For Private Eyes Only: Signature Albums – Collecting Expressions of Shared Sentiment

They say you are who your friends are. To anyone reading Mary Clark’s 1835 signature album, this statement is almost literally true. Presumably a resident of Lowell, Massachusetts in the 1830s, we know very little about Mary’s life, except what friends wrote about her and to her in her signature album, now a part of the Diaries Collection.

Signature albums, more commonly referred to as autograph albums, are pieces of nineteenth century ephemera, commonly owned by women. In the analogous spirit of a modern high school yearbook, signature albums were used to collect personal sentiments from friends. During the nineteenth century, these sentiments “while rarely original,” generally took the form of transcribed poems about friendship, or Bible verses.[1] Friends signed, dated, and included their hometown at the bottom of each entry.[2]

mapClarkThe entries in Mary Clark’s signature album are not chronological. They are scattered throughout the album, separated by empty pages; all date between 1834 and 1838. Though Mary does not seem to have written in her own album, her book includes items that appear to have been created or collected by her, including a carefully drawn map of Eurasia (pictured). Female friends wrote most of the entries, though her album includes an entry from an “Oliver Brooks,” presumably a male friend.

Historian Anya Jabour thinks that autograph albums were particularly important to women during moments of transition in their lives, such as following commencement from school or in the weeks leading up to a marriage, allowing “young women’s friendships with each other to survive separation and even death.” [3] Mary’s album includes an undated “Quarterly Bill” (report card) from Bradford Academy, an institution in Bradford, Massachusetts, which operated as a women’s college between 1836 and 1931. Most of the entries are written by friends from Lowell, suggesting that perhaps Mary’s signature album was a way for her to stay connected with friends from home while she was attending Bradford.

The content of the entries in Mary’s album reflects this purpose. messingerAn 1836 entry from an “S.J. Messinger” of Lowell (pictured) includes the following handwritten poem borrowed from a Scottish author:

Though many a joy around thee smile

And many a faithful friend you meet

Whose love may cheer[e] life’s dreary way

And turn the bitter cup to sweet

Let memory sometimes bear thee back

To other days almost forgot

And where you think of other friends

Who love thee well Forget, me not!

Other entries, expressed in common language of Christian “virtue” suggest how these women conceived of, and dealt with such separations. An 1834 entry from Eliza Brooks of Lowell, MA, potentially the wife or sister of the aforementioned Oliver Brooks includes a poem, copied from an unknown source, that imagines a world where “virtue round us ever shed/The influence of her gentle light.” The poem’s author then goes on to admit that such a world will never be possible, nor desirable, for if the world was always virtuous:

We then might never thoughtful turn

Our minds to nobler scenes above,

Nor let within our bosoms burn,

Aught purer than an earthly love.

But Dearest Friends [author’s emphasis] are from us riven,

And pleasures gayest hours are brief;

And hope by stern misfortune driven,

Will wither like the Autumn leafe.

Then may we seek an endless Friend

Whose smiles are never shaded,

And hope for life that never shall end

Nor fade, as earthly scenes have faded

And calmly on life pathway move

To those Blest Mansions far above.

Eliza Brooks underlined “Dearest Friends,” in the fourth line, suggesting that this sentiment refers to Mary specifically. The “endless Friend” in this poem is assumed to be God. This poem is then one of several entries in Mary’s album recommending religion and investment in virtue, charity, and humility as ways to transcend the reality of being separated from friends, and the pain that comes with that separation. Other entries refer to virtue, Godliness, and eternal blessings outside of the context of friendship, suggesting a shared common experience and concern with upholding Christian values.

Presumably, Mary read these entries. This considered, her album becomes a dialogue between friends and herself, a place to receive and reflect on shared sentiments regarding friendship, separation, Christian virtue, and happiness.

But is this a journal? So far, I have been unintentionally vague about what I mean by a journal or diary, assuming (until now) that the term didn’t really need a definition. In my first entry, I described diaries as “something extremely personal, a continuous letter to self.” Mary’s signature album differs from previous diaries I’ve discussed in that she did not write in it, and other people did; it is not “a letter to self,” but a series of entries written to Mary by others. But it is personal, in the same way that a scrapbook or a signed yearbook is personal. The entries she collects from friends are a physical manifestation of existing friendships and interests.

Furthermore, this album differs from, let’s say, a collection of letters, in that it is contained in an album, and Mary’s presence is discernible through materials she’s intentionally inserted into it, including her map and a typed, published entry intended “For an Album” that has been removed from a primer or magazine and carefully glued to her album’s opening pages. Though Mary was not this album’s scribe, she was its owner and curator. Her album then, though not a journal, serves many of the same purposes, reminding us that diaries, in the traditional sense, are not the only self-curated historical documents that were used to record and reflect on the intimate details of a person’s life.

Rebecca D’Angelo is a senior undergraduate student in History and Anthropology. In her blog series For Private Eyes Only she studies diaries available in Archives and Special Collections at the Dodd Research Center to explore the history of journal writing and reasons why we write journals.


