). Ukrainka remained fascinated with ancient spiritual beliefs and practices throughout her life.
Petro Odarchenko, ‘Die Weber’ H. Haine v perekladi Lesi Ukrainky, Slavistica, no. 77. 2nd ed. (Washington, 1976/77). Ac.9890.a
Translation of Heinrich Heine’s ‘Die Weber’
An accomplished polyglot (by all accounts she knew nine languages in addition to her native Ukrainian), Ukrainka translated a number of works from English, German, French and Greek. This booklet includes a copy of her translation of Heinrich Heine’s political poem ‘Die schlesischen Weber’ (‘The Silesian Weavers’ or ‘Weaver-song’), which he wrote in response to the attempted uprising in 1844 by Silesian weavers against exploitation and falling wages.
Ukrainka’s unpublished translation was identified by the writer and critic Petro Odarchenko in the literary museum of the Drahomanov family. It first appeared in print alongside Odarchenko’s commentary in 1927 and was published in a second edition as part of the Slavistica booklet series.
Lesia Ukrainka, Poezii: vybrani tvory (Regensburg, 1946). 11588.a.59.
Lesia Ukrainka, Ternovyi vinets: zbirka poezii ([Germany], 1946). Awaiting shelfmark
Displaced Persons Camp poetry editions
Petro Odarchenko also wrote the introduction to a small volume of Ukrainka’s works published in the Regensburg Displaced Persons (DP) Camp in 1946, the 75th anniversary of her birth. Like thousands of Ukrainians who were displaced at the end of the Second World War, Odarchenko lived in the Augsburg DP camp before moving to the USA with his family in 1950. Ukrainka’s younger sister, Olha Kosach-Kryvyniuk, also spent time in the same camp, where she died in November 1945.
Permitted by authority of the US Military Government in the American Allied Occupation Zone, the British Library copy also contains the stamp of the London-based Central Ukrainian Relief Bureau, which is believed to have donated the book to the Library in 1948. It is one of two rare DP camp editions of Ukrainka’s poetry published in her anniversary year and held by the British Library. The other, a collection of 25 poems entitled Ternovyi vinets (‘Crown of Thorns’), was reproduced from typescript and illustrated by Edvard Kozak.
Postcard from Lesia Ukrainka to her sister, Olha. In Lesia Ukrainka, Lysty (1876-1897), compiled by Valentyna Prokip (Savchuk), (Kyiv, 2016), p. 22. YF.2017.a.2022
The three volumes of Ukrainka’s letters comprise a palimpsest in which the layers of Ukrainian and European cultural history coexist with the personal trials of the emergent heroine of her time, the New Woman. Whether it is the nation-building work of the secret societies of the Ukrainian intelligentsia in the Russian Empire, the latest breakthroughs in Scandinavian theatre, or the challenges encountered by an emancipated woman traveller at the turn of the century, Ukrainka’s analysis is sharp, lucid, erudite, and often interlaced with humour. Her correspondence offers a unique perspective on some of the topical issues of the period, from the redefinitions of the traditional family to the anti-colonial ethical code. Ukrainka dismantled patriarchal hierarchies in her literary work and in her personal life. Thus her letters shed light on such matters as the writer’s opposition to her family’s wishes concerning the choice of her life partner, a confrontation viewed by Ukrainka as a stepping-stone in the general struggle for women’s liberation. Her correspondence with another pioneering feminist writer of the Ukrainian fin de siècle, Olha Kobylianska, reveals a search for a new radical model of female intimacy which the literary scholar Solomiya Pavlychko called a ‘lesbian phantasy’. Like Kobylianska, Ukrainka was a feminist committed to the Ukrainian national project, which was at the time dominated by patriarchal and populist approaches.
Photograph from Spohady pro Lesiu Ukrainku, edited by Tamara Skrypka (New York; Kyiv, 2017-). ZF.9.a.11700
Remembering Lesia Ukrainka
Bringing together memoiristic prose by Ukrainka’s family members and photographs from museum collections and private archives, Remembering Lesia Ukrainka is a precious collage that brings us closer to the culture of the long fin de siècle in Ukraine. The Kosach-Drahomanov family included illustrious scholars and translators, political activists and pioneering feminists, whose memoirs offer a truly gratifying read. During the Soviet period, their aristocratic background led to political repressions as well as the inescapable censoring of their recollections. Some of the pieces in Remembering Lesia Ukrainka are published for the first time in unexpurgated form.
