10 June 2021
Join our panel discussions to discover more about researchers' experiences when navigating archives, as well as library, archive and museum collection policies related to the Olympics and Paralympics. This event has been organised by the British Library, the British Society of Sports History (BSSH), International Centre for Sports History and Culture (ICSHC) at De Montfort University, and the School of Advanced Study/CLEOPATRA project.
Horse Parade Grounds, The Mall, London 2012 Olympics, by Ank kumar - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=99511834
This is a free, two day event, taking place online from 2pm- 4.30pm (BST) on Tuesday 6th July and Wednesday 7th July. It is for researchers, librarians, archivists, curators and anyone with an interest in the Olympic and Paralympic games and the study of sporting events.
Our speakers include Martin Polley (Director, International Centre for Sports History and Culture, De Montfort University), Vicky Hope-Walker (Chief Executive Officer, National Paralympic Heritage Trust) and Ian Brittain (Coventry University).
For a full programme, and to register, visit our Eventbrite page
What to expect
The event will feature discussion of a broad mix of physical, digitised and born digital resources relating to the Olympics and Paralympics, as well as how these collections have been used by researchers.
Participants will be able to ask questions and discuss issues pertaining to these resources and their use. The event is designed for anyone interested in the history and heritage of the Olympics and Paralympics, especially researchers and those working in the Galleries, Libraries, Archives and Museums sector.
The year 2020 was originally an Olympic/Paralympic year before the outbreak of the coronavirus pandemic. It was also a significant milestone for the International Internet Preservation Consortium (IIPC), of which the British Library is a founder member, as it marked 10 years since they first started archiving the Olympics. From 2012 they then started to archive both the Olympic and Paralympic Games. The UK Web Archive has led collections on major sporting events, which compliment the Library's wider collections, and these can be browsed at https://www.webarchive.org.uk/en/ukwa/collection/2315.
This year, we are very pleased to bring together a great range of speakers to talk about the collections related to the Olympics and Paralympics that can be found in the UK, the challenges of collecting and the research that has been carried out across the archives. We hope that you will be able to join us.
28 May 2020
Polly Russell, Lead Curator for Politics and Public Life, Contemporary Manuscripts, writes
A few moments ago a cruel diary notification reminded me of something I’d been looking forward to all year - a talk at the British Library about the culture and history of Jewish food with Claudia Roden and Simon Schama. This was one of the 25 events on offer during April and May for the 2020 British Library Food Season, supported by Kitchen Aid. For the third year in a row the Food Season was set to celebrate the Library’s extensive food-related collections and explore the politics, pleasures and history of food. Speakers including Ken Hom, Harold McGee, Asma Khan, Carolyn Steele and Hugh Fearnley-Wittingstall were to discuss subjects as diverse as the UK’s cheese history, food in crime fiction and feeding our children.
Mrs. Beeton's Family Cookery and Housekeeping Book ... New ... illustrations, etc. [Another issue, in an altered form, of “Beeton's Every-day Cookery and Housekeeping Book.”] 07944.g.63. facing p. 80
Thanks to Covid-19, however, this series of talks, tastings and workshops has been put on hold but we recognise that the conversation about food is more important than ever in the current climate. The emergency has brought to the fore so many food related issues and has impacted on our shopping, cooking and eating habits. At a global level food supply chains have been challenged through interrupted distribution and labour shortages while closer to home eating out has been off the menu and home cooking has seen a surge. Research commissioned by KitchenAid found that 23 per cent of bakers have increased their repertoire but they are not just baking for themselves. According to the research almost a third deliver their creations to others, including 36 per cent to relatives outside of the home and 23 per cent to neighbours. Covid-19 has sharpened awareness of the politics and pleasures of food and so the Food Season feels more relevant than ever. We were incredibly proud of the events planned for 2020 so we are hoping that many will still go ahead in some form and we’ll be announcing details when we know more.