[1] Anya Jabour, “Albums of Affection: Female Friendship and Coming of Age in Antebellum Virginia,” The Virginia Magazine of History and Biography 107 (1999): 128.

[2] Lisa Ricker, “Performing Memory, Performing Identity: Jennie Drew’s autograph Album, Mnemonic Activity, and the Invention of Feminine Subjectivity” (Proquest, UMI Dissertation Publishing, 2011).

[3] Ibid.

 

Aaron Becker’s in the top 10!

Aaron Becker’s Journey: a wordless picture book was named one of The New York Times 10 Best Illustrated Children’s Books of the year. We are honored that he will join us on Saturday the 9th for a presentation at 3:30pm at the Connecticut Children’s Book Fair. Congratulations Aaron!

http://investors.nytco.com/press/press-releases/press-release-details/2013/The-New-York-Times-Book-Review-Announces–Annual-List-of-the-10-Best-Illustrated-Childrens-Books/default.aspx

Collections now available

John P. McDonald Reading Reading Room, Archives & Special Collections

John P. McDonald Reading Reading Room, Archives & Special Collections

Below is a list of collections that are now open and available for research (links to finding aids provided), arranged by broad collecting area.  Researchers are encouraged to contact the staff with any questions.

Business  Collections:

Somersville Manufacturing Company Records

http://doddcenter.uconn.edu/asc/findaids/somersville/MSS20130030.html

  • Administrative and financial files and volumes, marketing material, photographs and scrapbooks, and correspondence and other materials associated with the  Somersville Manufacturing Company and the company’s founders and owners, the Keeney family of Somersville, Connecticut.

Children’s Literature:

David M. Carroll Collection

http://doddcenter.uconn.edu/asc/findaids/Carroll/MSS19960020.html

  • One folder containing correspondence, notes, sketches and a calendar created in conjunction with an exhibition held in the Libraries in 1996.

Anna Kirwan Papers

http://doddcenter.uconn.edu/asc/findaids/kirwan/MSS20120073.html

  • Books, posters, manuscripts, proofs, clippings, research notes, promotional material, and correspondence, dating from 1991-21012.

Barbara McClintock Papers

http://doddcenter.uconn.edu/asc/findaids/mcclintock/MSS20130047.html

  •  manuscript sketches, correspondence, artwork, notes, and correspondence having to do with  Animal Fables from Aesop, adapted and illustrated by McClintock.

Labor Collections:

AFSCME, Council 4 Records  http://doddcenter.uconn.edu/asc/findaids/afscmec4/MSS20040118.html

  • The collection contains correspondence, financial records, meeting minutes, manuscripts, publications, and files of union locals represented by AFSCME, Council 4, including corrections officers with Council 16 which later merged with Council 4.

Railroad Collections:

Max Miller Collection of the Connecticut Valley Railroad

http://doddcenter.uconn.edu/asc/findaids/miller/MSS20130059.html

  • Shipping documents of freight shipped out of the North Haven, Connecticut, freight yard and real estate records of properties in Middletown, Connecticut, which was a point between Hartford and Old Saybrook.

University Archives:

Center for Economic Education Records

http://doddcenter.uconn.edu/asc/findaids/cee/MSS20060286.html

  • Administrative records, correspondence, publications, financial records and other materials related to the establishment and running of the Center.

Environmental Health and Safety Records

http://doddcenter.uconn.edu/asc/findaids/ehs/MSS20070077.html

  • Committee minutes, reports, and various records. Included in the collection are unit safety minutes, lab safety minutes, radiation waste shipment records, and radiation dosiemtry reports, 1965-2003.

Josef Gugler East African Survey Collection

http://doddcenter.uconn.edu/asc/findaids/gugler/MSS20060229.html

  • Questionnaires, clippings, correspondence pertaining to surveys about East Africa conducted by Dr. Gugler from 1955-1999.

Walter R. Ihrke Papers

http://doddcenter.uconn.edu/asc/findaids/ihrke/MSS19890082.html

  • scores and recordings as well as correspondence, publications and documentation of Ihrke’s “Automated Musical Training” [“Ihrke Method”].

Louise T. Johnson Papers

http://doddcenter.uconn.edu/asc/findaids/johnsonlt/MSS19990097.html

  • Personal and professional materials pertaining to her tenure at the University.

Irene and Merle Klinck Papers

http://doddcenter.uconn.edu/asc/findaids/klinck/MSS20130043.html

  • Photocopies of the text from two plaques presented to Mr. Klinck in recognition of his services and contributions to the town of Mansfield Highway Crew and the Eagleville Fire Department, Inc. as as a resolution recognizing Mr. Klinck’s six years first Selectman. Mr. Klinck’s Eagleville Fire Department badge is also included. A notebook containing lecture notes, scores and pamphlets related to the piano has Irene E. H. Klinck scratched into the verso of the cover.