The photographs of the Kosach-Drahomanov estate and of Ukrainka and her siblings in traditional Ukrainian clothes, and musical notations compiled by her husband, famous folklorist and musicologist Klyment Kvitka, open a window onto a vanished society, the relics of which had been hidden from public view for a major part of the 20th century. One of the most haunting images reproduced in the book is a photo of Ukrainka’s funeral procession where her coffin is carried by six women: a testimony of the writer’s feminist legacy.
Linocut from Oleg Babyshkin, Lesia Ukrainka v Gruzii (Tbilisi, 1953). 10796.b.58.
Lesia Ukrainka in Georgia
Ukrainka spent much of the last ten years of her life living and working in Georgia, where she died on 1 August 1913. Since the age of 12 or 13, she had been afflicted by tuberculosis and travelled constantly in search of treatment and warmer climes, from Yalta to Egypt. While it is important not to define Ukrainka by her illness, it undoubtedly had a significant impact on her life and work; she spent long periods away from home and family, often confined to her bed. As Clarence A. Manning observed, ‘It compelled her to live with her books, to think in terms of books, and to frame her intellectual and spiritual life on what she read, rather than on what she saw and experienced’ (Spirt of Flame, p. 13).
Published in Tbilisi in 1953, this book by the Ukrainian literary critic Oleh Babyshkin about Ukrainka’s time in Georgia focuses on three key cities and a town in which she lived: Tbilisi, Telavi, Khoni, and Kutaisi. The final chapter explores her legacy in Soviet Georgia. The text is accompanied by linocuts of significant places and buildings, including the Lesia Ukrainka Museum in the resort town Surami, her place of death.
Sasha Dovzhyk, writer and scholar, and Katie McElvanney, Curator Slavonic and East European Collections
The event The Unknown Feminist of Fin-de-siècle Europe: Lesia Ukrainka will take place at the British Library on 16 November 2021.
Additional reading and resources:
Sasha Dovzhyk, ‘Subverting the Canon of Patriarchy: Lesya Ukrainka’s Revisionist Mythmaking’, The Los Angeles Review of Books, 25 February 2021
Olga Kerziouk, ‘Lady on Banknotes’, European Studies Blog, 1 August 2013
Lesia Ukrainka: Fin-de-siècle Ukrainian Feminism (short film), Ukrainian Institute London, 2020
27 September 2021
Last weekend’s German Federal election marked the beginning of the end of Angela Merkel’s 16 years in office as Chancellor. Although she will remain in a caretaker role while the German political parties negotiate to form a ruling coalition, once agreement is reached she will stand down and retire from active political life. As the first woman and the first politician from the former German Democratic Republic in the role, Merkel has been the subject of great interest and many books. The following is an overview of some of the many that the British Library has acquired over the years.
Angela Merkel, In unruhiger Zeit: Reden und Aufsätze aus drei Jahren deutscher Einheit (Düsseldorf, 1994) YA.1995.a.651
Merkel first arrived on our shelves in 1994 via a collection of her speeches and essays, In unruhiger Zeit (‘In Unsettled Times’). The book bears witness to her swift rise in politics: she only became politically active in late 1989, joined the Christian Democratic Union party (CDU) the following summer, and was appointed Minister for Women and Young People in the newly-united German government in 1991. As the journalist Fides Krause-Brewe says in her introductory essay, Merkel’s was “a career that only a revolution could produce”. The first ‘political biography’ of Merkel in the BL, by Wolfgang Stock, followed in 2000.
By 2005 we had acquired two more biographies and a book based on interviews with Merkel herself, Mein Weg (‘My Path’). After Merkel became Chancellor that year there was naturally an explosion of interest and publications. A theme often highlighted was the fact of Merkel being a woman, sometimes contrasted with male election rivals such as Gerhard Schröder (2005) and Peer Steinbrück (2013). Merkel is also sometimes compared to other women in positions of power and to contemporary female heads of state, for example in Patricia Lessnerkraus’s Merkel, Macht, Politik (‘Merkel, Power, Politics’).