In the meantime, there are other fantastic food festivals and conversations on offer remotely. The Oxford Symposium for Food and Cookery, an organisation which since the 1970s has existed to explore and share food research by scholars, enthusiastic amateurs, writers and chefs from around the world, is going virtual this summer. In a normal year in July around 400 people from around the world gather in Oxford for a weekend of lectures, seminars, conversation and conviviality focussed around a selected food topic. This year the subject is “Herbs and Spices” but instead of meeting in person the Symposium has moved online. Taking place between 10 July – 2 August with 500 attendees from across the world, this interactive event will include keynote addresses, panel discussions and chefs’ videos along with spaces for virtual ‘hangouts’ and discussion boards. Follow this link for more details and registration: https://www.oxfordsymposium.org.uk/events/2020-v-symposium-registration/
Closer to the British Library, Borough Market has established itself as a hub for food discussion, debate and deliberation over the last few years through supper clubs, talks and publications. Since Covid-19, Borough have been running a fantastic series of lunchtime events including, last week, a riveting account of food in cities in lockdown with award winning food writer Rachel Roddy in Rome and Yasmin Fahr in New York. Coming up on the schedule, just this month, are Sami Tamim and Tara Wigley on food from Palestine and, possibly more relevant than ever, Kimberley Wilson talking about food and mental health. Find out more at: https://boroughmarket.org.uk/events/borough-talks
We’ll announce news of forthcoming Food Seasons as soon as we can but in the meantime who knows, maybe I’ll see you from the comfort of my kitchen at a virtual food happening. I hope so!
British Library Food Season supported by:
09 October 2019
We are delighted that Jack Halberstam, Professor of Gender Studies and English at Columbia University, will deliver the Ninth Annual Equality Lecture in collaboration with the British Library and the British Sociological Association. This will take place on Friday 1 November 2019, 19.00-20.30, in the British Library Knowledge Centre Auditorium.
Professor Halberstam will provide a very timely consideration of the history of Trans* communities, and examine their association with political goals and a quest for recognition. They will also offer up new and different aesthetic avenues to Trans* lives and images, and be signing copies of their latest book Trans*: a Quick and Quirky Account of Gender Variability (2018).
In this book, Halberstam explains the inclusion of the asterisk at the end of the word ‘Trans’ as moving the idea of transition resulting in a final form, an ultimate destination and beyond established configuration of desire and identity. The asterisk, they argue, stops any sense of knowing the meaning of any given gender varying form, and gives Trans* people authorship and authority of their own categories.
Jack Halberstam, Trans*: A Quick and Quirky Account of Gender Variability (2018). British Library YC.2018.a.15460
This idea of ambiguity or flexibility in categories does not sit easily within a library and museum context, where material is defined, catalogued and archived for posterity.
Yet, libraries, and the worlds of words they contain, have long been a refuge for people excluded from the normative and major narratives of history and nationhood. Minorities of all types often seek evidence of themselves in the past, buried in the traces left behind. The validation of finding someone like you living and surviving in a different time, who may be long dead, can be transformative.
The exploration of the past for a minority history can be painstaking in terms of time, labour and emotional investment. However, these research journeys and the stories they uncover can have profound implications for the majority, the archive project, and the subscribed historical norms.Libraries do not just keep our stories safe; they are where new stories begin.
Technology offers new opportunities for communities to find themselves in archival records. The British Library and its partners have digitised over 20 million individual pages of printed news media, and the use of optical character recognition (OCR) enables searches hitherto impossible in the past.
In 2018, the British Library invited Trans activists E-J Scott (Curator of the Museum of Transology), Dr Jay Stewart (Chief Executive of Gendered Intelligence), and Annie Brown (activist, artist and GI youth worker) to consider two articles found in the British Library digital newspaper collections: ‘The woman in man’s attire’ (Tamworth Herald, 1901) and ‘An extraordinary investigation’ (Sussex Advertiser, 1833)
‘The woman in man’s attire: a remarkable marriage story’, Tamworth Herald (1901)
When gender varying individuals approach the binary space of archived and not archived, the past and the present collide and the researcher is subject not only to the temporal nature of our present language around gender, but also the historic lack. In this conversation between Annie Brown, E-J Scott and Dr Jay Stewart, we get a glimpse into the impact that the historical record can have for communities still fighting for representation and inclusion.