Puerto Rican/Latin American Cultural Center Records

http://doddcenter.uconn.edu/asc/findaids/prlacc/MSS20120013.html

  • Administrative records documenting the programs and activities sponsored by the Center.

School of Allied Health Records

http://doddcenter.uconn.edu/asc/findaids/sah/MSS20070071.html

  • Administrative records documenting the work of the School of Allied Health at the University of Connecticut.

School of Nursing Records

http://doddcenter.uconn.edu/asc/findaids/son/MSS19980276.html

  • Faculty meeting minutes, project documentation, photographs, multimedia and ephemeral materials associated with the School of Nursing.

University Communications Office Records

http://doddcenter.uconn.edu/asc/findaids/communications/MSS19950007.html

  • Administrative Records, correspondence, notes, publications, media contacts, student and faculty activity, biographies, departmental communications, news releases, campus-wide communications as published in the UConn Chronicle, UConn Advance, Announce-L, and, Daily Digest, from 1979 to present.

For Private Eyes Only: Describing “The Most Curious” – A Nineteenth Century Travel Journal

In August of 1851, Mr. Dean Walker, a Massachusetts man, visited Liverpool, England for the very first time. His initial impression of the city could be described as underwhelmed:

Saturday [August 2] – I have spent the day in travelling about the town. Find the people looking better than I expected. I do not think there are more dirty shabby looking people here than in New York, or more of the low classes here than there. They do not appear to be employed here, they only come from Ireland to ship to New York and other places. I went to see the “Great Western” start for New York. Those who were going I think were the most dirty-looking people I ever saw. A few ragged people are begging in the streets but not as many as I expected to see.

Liverpool was the first of many stops Walker made in a multiple-month-long “European trip,” during which he visited parts of England, Ireland, Scotland France, and Italy. During his travels, he recorded his initial impressions and quick observations on European life, landscape, and people in a journal.

Crystal Palace (engraving),  Comprehensive Pictures of the Great Exhibition of 1851 (London, 1852).

Crystal Palace (engraving), Comprehensive Pictures of the Great Exhibition of 1851 (London, 1852).

Walker’s journal is one of several travel journals within the Diary Collection. Travel journals are personal, narrative accounts of an author’s travels – broadly defined here as experiences that involve long or short-distance movement across a geographic space. The four travel journals contained within this collection were all written by Americans traveling through Europe during the late nineteenth century.

Walker, whose age is unknown, lived during a time when travel between the United States and Europe was accelerating – literally. He left Boston bound for Liverpool, England on July 15, 1851 in what was likely the packet ship (or “clipper ship”) Daniel Webster, built and run by the Boston-based Enoch Train & Company line.[1] He arrived in Liverpool after sixteen days of travel on August 1, a “fast passage” according to the Webster’s captain. Clipper ships, the iconic speedy cargo ships of the nineteenth century, are one of several signs of the nineteenth century transportation revolution, alongside railroads and steamships, evident in Walker’s journal.

Though we know little about Walker, we do know that he was likely a man of means, as he was able to afford passage as a “cabin” (or “first class”) passenger during his journey to Liverpool, on a shipping line popularly perceived as “expensive.” [2] As historian Daniel Kilbride notes in his book Being American in Europe (1750 – 1860), even though the cost of trans-Atlantic travel was declining by mid-nineteenth century and many Americans counted themselves amongst the ranks of the “comfortable” middle class, European travel was still a luxury enjoyed only by the wealthiest citizens.[3]

We also know that Walker was not alone in his travels. In fact, I was first drawn to Mr. Walker’s journal because of its suggested co-authorship. The inside cover of its first page reads, “Journal of European trip made by Mr. Dean Walker + Addison P. Thayer (July 1851).” At early points in the journal, when Walker describes his passage to walkerdiaryEurope, he occasionally uses the pronoun “we,” suggesting the presence of a companion; however, he describes most of his experiences using the singular first person pronoun “I.” It isn’t until Walker reaches France, several weeks into his journey, that he mentions: “Mr. Thayer was with me.” Their relationship remains unclear.

Perhaps this is because Walker is largely concerned with using his journal to discuss other matters. He focuses on describing his new experiences and his impressions of things that seem particularly “curious” to him. He notes seeing “black fish” porpoises and whales during the voyage to Liverpool, seeing his first Hippopotamus at the Zoological Gardens, and taking a meal at the Mechanics Eating House in London – significant to him because he could enjoy a book from their large library with his meal. His interest in using his journal to describe the extraordinary material things he sees is evident from an entry he writes about his visit to the Crystal Palace in London to see the “Great Exhibition of 1851,” a “World’s Fair” housing display of technology:

Tues. [September] 26th: I went today for the third time to the Glass Palace…I thought I would today begin and go through and [write] down the prices and try to give a description of the most curious things I saw, but I directly became discouraged and gave it up as a bad job. The best way I can give one an idea of the things is to describe some of the most extravagant things and some of the most simple, and then have any one form an idea from the size of the building how much was to be seen.