Clare Throp, Angela Merkel (London, 2014) YKL.2014.a.394
As one of the world’s most powerful women, Merkel is often depicted as a role model. She features as one of the ‘Extraordinary Women’ in an educational series aimed at 9-11 year olds, and Joyce Marie Mushaben’s Becoming Madam Chancellor is “dedicated to girls everywhere looking for positive political role models”. Two of Merkel’s political nicknames show how such role models are still needed. Her mentor, former Chancellor Helmut Kohl, called her his ‘Mädchen’ (‘girl’), despite the fact that Merkel was a professional woman in her mid-30s with a doctorate in quantum chemistry. A 2001 study of her background and her rise in the CDU was titled Das Mädchen und die Macht (‘The Girl and Power’). In recent years she has often been referred to as ‘Mutti’ (‘mum’), a title perhaps affectionately meant but which can also be read as patronising: it’s hard to imagine a male politician being referred to by equivalent masculine terms.
Merkel’s GDR background has also been subject to much study and speculation. In a ‘collective biography’ from 2010 Michael Lühmann compares her with two other politicians from the East, Matthias Platzeck and Wolfgang Thierse. He defines all three as ‘Wendepolitiker’ – figures who only became active in politics around the time the Berlin Wall fell but who quickly became familiar and influential in the years that followed. Meanwhile Ralf Georg Reuth and Günther Lachmann go in search of Merkel’s GDR life in Das erste Leben der Angela M. (‘The First Life of Angela M.’). The famously reticent Merkel once said of this period “People know hardly anything about 35 years of my life”, but it is well known that her father was a Lutheran pastor, and her own faith is the focus of a study by Volker Resing, Angela Merkel, die Protestantin (‘Angela Merkel, the Protestant’). Resing later edited a collection of speeches given by Merkel at national church meetings, shedding further light on her beliefs and how they influence her politics.
Volker Resing, Angela Merkel, die Protestantin: ein Portät (Leipzig, ) YF.2012.a.8103
The majority of our holdings about Merkel are in German, but of course she also attracted international attention. We have a biography in French from 2006, but our earliest English-language work, rather surprisingly, dates from as late as 2013, and was written in the context of the 2008 financial crisis and its lasting negative effects in the Eurozone. In the same year a biography by Stefan Kornelius was translated into English, with an additional chapter for a UK audience entitled ‘The British Problem’. The problems in the Eurozone also form the background to Nicolas Barotte’s François & Angela, a study of the relationship between Merkel and French President François Hollande during the period. Despite the affectionate relationship implied by the cover photograph, Barotte highlights the tensions and disagreements between the two, calling them a “couple in crisis”.
Nicolas Barotte, François et Angela: Hollande contre Merkel: histoire secrète d'un couple en crise (Paris, )
Although the Eurozone crisis and then Merkel’s welcoming of Syrian refugees to Germany in 2015 did considerable damage to her popularity at home, most of the publications we hold about her appear even-handed in their allocation of praise or blame. One of the exceptions is a study by Gertrud Köhler, a fierce critic of Merkel. Its title Die Patin (‘The Godmother’) with its mafia overtones gives an idea of Köhler’s opinion. Her latest book on Merkel is described as a ‘requiem’, and claims that Merkel’s leadership has weakened Germany. Another critical voice is Dirk Kurbjuweit, editor of news magazine Der Spiegel whose book Alternativlos (‘No Alternative’ – a term Merkel used to defend her handling of the Eurozone crisis) accuses her of failing to rise to the challenges of office, preferring a reactive to a proactive approach when faced with problems.
Despite this, Merkel’s approval rating in Germany is high as she leaves office, and in a YouGov poll this summer she was rated the most popular world leader by voters in six countries. Furthermore, a sense of affection for the former chancellor in Germany is reflected in the success of the ‘cosy crime novel’, Miss Merkel, by David Safier, which has Merkel retiring to a rural village near her childhood home and solving a murder mystery. And a limited edition commemorative Merkel teddy bear swiftly sold out this year.
David Safier, Miss Merkel: Mord in der Uckermark (Hamburg, 2020) On order
No doubt we will continue to acquire books in coming years about Angela Merkel, her time in office, and her legacy (a collection of her major speeches is on order – and dare we hope for her memoirs?), building on our collections about perhaps the most significant figure in recent German and European history.