01 May 2018
PhD placement students, Rachel Tavernor and Catherine Oliver, in collaboration with the British Library, are launching a new website. In this post, Rachel discusses her work encountering stories of housing activism in the British Library. Later this year, Catherine will launch a new section of the website on food activism and will discuss a new British Library acquisition of the Richard Ryder archive. We hope this collaborative initiative will grow with new sections added showing the diversity of our British Library Collections.
The brief for my time with the British Library was to investigate 20th and 21st Century anti-poverty activism in the the British Library Collections. In particular, to make connections between archives and to explore the value of the British Library’s holdings as a whole. I am not a historian, nor an archivist, so my approach to working with the collections was informed by my background in the arts, as well as my own involvement with institutional and grassroots activism. Having worked with smaller archives, I was interested in exploring how radical and rebellious voices are preserved in a large scholarly institution. Before working with the British Library, I had wrongly assumed that institutional voices would be the focus of the collections. While these voices are dominant, and at times privileged, the rebels in the archives are also there to encounter.
After a preliminary mapping of the collections and available material (there was lots), I narrowed the focus of my research to housing activism in the UK. Struggles for decent and affordable housing, with secure and fair tenancies, are at the forefront of many anti-poverty movements today. The decline of social housing, rises in private rents and poor living conditions, are a catalyst for many forms of activism (demonstrations, squatting, housing cooperatives and rent strikes).
One of the greatest strengths of researching activism in the British Library Collections is the diverse range of materials, from personal papers to government documents. Housing activism, as with many political struggles, stretches across institutional, community and mediated spaces. The Library’s collections offer ways to explore the everyday experiences of activism, preserved in oral histories, diaries and letters. Alongside examining how campaigns are shaped by, or in reaction to, housing policies. Researchers can trace these differing, and at times contradictory, narratives throughout the collections. By exploring these stories in tandem, the public have the opportunity to listen to these voices, and explore them alongside one another, to weave new histories, and perhaps new stories of housing activism.
While exploring the different collections archived at the British Library, I also conducted a small research project on ways to archive contemporary forms of activism. It was a privilege to conduct this research, which included interviewing archivists at feminist libraries, housing activists and academics that engage with archives of activism. You can read a section of the report on our new website. One of the themes that emerged in these interviews was that archives are a living resource, which can inspire and influence contemporary forms of activism. However, many people may experience different barriers to accessing materials archived at institutions like the British Library. It was these conversations that inspired Sarah, Catherine and I to collaborate on a website that would act as a guide to materials archived at the British Library. We hope that the Archiving Activism website may inspire people to further engage with some of the histories of housing activism, as well as the British Library Collections. If you have an idea for a new section or would like to contribute, please email: email@example.com.
With thanks to the Arts and Humanities Research Council for funding my placement at the British Library and to all the copyright holders for granting us permission to publish images of the items archived in the Collections.
08 November 2017
The British Library will be holding a 2-day documentary festival over the weekend Saturday- Sunday 9- 10th December, to celebrate the career of John Pilger, along with other documentaries chosen as fine examples of the craft. The festival will include screenings of films from across his career, John Pilger will speak on the Power of the Documentary (Saturday) and will be in conversation on Sunday afternoon. A full programme can be found here.
The screening celebrates the acquisition by the Library of a digital archive of Pilger’s journalism – covering print, film and radio broadcasts over six decades. The archive, produced by Florian Zollmann from John Pilger’s personal collection, brings together for the first time nearly 1,500 news reports, films and radio broadcasts. This includes articles from the Daily Mirror, Guardian, New Statesman, BBC Radio, and 60 films. His latest, prescient documentary, The Coming War on China, is his 60th film.