He goes on to describe several extraordinary and expensive objects he sees at the exhibition– a large diamond, expensive furniture. His interest in wealth is telling, as his the suggestion that he may be describing these objects “for someone else.” Unlike Ann Winchester, it seems as if Walker may have had an audience in mind for his diary – perhaps family and friends back home, who would read his journal upon his return.

Walker’s journal is filled with comparisons, as well as descriptions. As evident in the above-quoted passage about the Irish immigrants passing through Liverpool on their way to the United States, Walker frequently compares European people, as well as landscape, architecture, food, and habits to American ones. In a few instances, he also compares his experiences in each European nation he visits to his experiences in other places in Europe. Consider the following excerpt from his journal, in which he describes a train ride he takes on his way from Hull, England to London:

[August, around the 16th]: The land on the rail-road for the most part is well cultivated, but not as neatly as in Ireland. The hedges looked much more uneven – a considerable woodland – the trees not large, and when we were within 10 miles of London it looked more like Massachusetts than it had at any time, on account of the wood.

Some of the comparisons Walker makes are purely descriptive, such as his recognition of the British landscape as very similar to that of Massachusetts. But there are many more that are qualitative in nature, including his comment included above about the “neatness” of British “cultivation.” Walker’s journal is therefore a place where he evaluates the quality of European culture, food, and conditions, by comparing them to the quality of American goods. As a person clearly cognizant of status and quality, this seems consistent with Walker’s character; as an American in Europe for the first time, it may have been Walker’s self-conscious attempt to understand America’s place in the world.

Rebecca D’Angelo is a senior undergraduate student in History and Anthropology. In her blog series For Private Eyes Only she studies diaries available in Archives and Special Collections at the Dodd Research Center to explore the history of journal writing and reasons why we write journals.


[1] The Daily Evening Transcript (Boston, Massachusetts); July 14, 1851, pg. 4.

[2] Boston Semi-Weekly Courier (Boston, Massachusetts), July 17, 1851, pg. 2.

[3] Daniel Kilibride, Being American in Europe, 1750–1860 (Baltimore: The Johns Hopkins University Press) 2013, 83.

 

An Encounter with Robin Price

October 25 at 4 pm, Konover Auditorium, Dodd Research Center

Robin-Price_Poster_resampled

For the closing reception for A Private and Sensuous Encounter: Women’s Fine Press and Artists’ Books, 1966-2013, we have invited Robin Price, printer and publisher, to share her artistic encounters in the world of fine press printing.

Price is an artist, letterpress printer and publisher, whose artists’ books have the craft sensibility of her fine printing background. The work of the press, under the umbrella of Robin Price Publisher has become a lifelong, interdisciplinary liberal arts education, and her press books are collected & exhibited internationally. The 25-year anniversary of her press was celebrated in 2010 with a traveling retrospective exhibition that originated at Wesleyan University Davison Art Center, “Counting on Chance: 25 Years of Artists’ Books by Robin Price, Publisher.”

Robin Price, Printer & Publisher:
http://www.robinpricepublisher.com

For more information please contact:
kristin.eshelman@uconn.edu
sara.jamshidi@uconn.edu

A New Collection — the Somersville Manufacturing Company Records

The Somersville Manufacturing Company, maker of fine heavy woolen cloth, was established in 1879 in Somersville, a village in the town of Somers, Connecticut, by Rockwell Keeney. For the company’s entire 90 year history it was owned and run by Rockwell’s descendents.

Advertisement for woollens made by the Somersville Manufacturing Company in Somersville, Connecticut, ca. 1950s

Advertisement for woollens made by the Somersville Manufacturing Company in Somersville, Connecticut, ca. 1950s

Last year Mr. Timothy R.E. Keeney, Rockwell’s great great-grandson, contacted Archives & Special Collections to discuss the donation of the company’s records, which were stored in his home in Somersville.  We found the records to be unique, accounting for the entire history of the company from its founding in 1979 to the point where it shut its doors in 1969.  The documents themselves were a treasure trove, ranging from administrative and financial files and volumes to marketing material, photographs and scrapbooks, detailing not only the life cycle of the company but also the Keeney family.  Mr. Keeney graciously gave us plenty of details about his family’s extensive and affectionate family; one fascinating aspect of the collection includes hundreds of letters written in the late 1930s and World War II years by his grandfather Leland Keeney to various members of the family.

The records are now open for research and the finding aid is available here: http://doddcenter.uconn.edu/asc/findaids/somersville/MSS20130030.html.  We welcome all interested researchers to explore the legacy of this important Connecticut business.

A Fierce Performer: The Magdalena Gómez Papers Collection (1979-2012)

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Some of you may have seen already the UConn Today article announcing that the UConn Libraries’ Archives & Special Collections at the Thomas J. Dodd Research Center has acquired the Magdalena Gómez Papers (1979-2012). Born in NYC but currently a resident of Springfield, MA, Magdalena Gómez is what I consider the quintessential Renaissance woman: an award-winning poet, playwright, performance artist and social activist. Magdalena Gómez has the ability to combine art with social activism to create projects that are uplifting and empowering, one of the many reasons that guide me when I decided to acquire her collection.