Susan Reed, Lead Curator Germanic Collections
Wolfgang Stock, Angela Merkel: eine politische Biographie (Munich, 2000.) YA.2002.a.21061
Mein Weg: Angela Merkel im Gespräch mit Hugo Müller-Vogg (Hamburg, 2004) YF.2005.a.8655
Marcus Maurer [et al.], Schröder gegen Merkel: Wahrnehmung und Wirkung des TV-Duells 2005 im Ost-West-Vergleich (Wiesbaden, 2007) YF.2008.a.4259
Janis Eitner, Macht Macht männlich? Das Bild von Angela Merkel und Gerhard Schröder in der deutschen Tagespresse (Marburg, 2007) YF.2009.a.11222
Merkel gegen Steinbrück : Analysen zum TV-Duell vor der Bundestagswahl 2013 ed. byThorsten Faas, Jürgen Maier, Michaela Maier (Wiesbaden, 2017) YF.2019.a.6423
Florence Absolu, Les femmes politiques dans la presse: mythèmes, biographèmes et archétype : les représentations genrées de Ségolène Royal et Angela Merkel dans la presse française et allemande pendant leurs campagnes électorales = Politikerinnen in der Presse: Mytheme, Biographeme und Archetyp : Die gender-betonte Darstellung von Angela Merkel und Ségolène Royal in den deutschen und französischen Printmedien während ihrer Wahlkampagnen (Würzburg, 2014) YF.2015.a.3012
Regina Richter, Angela Merkel und andere kluge Frauen : Selbst- und Fremdbilder von Frauen in politischen Spitzenpositionen (Saarbrücken, 2007) YF.2010.a.3328
Joyce Marie Mushaben, Becoming Madam Chancellor: Angela Merkel and the Berlin Republic (Cambridge, 2017) YC.2018.a.511
Evelyn Roll, Das Mädchen und die Macht: Angela Merkels demokratischer Aufbruch (Berlin, 2001) YA.2002.a.38421
Michael Lühmann, Der Osten im Westen, oder, Wie viel DDR steckt in Angela Merkel, Matthias Platzeck und Wolfgang Thierse? Versuch einer Kollektivbiographie (Stuttgart, 2010) YF.2011.a.25124
Ralf Georg Reuth & Günther Lachmann, Das erste Leben der Angela M. 2nd ed. (Munich, 2013) YF.2016.a.1155
Angela Merkel, Daran glaube ich: christliche Standpunkte, ed. By Volker Resing (Leipzig, [2013?]) YF.2017.a.14480
Baudouin Bollaert, Angela Merkel (Monaco, 2006) YF.2008.a.25729
Alan Crawford & Tony Czuczka, Angela Merkel: a chancellorship forged in crisis (Chichester, 2013) YC.2013.a.12600
Stefan Kornelius, Angela Merkel: the chancellor and her world, translated by Anthea Bell and Christopher Moncrieff (Richmond, Surrey, 2013) YC.2014.a.7686. Original German edition: Angela Merkel : die Kanzlerin und ihre Welt (Hamburg, 2013) YF.2015.a.20431
Gertrud Höhler, Die Patin: wie Angela Merkel Deutschland umbaut, 2nd ed. (Zurich, 2012) YF.2014.a.8445
Gertrud Höhler, Angela Merkel: das Requiem (Berlin, 2020) Awaiting shelfmark
Dirk Kurbjuweit, Alternativlos: Merkel, die Deutschen und das Ende der Politik (Munich, 2014) YF.2015.a.3659.
Angela Merkel, Die grossen Reden, ed. Caroline Draeger (Munich, 2021) On order
Gerd Langguth, Angela Merkel. 2nd ed. (Munich, 2005) YF.2006.a.16958
Matthew Qvortrup, Angela Merkel: Europe’s most influential leader, Expanded and updated edition. (London, 2017) YK.2018.a.1175
31 August 2021
As we come to the end of Women in Translation Month 2021, this blog post brings together three books by women authors in translation from across Europe.
Mercè Rodoreda, In Diamond Square, translated by Peter Bush (London, ). ELD.DS.1778
Chosen by Geoff West, Former Curator Hispanic Studies
Written when its author was still living in exile, Mercè Rodoreda’s novel tells the story of a young woman in working-class Barcelona from the early 1930s to the aftermath of Franco’s victory in the Spanish Civil War. At a dance in the Square, the impressionable Natàlia meets a confident young man, Quimet, and soon falls under his spell. He insists that she will be his wife within a year and on giving her the nickname ‘Pidgey’. Inevitably they do marry, and they have two children. However, Quimet now earns little as a carpenter and decides to rear pigeons in their flat. Natàlia takes on work as a cleaner in a middle-class household, adding to the burden of her own housework.
With the outbreak of the Civil War, Quimet goes off to fight on the Republican side and is killed. The full impact of the conflict is now conveyed as food and fuel run short. Natàlia loses her job and sends her son away to a camp for refugee boys to ensure he will be fed. After being forced to sell all her possessions to survive, she finally contemplates suicide for herself and her children. However, a providential conversation with a local grocer, who offers her work, saves her. The pair get married and Natàlia achieves an accommodation with the possibilities offered by her new existence.