Throughout his career, John has demonstrated the power and significance of investigative journalism in uncovering stories of peoples who have been ignored by the mainstream media or left otherwise without voice. His ground-breaking work in Cambodia revealed the devastation caused by the Khmer Rouge, and his film Year Zero: the Silent Death of Cambodia (1979) has subsequently been described as one of the 10 most influential documentaries of the 20th century. His later film, Stealing a Nation (2004), revealed the plight of the Chagos people, who were expelled from their homes in the 1960s and 1970s on idyllic islands in the Indian Ocean to make way for a military base.
John Pilger’s work is well-known for reporting on conflict, the human and civil rights abuses that result from conflict and the propaganda used to justify and prolong such abuses. His first film, The Quiet Mutiny (1970), interviewed young American soldiers in Vietnam, uncovering confusion and resistance to the war amongst conscripts and breaking the story of American troop insurrections in Vietnam.
Other work has placed a fresh focus on everyday subjects. His film, Burp! Pepsi v Coke in the Ice Cold War (1984) was an early example of investigative film-making that used originality and wit to examine the power of multinational corporations.
John Pilger’s work also sounds a warning of the threats to independent investigative journalism. The War You Don’t See (2011) recounts the history of embedded journalism in conflict and asks us to question the reporting of conflicts in the 21st century.
All these films will be shown at the British Library for the festival, The Power of Documentary, celebrating the career of John Pilger and emphasising the continued significance of independent investigative journalism.
04 October 2017
On the 23 October this year, the British Library and British Sociological Association will host the seventh annual equality lecture. This year we are delighted that the speaker will be Professor Mary Evans, talking about gender inequality and why many continue to ignore it as a major issue in structural and cultural inequality.
The issue of gender inequality has made the headlines again and again in recent years. Research undertaken by the coalition A Fair Deal for Women for instance, has shown that in the UK women, especially BAME and disabled women, have been disproportionately affected by cuts to public spending. Meanwhile, the gender pay gap and the poor representation of women at senior levels in employment, in politics, and on Boards, is a persisting problem. The issues which were so central to the Second Wave Feminist movement – such as childcare, employment equality, freedom from sexual oppression, the right to economic equality - remain daily battles for women in the UK today.
Image: Professor Mary Evans outside the British Library. Photo copyright Sarah Evans.
Feminism as a movement feels as though it has regained momentum in the UK. The work of Laura Bates and the Everyday Sexism project has sought to expose the sexism, abuse and misogyny that women face on a daily basis. Activist groups such as Sisters Uncut have lobbied to improve conditions and support for those women who are victims of domestic violence. And, the marches on International Women’s Day earlier this year harnessed women’s anger about policies and attitudes, both in the UK and internationally, which continue to dehumanise women and cause suffering.
Despite the fact that women continue to suffer both structural and cultural inequality, gender is often ignored as a fundamental constituent of inequality in discussions about inequality, both within academia and the public realm. Professor Evans will draw on her most recent book, The Persistence of Gender Inequality (Polity Press, 2016) to make this argument, and to show the importance of making these connections if progress in gender equality is to be achieved.
Professor Mary Evans began her academic career over 40 years ago at the University of Kent, where she taught sociology and women’s and gender studies. Since 2007, Professor Evans has been Emeritus Professor in Sociology at the University of Kent and more recently she took up a post at the London School of Economics where she is now Visiting Professor at the Gender Institute. Professor Evans is particularly interested in gender and class as components of social identity and the way we structure and imagine the social world.
For more information about the event and to book tickets, please visit our events pages.
Visit Mary’s blog post about her book on the Polity Press Blog: http://politybooks.com/the-persistence-of-gender-inequality/
01 September 2017
A guest post by Kadija George
Kadija George, FRSA is a Birmingham University alumni and currently an AHRC/TECHNE scholarship PhD candidate at Brighton University researching Black British Publishers. She is the Publications Manager for Peepal Tree’s Inscribe imprint, an editor of several groundbreaking anthologies and publisher of SABLE LitMag. She is a Fellow of the George Bell Institute and a Fellow of the Kennedy Arts Centre of Performance Arts Management.