Magdalena Gómez’s creative output is impressive. Poetry,  plays, non-fiction, puppetry, monologues are just a few of the things that Magdalena has created, performed, engaged for several decades; and still there is more to come, as she herself shared with us recently:

I am in what may be the most creative period of my life. As I near the beginning of six decades on the planet I am at last finishing my novel, getting my first book collection of poetry published by Red Sugar Cane Press, NYC (I have chapbooks and two CD’s), and have poems and monologues, some of which have been set to music, by acclaimed composer, Desmar Guevara running Off-Broadway this Fall: Dancing in My Cockroach Killers, a co-production between Pregones theater and the Puerto Rican Traveling Theater, an Off-Broadway house since the 1960’s, founded by one of our legendary actors, Ms. Miriam Colón. It will be directed by another legend of American theater (all of the Americas), Rosalba Rolon, with choreography by Antonio Vargas.

In addition, Magdalena’s commitment to social change and justice through art is evident in such projects as Teatro V!da, the first Latino theater in Springfield, Massachusetts, where she is Co-Founder and Artistic Director. From their website:

Teatro V!da was founded to build youth leadership through the arts with a special focus on the creation of youth generated multi-media performance works in collaboration with professional adult artists. Our intergenerational ensemble work provides a venue for youth to identify and address issues that concern them in creative, positive, and life-giving ways.

Magdalena is the consummate collaborator. Her most recent effort is with Maria Luisa Arroyo, a writer and educator, with whom she co-edited a book on bullying, Bullying: Replies, Rebuttals, Confessions, and Catharsis (2012), an anthology of essays and poems written by educators and students, young and old people alike, who have suffered bullying but found that speaking out and sharing their experience is a way of healing–be it through a testimonial, a poem, or a short story.

At this point in time, we have a small collection, with a wide variety of materials that showcase the diverse projects and endeavors in which Magdalena has engaged from 1979-2012. Magdalena Gómez is an incredibly productive artist so more material will surely arrive in the archives as time goes by. Currently we have the following types of materials available in the collection: photographs, published poetry, published books and unpublished manuscripts of original poetry and plays, publicity posters and flyers, and empowering workshops material which highlight her creative output. Materials related to Teatro V!da and her book on bullying are also included, in addition to workshop material that she produced to teach educators, young children and adults, prisoners, abused women, etc. with the aim to empower them to reach their potential. A finding aid to her collection should be uploaded online by the end of the Fall semester.

Please visit the Archives & Special Collections, John P. McDonald Reading Room to see a display of Magdalena Gómez materials. The display will be available from Sept. 24 to Oct. 31st, 2013 during our regular hours, Monday-Friday: 10:00am-4:00pm.

Finally, today, Wednesday, October 9th the UConn Libraries, together with the Puerto Rican and Latin American Cultural Center, El Instituto, the Asian American Cultural Center, the Asian American Studies Institute and Women’s, Gender & Sexuality Studies Institute are co-sponsoring the event An Evening with Magdalena Gómez, at the Student Union Theater starting at 4pm, where we will celebrate Magdalena’s work and life. During the program, Magdalena will perform work from her forthcoming poetry anthology (Reception to follow at PRLACC).

Marisol Ramos, Curator for Latina/o, Latin American & Caribbean Collections, UConn Libraries
Suzanne Zack, Marketing & Communications Specialist, UConn Libraries

For Private Eyes Only: A Place to Record Continuity and Change

Ann T. Winchester was not looking forward to returning to school on September 28, 1943. She has written “Doom Day!” next to that date. Her entry continues:

Fooled around all morning getting ready for the great trek back to Storrs. We started at 2:00. [T]ook Jane and Mrs. Schafer – she gave me a beautiful blue cardigan and a white wool kerchief. We found my room in Wood – small but a single.

“Wood” in this case refers to UConn’s very own Wood Hall, which currently houses the History Department. Ann, a resident of Windsor and student at the University of Connecticut from 1941 to 1945, had lived in Holcomb Hall on East Campus during the Spring of 1943, but moved into Wood Hall for the 1943 – 1944 school year.

Ann was a student at the University of Connecticut during World War II when the ratio of male to female students on campus was at its lowest (nearly 1:1) since the University’s inception, due in part to the significant numbers of young men fighting in Europe and the Pacific. Notably, she was also one of the first students to graduate from the University of Connecticut’s School of Nursing, which accepted its first class in September of 1942. nutmeg_1944_0035She was a member of the Nursing Club, worked in the infirmary, and participated in an in-residence nursing training program at Backus Hospital in Norwich during the summer of 1943.

I once heard a writing professor define a diary as “a place to record the highs and lows of the day.” Ann’s diary, a series of short entries written daily from January 1, 1943 through December 31, provides consistent insight into the highs and lows of each of her days. A typical entry reads as follows:

May 7, 1943: After physics this a.m. – I went out on the roof for a couple hours of sunbathing. Hot and muggy today. Looked like Coney Island out there. Fooled around the rest of the day except for going to nursing class. Tonite we painted quite a bit. Then we took a walk up to the restaurant up the road and had coffee and doughnuts and smoked. Was fun – the nite is swell – warm and smells good. The peepers were singing for all they were worth.