Rodoreda’s first-person narrative effectively conveys the experiences and reactions of a woman initially unprepared for marriage in a male-dominated society. It also graphically documents the resilience required of ordinary people during war. The final chapters articulate the trauma of coming to terms with the past.
First published in 1962, La plaça del Diamant has now been translated into English three times and into more than twenty other languages. It remains one of the most successful works of Catalan fiction.
Mercè Rodoreda, La plaça del Diamant (Barcelona, 1962) 11303.n.12
Mercè Rodoreda, The Pigeon Girl, trans. Eda O’Shiel (London, 1967) X.909/10529
Mercè Rodoreda, The Time of the Doves, trans. David H. Rosenthal (New York, 1980)
Christine Brückner, Desdemona – if you had only spoken! Eleven uncensored speeches of eleven incensed women, translated by Eleanor Bron (London, 1992) YK.1993.a.5906
Chosen by Susan Reed, Lead Curator Romance Collections
The prolific and successful German writer Christine Brückner published this collection of dramatic monologues in 1983, giving voices to well-known fictional and historical women, from Clytemnestra to Gudrun Ensslin. Some, like Katharina Luther, address their husbands. Others speak to other women, including Brückner herself criticising the overly-idealistic utopianism of 19th-century reformer Malwida von Meysenbug. In the title monologue, Desdemona’s willingness to confront Othello’s suspicions changes her fate: he listens and they reconcile. In other stories, the women reflect on their lives and situations, speaking as much to themselves as to any imagined interlocutor.
In the introduction to her English translation, the actor Eleanor Bron explains how “during the interval of a dreary play” in Hamburg she saw photographs from a production of the pieces and was immediately intrigued. She bought Brückner’s book and resolved to resurrect the German she had studied at university to prepare a translation, an experience she describes both entertainingly and insightfully.
Daniela Hodrová, Prague. I See a City. Translated by David Short; Foreword by Rajendra Chitnis. 2nd rev. ed. (Folkestone, 2015). Awaiting shelfmark.
Chosen by Katya Rogatchevskaia, Lead Curator East European Collections
Have you ever been to Prague? If you have visited this wonderful city, you have probably noticed that Prague radiates some magical gleam that is not always easy to catch. Prague has its own unique charm and opens up to those who care to enquire about its history and character. While wandering through the streets of Prague, which guidebook did you have in your hands: Lonely Planet, Eyewitness Travel, or Rough Guides? Maybe, next time you can take Prague. I See a City by Daniela Hodrová.
Born in 1946 in Prague, Hodrová is one of the most distinct and original authors in contemporary Czech literature. Being a literary scholar by training and working as a researcher, she is very aware of rich literary traditions and techniques, as well as theoretical issues of aesthetics, theology and philosophy. Prague. I See a City is a very stylish and moving description of the city through a woman’s eyes. The author takes her readers through the city of her life. It is full of love and dreams, sounds of music and every-day scenes. Written straight after the November 1989 Velvet Revolution in Czechoslovakia (translated into English in 2011), the book is a poetic meditation on the history of the country and how this is reflected in a woman's life and in the city itself: “City of torment! City of puppets! City of Monsters! In all likelihood I am partly to blame for your awakening, I have brought you to life with words.”
19 April 2021
Today, 19 April, is the anniversary of the death of Maria van Reigersberch, or Reigersbergen the wife of Hugo de Groot a.k.a. Grotius. Her husband is well known for his legal writings in which he launched the idea of the freedom of the seas and international law. Grotius is credited with stating that rights are not just connected to objects, but also to people, although that doesn’t make him a human rights activist in the modern sense: his work is very much aimed at the advancement of the interests of the Dutch Republic.
Maria van Reigersbergen by a painter from the circle of Michiel Jansz van Mierevelt. Source: Wikipedia.
Grotius had made his career in the service of Johan van Oldenbarnevelt the most powerful man in the Republic, who got himself in trouble with the Stadholder Maurits. It cost him his head and he dragged Grotius down with him. Grotius was actually lucky to escape with his life, but he was sentenced to life imprisonment at the Castle Loevenstein.
Maria van Reigersberch campaigned hard to obtain better living conditions for her husband and permission to join him at the castle, together with their maid Elselina (Elsje) van Houwening. The women were allowed to join Grotius. Big mistake!