Why do we need Black publishers if one of our societal objectives is to nurture a diverse society in Britain? Because diversity is paralleled with having options; we need gay publishers, women publishers as well as Black publishers.
This does not mean though that Black publishers (or any other ‘minority’ publisher) should be eschewed as being ghettoised, but rather as specialised. Therefore, when Shappi Khorsandi, withdrew her longlisted novel, Nina Is Not OK, for consideration for the Jhalak Prize, saying that, she “felt like my skin colour was up for an award rather than my book” [i] , she assumed that being nominated for the prize would place her in a category that would stigmatise her or limit her audience, yet such prizes highlight the books for what they are – good work, well written. With just 51 books being nominated though, it should shame the mainstream white dominated publishing industry in Britain into doing better with regards to publishing Black writers; an estimated 184,000 books were published in 2013 in the UK. [ii]
Aside from this, there are five broad reasons rationalising the need for, and increased awareness of Black publishers:-
Black publishers take on writers without shock or stereotype. If a writer approaches a Black publisher with a ‘thirty something’ love story between a devout Muslim and a devout Christian who live happily ever, this does not present a story that is unrealistic to a Black publisher; they understand that it is an ordinary part of everyday life (which means that Black writers' work is humorous at times, too). These are black lives, and they matter without the need to challenge the writer’s credentials, their authenticity or the need to be validated by white expertise.
They are also often the only ones willing to take the risk to publish work that is viewed as ‘experimental’, giving the writer permission to be who they are, to write what they want. The best of such work, which often does not easily fit into any one genre is published by independent Black press or is self-published, such as Walter Moseley’s The graphomanic’s primer: a semi surrealist memoir (Black Classic Press) or Tim Fielder’s Matty’s Rocket, (dieselfunk.com).
Secondly, publishing is more than the physical product for Black publishers as there is the equal need to educate the Black community. This was contained in John La Rose’s 'Dream to Change the World' when he established New Beacon Books in 1966.
Those who migrated to Britain in the 1950’s, who were to become publishers, were equally activists in the community. Social justice work was an integral aspect of their work, supporting the lives of those of African descent who (im)migrated to Britain from the West Indies, Africa and Asia and for the human rights of communities and activists abroad who were under attack, such as Ngũgĩ wa Thiong’o and Angela Davies (West Indian Digest, Vol. 1, no 8, Nov/Dec 1971). They were at the forefront of campaigns such as the New Cross Massacre (The New Cross Massacre Story (New Beacon 1981), and challenged authorities regarding the murder of Stephen Lawrence - Black Deaths in Police Custody and Human Rights: The Failure of the Stephen Lawrence Inquiry by David Mayberry (Hansib Publications, 1993).
The New Cross Massacre Story (New Beacon 1981)
The third factor is that they are information providers, utilising the pamphlet as a tool to send out political and social messages, such as the Pan African Association in 1898 announcing the need for a conference to address the dire position of black people in the world. The practical outcome was the first Pan African conference in 1900. Similarly, informing the community of how West Indian children were being (dis)educated in British Schools sparked a movement that started in late 1960’s and carried on until the mid-1980’s that comprised establishing supplementary schools and led to associations of black professionals and the black family to reverse this situation. How the West Indian Child is made Educationally Sub-normal in the British School System (1971) by Bernard Coard (New Beacon) originated as a paper at a conference.
Fourthly, black publishers claim and re-claim the printing of classic texts that may otherwise have remained invisible. New Beacon’s re-publishing Froudacity by JJ Thomas (1969) with an introductory essay by CLR James, ‘The West Indian Intellectual’ are two classic works between one cover. Walter Rodney’s The Groundings with My Brothers, was originally printed on a Gestetner, by Bogle L’Ouverture (1969), a title which, along with his next book, How Europe Underdeveloped Africa(1972), remain in high demand.