In this way, each daily entry can read as a stand-alone record of one day’s events. But when read in its entirety, we start to see that Ann’s journal became a place where she recorded continuity and changes in her life over days, weeks, years, and semesters. Take, for example, the following excerpts from entries Ann writes over the course of three days in the Spring of 1943 about “an escapade,” which seems to have involved co-authoring a controversial note about one of her fellow house-mates (Flavia) with her roommate, Jane (May 4). This got her into particular trouble with a “Mrs. Davis,” presumably the house mother in Holcomb Hall, where she was living at the time:

April 28: Tonight Jane and I went to the House Council Meeting not expecting too much bad. Mrs. Davis gave us hell and threatened us with suspension. Not only the note was brought up – but working on shreds of truth, she told wholesale lies about us – “we’re vulgar.” Forbade Flavia to associate with us. Mrs. Davis is absolutely low and treacherous. In short she nauseates me!!!!

April 29 – I wrote mother about last nite – hope she’ll stand up for me! This place is stifling me – the petty minds and the cats that abound…Now Davis says [Flavia] can eat with us, but not come into the room. We’d corrupt her. I’ll get even with Davis some day!

And finally:

May 1: Both [Jane and I] went down to see Mrs. Davis this aft – she was too sweet to us. Well, maybe she thinks a little better of us. But you never can tell. To bed early.

These successive entries indicate that this issue remained a feature of Ann’s life over the course of several days. blogAnnWBy reading each of these entries, then, we see that Ann used her journal to record her changing thoughts on the consistent features in her life, and perhaps gain insight into the relative importance of each of these concerns to her. Certain topics, including her relationships, class work, habits, and career goals, seem to be of greatest concern to Ann because she writes about them at length. Some aspects of her life – such as her ongoing battle with her physics and chemistry classes – are easy to recognize as important to her because she writes about them explicitly and frequently.

But there are other continuities, such as her on-going friendship with her roommate Jane, which we know are important to her, even if she doesn’t say so explicitly. Ann never writes, “Jane is an important part of my life.” We simply know this, because she mentions her nearly every day. Their friendship is so pervasive that as I read her journal, any time Ann used the pronoun “we,” I automatically began to assume it meant “Jane and me” – even if this wasn’t always the case. More ambiguous is the relative importance of the War to Ann’s life, which we recognize only through passing references to rationing, war-time movies, blackouts, and a visit by Mrs. Roosevelt to campus in March of 1943.

Long-term change, as well as short term change, is also a feature of Ann’s diary. During her summer (June – August 1943) spent as an in-residence nursing student at Backus Hospital, Ann befriends a “Miss Classé,” an instructor at Backus. Taken with her, Ann writes, “She looks like the perfect nurse. I’ll have to pattern myself after her” (July 16). Later, in October, when she attends a Nursing Club lecture given by an ex-Navy nurse, she confides to her journal that, “I rather think I would like to be a navy nurse” (October 25). In this way, Ann uses her diary to anticipate and project her present life into her future, particularly as it relates to her career – unsurprising for a young person in school.

Rebecca D’Angelo is a senior undergraduate student in History and Anthropology. In her blog series For Private Eyes Only she will study various diaries available in Archives and Special Collections at the Dodd Research Center to explore the history of journal writing and reasons why we write journals.

Postcard Poems in the Archives

Stephanie Anderson is a PhD candidate in English at the University of Chicago and the recipient of a 2013 Strochlitz Travel Grant. Travel grants are awarded bi-annually to scholars and students to support their travel to and research in the Dodd Research Center’s Archives and Special Collections. 

These days, when I’m thinking of a friend, I usually toss off a quick text or email.  But a few weeks ago I stumbled upon a postcard image of Robert Burns’s cottage, and I had to send it to my mother, a Burns fan.  The simple act of addressing and sending the postcard reminded me what a joy postcards can be; my mother would know right away why I had sent the card.  Postcards anticipate some sort of response, even if it’s not a written one. In that regard, they are like poems – often understated, yet capable of signifying a great deal; sometimes intended for a particular addressee yet also circulating, exposed, in public. And like poems, their text is not their only means of signifying; it is generally only one component of the entire “message.” 

The postcard’s other marks of distance – foreign stamps, the obtrusive postmark, the image on the front (which, as with the postcard to my mother, may be more “private” than the text on the back, as it can represent a mental placement of the addressee in the sender’s position or thoughts for reasons that an over-hearer/reader may not be able to intuit) – can be just as weighty. In other words, often it is the entire object or one of its components that signifies more than the epistolary text. As Derrida says, “What I prefer, about post cards, is that one does not know what is in front or what is in back, here or there, near or far, the Plato or the Socrates, recto or verso. Nor what is the most important, the picture or the text, and in the text, the message or the caption, or the address.”[1] The postcard tracks the movement of the sender, and confirms the fact that the other is still in the world.