Maria negotiated with the authorities to have books brought to Hugo, so he could continue his studies and work. The books were delivered in a large trunk and I can just imagine Maria looking at that trunk and thinking: ‘Trojan Horse in reverse!’
Hugo de Groot, by Michiel Jansz van Mierevelt (1631) Source: Wikimedia
Portrait of a woman presumed to be Elselina van Houwingen (anonymous, 1656). Source: Houweningen, Elselina van (?-1681) (knaw.nl)
They prepared their plan very well. Maria made Hugo lie in the chest very still for up to two hours for several evenings. Then on 22 March 1621 Hugo climbed in the chest, Maria made up the bed with his clothes and put his slippers in front of the bed to make it look like he was asleep. She sent the trunk off, out of the castle. Elselina went with it and watched over it fiercely.
Maria stayed behind in prison. She was eventually released and joined Hugo in Paris. He was never allowed to return to his home country and Maria returned there only to die.
Hugo was also a rather accomplished poet and he wrote a poem in thanks to his wife: Silva Ad Franciscum Augustum Thuanum (Paris, 1621; 11405.i.18.(13.)).
The story of this audacious escape has been written about in books, poems, and plays over the centuries. The first to record it was Gerard Brandt, who actually spoke to Elselina herself, so it is a first-hand account. Brandt’s son Caspar compiled his father’s notes and published them as Historie van het leven des Heeren Huig de Groot, beschreven tot den aanvang van zyn gezantschap ... aan’t hof van Vrankryk (Dordrecht/Amsterdam,1727; 10760.g.12.).
Brandt’s notes show how Elselina looked after the chest with its precious contents with great dedication. The chest was of course heavy and the soldiers carrying it noticed that and suggested De Groot must be in it. To see if that were true they wanted to drill a hole right through the chest. She replied that they needed a drill as long as the way to his rooms in the castle. Then the captain of the ship that would take them to Gorinchem wanted to put down a rickety plank over which the soldiers had to carry the chest. She was having none of it, saying that the chest could easily fall in the water and then ‘all the books would be spoiled. They were fine books that had been borrowed, so had to be returned in good order.’ I think she missed her vocation as a librarian. A sturdier plank was duly supplied.
Elselina van Houwening survived Hugo and Maria by decades. She died in March 1681 and was buried on the 8th of March, only a few weeks short of the 60th anniversary of the escape.
Image of Grotius’s book chest from Het Leven van Hugo de Groot, getrokken uit de voornaamste historie-schryvers en dichters (Amsterdam 1785) 10760.e.1
And what happened to the chest? Well, as with so many ‘mythical’ objects, there are three chests which the institutions that hold them claim to be the real one. These are at the Rijksmuseum, Slot Loevestein and Het Prinsenhof in Delft. Recent research has concluded that the Delft chest has the best claim, but the outcome was not conclusive. It is much more likely that the original chest disappeared sometime in the 17th century.
Front cover of De Boekenkist van Hugo de Groot, by Arnout van Cruyningen. (Utrecht, 2021). (awaiting shelfmark)
The latest book on the topic has just come out and is by Arnout van Cruyningen. (Utrecht, 2021) which will be available for BL readers later this year.
Marja Kingma, Curator Germanic Collections
References and further reading
Jeronimo de Vries, Hugo de Groot en Maria van Reigersbergen (Amsterdam, 1827). DRT Digital Store 1560/1614.
Marco Barducci, Hugo Grotius and the century of revolution, 1613-1718 : transnational reception in English political thought (Oxford, 2017) YC.2018.a.7730
Henk Nellen, Hugo Grotius: a lifelong struggle for peace in church and state, 1583-1645, translated from the Dutch by J.C. Grayson. (Leiden, 2014) YD. 2015.a.204
Grotius and law, edited by Larry May and Emily MGill. (Farnham, 2014) YC.2015.a.11580
Grotius, edited by John Dunn and Ian Harris. 2 vols. (Cheltenham, 1997) YC.1998.b.5202
De Hollandse jaren van Hugo de Groot, edited by H.J.M. Nellen and J. Trapman. (Hilversum, 1996) YA.1997.b.411
For more information on women in Dutch history:
Digitaal Vrouwenlexicon van Nederland, or Digital Womenlexicon of the Netherlands. Freely available on [Digitaal Vrouwenlexicon van Nederland (knaw.nl)]
Els Kloek, et al, 1001 Vrouwen uit de Nederlandse geschiedenis (Nijmegen, 2013) YF.2015.a.1208.
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