Froudacity / JJ Thomas (1969)
Finally, Black publishers ensure the visibility of Black people’s lives in British history.
Not telling the Black British story denies all British people of their true history:
…the idea of not accepting inhibiting traditions, but being constantly inventive and novel; because one of the problems I can see facing West Indians in Britain in future, is the inhibiting tradition of the education system. This not only affects West Indians as you all ready realise, but ordinary Britons, but it is the rupture of the traditions which underline this tradition which will be important... (John La Rose – letter to Kamau Brathwaite - 24 Feb 1969 - GPI Institute GB2904 LRA/01/143/04)
This underlines the work undertaken by David Olusaga in his TV series and accompanying book, Black and British, A Forgotten History (shortlisted for the Jhalak Prize) in which he disrupts the telling of British history. His core point is this; it is not possible to tell British history without telling the story of Black British history which is not just about the people who live(d) in Britain, but those in Africa, the Caribbean and Asia too. When Britain became an empire, their colonies would forever be a part of British history. This history includes the history of the book. Olusaga also pointed out that it is novels such as Andrea Levy’s Small Island that tell important aspects of Black history. [iv]
This is why the ‘Bringing Voices Together’ networking event is needed, because the British Library is surely the first place for people to visit to find out about the history of the book in Britain, and that history needs to ensure the inclusivity of the history of Black British books and publishers, so that it is not as Olusaga says, a ‘deliberately forgotten’ history. (David Olusaga, Brighton University, 30 November 2016)
Related links: All about African publishers
17 August 2017
Writers of Colour in independent publishing - Bringing voices together: a guest post from Dr. Kavita Bhanot
This blog post was written by Dr. Kavita Bhanot who has been involved in the development of Bringing Voices Together (7th September), a networking event organised by PhD placement student in Contemporary British Collections, Chantelle Lewis. Kavita will be one of the panellists on the day seeking to discuss issues of representation within publishing, how they’re being countered, and recommending the ways the British Library can engage more actively with independent publishers committed to inclusivity.
Kavita Bhanot writes fiction, non-fiction and reviews. She is editor of the anthology Too Asian, Not Asian Enough (Tindal Street Press 2011), the forthcoming Book of Birmingham (Comma Press, 2018) and co-editor of the first Bare Lit anthology (Brain Mill Press, 2017). She has a PhD from Manchester University, is a reader and mentor with The Literary Consultancy and is currently Honorary Creative Writing Fellow at Leicester University.
What is the difference between a published book and a typed manuscript on somebody’s computer? Whilst editing, giving feedback on novels and short stories over the years, I have come across countless writers who are writing or have written remarkable books. And I have been struck by how vulnerable writers are to the whims and fancies, or structural blockades, of the gatekeepers in the publishing industry. These walls are all the more impenetrable and incomprehensible for writers of colour – there is little correlation between ‘quality’ of work, ‘content’, and what gets published. Many other factors come into play, such as how marketable a work or a writer is; how ‘true’ or palatable the work is for white readers; whether something else with a similar subject matter has been published recently; if another writer of a similar background has recently been launched.
The sense of vulnerability that the relationship of dependency on the publishing industry produces has led writers I know to breakdown, depression, to giving up writing - supposing that they are just not good enough, to a feeling of hopelessness, pointlessness.
Is the answer to participate in conversations about diversity, to enter competitions, to join mentoring schemes - even if we’ve been writing for five, ten, fifteen years? Are we to be perpetual children, beneficiaries of paternalism, needing advice and guidance? Do we always have to stand with begging bowls, asking for encouragement, support and recognition, grateful for anything we get? Doesn’t the ‘need’ for recognition from the ‘mainstream’ continue to make us vulnerable and dependent, so we hand over all our self-worth to people and institutions with power? How does it help us to develop self-esteem, a strong inner core, which is what is needed above all to continue writing?