Members of the group of poets known as the “Second Generation New York School” (active from about 1960 to the present) used postcards as a primary form of communication. The cards were printed en masse to advertise readings; they were handwritten en masse as invites to parties and celebrations. Presses printed individual poems on them to advertise books. For the artist Joe Brainard as well as others, they suited his interest in assemblage and his reclamation of kitsch. He tirelessly sent vast numbers of postcards, such that their saturation became, for their recipients, a form of articulating presence – and as evidenced in a letter from Bill Berkson, Brainard even considered starting a postcard company.[2] We can assume that for the group, the exchange of postcards can be seen as a form of playful conversation.

At the Dodd Research Center’s Archives and Special Collections this summer, I had the berkson_notleycard1pleasure of looking through archives of several “Second Generation New York School” participants, including Bill Berkson, Ted Berrigan, and Larry Fagin. A chapter of my dissertation examines the epistolarity of Ted Berrigan’s The Sonnets, and so I was very excited to come upon letters and postcards throughout these archives.

Berrigan wasn’t a prolific letter writer, but he did like postcards quite a lot; at the time of his death in 1983 he was working on a series of poems written on postcards. The poet and Berrigan’s widow Alice Notley reports that though these blank postcards were printed by the Alternative Press, they were 4½ by 7 inches, distributed in groups of 500, and given to other artists and writers as well.[3] The appeal of the postcard, Notley suggests, is its materiality; it is a “block”-like unit.[4] She explains how Berrigan used the postcard:

The postcard poem was a form dominated by the size of the card, though a relatively longer poem could be written on a card if Ted shrank his handwriting. Ted immediately used semi-collaboration as a way into the poems, inducing everyone he knew to write a line or draw an image on a postcard. He later eliminated the names of the “facilitators,” except for the occasional dedication. The poems are often epigrammatic, but are just as likely to be longer; they chronicle, not so explicitly, a difficult year…[5]

The Bill Berkson papers contain one beautiful example of such a collaborative postcard, which has a “trillium” in the background painted by Notley (the back is empty). According to a note in his papers, Berkson received the postcard in 1983, after Berrigan’s death. berkson_notleycard2re The smooth and luscious lines of Notley’s watercolor flower provide an interesting contrast to the card’s text, which begins (after listing the address to situate the card’s production) “I stand in the dock in judgement / literally already condemned, but am / here to be informed…” The second slash is actually present in the text, insinuating that Berrigan conceived of the lines as poetry but perhaps a poetry still in a nascent or draft state.

The remainder of the text goes on to question groupings such as the “Second Generation New York School” tag that I employed above.  Berrigan was at this point seen as central to the “group,” and here he name-drops other artists (Lorenzo Thomas and Kathy Acker) to poke fun at his placement vis-à-vis the public perception of the “group,” suggesting that aligning his own work with that of Lorenzo Thomas and Kathy Acker is a mistake. One aspect of their work’s reception, he says, is its ability to “provoke angry / exchanges + bloody fist fights,” an end his work cannot accomplish. He will, instead, simply attempt to communicate: “…so, what I am / going to do is talk, which is what I do plus read / my poems.” His “one word of advice” to Berkson, scrawled almost illegibly in the upper right-hand corner, is “Duck,” perhaps partially intended to pun on predictability. The image of the flower contains an upward trajectory in its lines, some of which guide the eye toward this right-hand corner, but semantics of the word hiding there suggest the opposite movement. “Duck,” as a verb: keep your head down, keep moving, don’t get hit by the incoming “bloody fist[s].”

I don’t take this statement to be apolitical, or against aesthetic provocation; I read it instead as a wariness of generalizing about groups and group labels. It is desirable to be included – or to have others included with you – in such grouping, even with the tongue-in-cheek tone (“I am pleased and flattered / to be joined in such noble / company,” he writes). But as in a boxing match, one can only avoid being knocked out (critically pigeon-holed and labeled, we might say) by remaining unpredictable, both in aesthetics and in perceived group affiliations. Hand-delivered to Berkson, it has a specific addressee, yet the suggestions Berrigan makes about aesthetic groupings seems directed toward a larger audience. Of course, he couldn’t have anticipated that 30 years later, a budding scholar would be thumbing through his correspondence looking for clues about his work and milieu – yet the postcard felt like it was intended to be overread by a recipient exactly like myself, in order to complicate and nuance conceptions of poetic form and coterie labeling

– Stephanie Anderson


[1] The Post Card: From Socrates to Freud and Beyond (Chicago: University of Chicago Press, 1987), 13.

[2] “United Artists Papers,” Archive (UCSD, n.d.), Box 1 Folder 9, MSS 0012, Mandeville Special Collections Library, UCSD.

[3] The Collected Poems of Ted Berrigan (Berkeley: University of California Press, 2005), 12–13.

[4] “It’s a very graspable, manageable unit.” (See the introduction to A Certain Slant of Sunlight (Oakland, CA: O Books, 1988), n.p.)

[5] The Collected Poems of Ted Berrigan, 13.

Remembering the New England Hurricane, September 21, 1938

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The New England Hurricane of 1938 was one of the most famous of weather disasters in the region’s history and for many years the standard upon which all other hurricanes were held.  The devastation was enormous: after making landfall as a Category 3 hurricane on September 21 it is estimated to have killed between 682 and 800 people, damaged or destroyed over 57,000 homes, and caused property losses estimated at $306 million ($4.7 billion in 2013).

Shown here are a few of the images we have in our collection showing the devastation from the hurricane.  More photographs, from other libraries in the state in addition to Archives & Special Collections, are at Connecticut History Online, at http://www.cthistoryonline.org/.  We also have an online exhibit showing photographs from the Southern New England Telephone Company Records on how this company responded to this natural disaster, at http://doddcenter.uconn.edu/asc/exhibits/snet/beyondthecall/1938hurricane/index.htm.

For Private Eyes Only: Why Write Diaries Anyway?

Rebecca D’Angelo is a senior undergraduate student in History and Anthropology. In her blog series For Private Eyes Only she will study various diaries available in the Dodd Research Center’s collections to explore the history of journal writing and reasons why we write journals.

I have a confession to make: I’ve been reading other people’s diaries.

I didn’t feel guilty about it at first. The diaries I’ve been reading are part of the Dodd Center’s Diaries Collection. Most were written over one hundred years ago. Unlike other collections which tend to be organized by donor, the Diaries Collection houses an eclectic mix of personal diaries, daybooks, copybooks, and ledgers, many written by New Englanders. The collection spans one hundred years of journal writing, the earliest diary in the collection dating to 1851. Two diaries, which both date to 1943, are the latest in the collection; both were written by Connecticut women, one, a painter with the surname Whitlock living along the Connecticut shoreline, and the other, a University of Connecticut student named Ann T. Winchester who was studying to be a nurse during her time at UConn.

diariesAt first I viewed the diaries in the Dodd Center’s collection purely as sources. I was interested in the stories they could tell me about the past and about the people who occupied it. I was also interested in the quite literal range of forms and colors present in this collection. Some, like Ann Winchester’s are handwritten in a book printed with “Diary” on the front. Hers is bright red. Others are written in tiny notebooks, and others in leather-bound volumes. Some only include personal entries. In others, notes on the writer’s day are included alongside general musings and business records.

Then I saw this message, inscribed on the inside cover of one diary written by S.E Warren, a young Massachusetts man training to become a school teacher in the 1850s. It read:

“All of my journals[,] To be read by no one but my parents in case of my death as a single man or widower. Others may see the index only, and may have such portions read to them as are not marked Private. Or else my relict or heirs only shall see them as above directed.”

 Suddenly I felt like one of those TV sitcom dads who gets caught snooping through his daughter’s diary. The person who wrote this diary didn’t intend for me to read it. As a historian, I tend to forget that sources are generally not written for me. It’s true that some historical accounts or objects are created “for future posterity.” But generally, artifacts are the surviving residue of a past life, lived day-to-day, with little concern for what a history student writing about them in a blog would think about them one hundred years down the line. After all what is a diary, if not something extremely personal, a continuous letter to self? I’m guessing that S. E. Warren didn’t intend for future historians to read his journal. Then again, he clearly anticipated that someone other than himself, his parents, or his heirs might pick it up. Why else would he have included such a preface?

As I continued browsing through these journals, I started thinking about my own journal-writing. I keep several irregular journals to explore my thoughts. I imagined S.E. Warren, Whitlock, and Ann T. Winchester each had their own similar motivation for writing in their respective journals. I thought back to other historical journals I had read. Growing up, I valued Anne Frank’s diary for the story it told and for the perspective it offered me into the lives of Jewish German nationals forced to flee Germany during World War II. Now I began to wonder: Why did Anne value her diary? Realizing that I read other people’s journals even though I barely go back and read my own, I started wondering why I kept mine. Why does anyone write in a diary or journal?

Today, psychologists and writers extol the benefits of journal-writing. A quick internet search on “why we write diaries” reveals a laundry list of blog articles encouraging me to keep a journal for various reasons – to reflect, to project, or simply to practice writing. In 2007, the New Yorker published a fabulous review piece that pondered this very question. “Diaries,” the author suggests, “are exercises in self-justification.” He ultimately concludes, “We write to appease the father. People abandon their diaries when they realize that the task is hopeless.”

I am no psychologist and will not pretend to be one, but I am a historian and I’m interested in these questions – why did we write diaries in the past? Why do we continue writing them today? I intend to use this blog series to help me answer these questions. By reading, researching, and analyzing the range of diaries available through the Dodd Center’s Diaries Collection I hope to explore the different forms diaries take on, the stories and details we entrust them with, and the function they serve in our lives.