And the excessive focus on publishers and their lack of interest in our work diverts us from thinking about what really matters – the writing. It can lead us to seek acceptance by writing what publishers want us to write. Or in subtle ways, it can lead us to not interrogate what has come before, and reproduce this, not thinking about what we are writing, how we are writing, who we are writing for. My work for several years has been to unpack the ways in which whiteness has often been centred in our writing in conscious and unconscious ways. This perspective is normalised. Being able to see this, to read it and to write differently requires a great deal of effort and self-care. Focussing on ‘diversity’ distracts us from this work.
It is important for writers of colour to develop a political and creative vision, to nurture self-belief and to create collective structures of mutual support founded in a political core. A core that is not fixed, but is open to self-interrogation, change and complexity. Writers of colour should not feel dependent on existing established structures, they should and increasingly are, finding or creating independent outlets.
While publishing conglomerates and media empires become concentrated into a few increasingly powerful and commercial corporate houses, the number of writers of colour producing work that is experimental in form and content is also increasing, work that emerges from activism and critical thinking, work that is of little interest, is unpalatable even, to the ‘mainstream’. These writers are not waiting for anyone’s recognition - they are turning to online forums, they are creating websites, setting up independent publishing initiatives, they are self-publishing, producing chapbooks, booklets, magazines, e books, crowd-funded books – and they are using social media to promote their work. It is from these spaces that paradigm shifting work can and is emerging, a different way of looking at the world, building on but also unlike what has come before, because it is responding to the present moment.
For the most, such work tends to remain unseen by the ‘mainstream’ – until the power of the collective voice becomes so threatening that it can no longer be ignored. And then there is an effort to co-opt it, to absorb some of the more acceptable elements in order to appear inclusive. The odd writer will be published, turned into a celebrity, so it appears that space is being made for new perspectives, new voices. Some people entrenched in the ‘mainstream’ will jump on the bandwagon, appearing to propagate elements of the new discourse, some of which now seems to have become acceptable to the ‘mainstream’. All this works to keep out voices that are truly threatening.
So why is it important that the British Library keep apace with these changes, putting time and effort into identifying these texts, documents, works of literature that emerge from critical, activist spaces, acknowledging their existence, making them available to be read?
No place or institution is neutral, but due to the assumption that everything that is published in the UK is available in the British Library, there is a perceived neutrality inherent in the idea of the Library. A great deal of scholarship, literature and research emerges from the British Library - the place and the catalogue. The Library therefore comes to define the boundaries, foundations and paradigms of a great deal of the scholarship coming out of Britain through what it includes and excludes in its catalogue. Whilst those who are producing work outside the ‘mainstream’ may not be aware of the processes or procedures or even the need to send their work to the Library, it is important for the British Library to reach out, to do the research to find and acquire these works. So that emerging literature and scholarship, rather than drawing only on what exists in ‘mainstream’ spaces, might write about, reference, build on these texts – not as ‘raw material’, but as political, intellectual, creative contributions in their own right. The circulation of knowledge can become more meaningful if public funded institutions like the British Library can take such initiative.
Related posts: Bringing Voices Together / Chantelle Lewis
Decolonise, not Diversify / Kavita Bhanot in Media Diversified.
Social Science blog recent posts
- Documenting the Olympics and the Paralympics, 6- 7 July
- British Library 2020 Food Season: plans to continue the conversation
- The 2019 Annual Equality Lecture: Jack Halberstam
- Archiving Activism Website
- The Power of Documentary: John Pilger at the British Library 9- 10 December
- The Annual Equality Lecture: The Persistence of Gender Inequality
- Bringing Voices Together: the importance of independent Black publishing
- Writers of Colour in independent publishing - Bringing voices together: a guest post from Dr. Kavita Bhanot
- Bringing Voices Together: Inclusivity in Independent Publishing in Contemporary Britain, 7th September
- Propaganda and Ideology in Everyday Life