Devil's Tale Posts
Working in an archive, you can come across a lot of exciting material and constantly learn something new. When the Rubenstein recently augmented its collection of World War II propaganda leaflets, we took the occasion to reorganize the whole collection. The collection now contains about 270 leaflets as well as some examples of propaganda magazines (most of the non-English documents include English translations). The material was disseminated between 1941 and 1945 with the aim of damaging enemy morale and sustaining the morale of the occupied countries. The collection includes examples of German and Japanese propaganda, aimed at Allied soldiers. Included also are German-language leaflets that were dropped over Germany by a clandestine British intelligence body—the Political Warfare Executive (PWE)—, as well as French-language leaflets, prepared by the French exile government in London and dropped over Vichy France (calling on the French population to not collaborate with the German occupiers or the Vichy regime).Leaflet with text in Tok Pisi
A large portion of the leaflets were aimed at the Pacific area and dropped by the Psychological Warfare Branch of the U.S. Army Forces. Most of them area are in Japanese. Some of them, however, are written in less well-known languages like Tok Pisin and Burmese. A creole language spoken throughout Papa New Guinea, Tok Pisin is commonly known in English as New Guinean Pidgin or Melanesian Pidgin. By trying to identify the languages of the leaflets, I learned that the New Guinea Campaign from 1942 to 1945 was one of the major military campaigns in the Pacific War and that leaflets in Tok Pisin—the most widely spoken language in New Guinea—were dropped by the Allies in order to encourage the population not to collaborate with the enemy. Likewise, material in Burmese was dropped over Burma (since 1989 Myanmar) in 1944 and 1945 during the Burma Campaign—the Allies’s fight against the Empire of Japan, which was supported to some degree by Thailand, the Burmese Independent Army, and the Indian National Army.Leaflet in Burmese dropped during the Burma Campaign, 1944-1945
Leaflet in Burmese (back)
Finally, one might discover personal connections and be reminded of very familiar places, even when far from home. I am from Kiel, the capital of the state of Schleswig-Holstein in northern Germany. I spent many vacations and weekends in Laboe, a little town at the coast of the Baltic Sea, right at the outskirts of Kiel. Kiel/Laboe was one of the main naval bases and is the location of the Laboe Naval Memorial, a memorial for the deaf of World War I built from 1927 to 1936. As such, it was a natural target for propaganda against the German marine like the leaflet found in our collection shows. Imagine my surprise to see a leaflet showing such a familiar sight while processing! The naval memorial still stands today and attracts many tourists (https://en.wikipedia.org/wiki/Laboe_Naval_Memorial).Leaflet depicting Laboe Naval Memorial (front) Leaflet depicting Laboe Naval Memorial (back)
If you want to know more about this collection, visit the collection guide: http://library.duke.edu/rubenstein/findingaids/wwiiprop/.
Post contributed by Sandra Niethardt, Rubenstein Tech Services intern and graduate student in Germanic Languages & Literature.
The post Seeing a bit of home while far away: discoveries in the World War II Propaganda Leaflets appeared first on The Devil's Tale.
“Radio Haiti, You are the Rain. If You Didn’t Fall, We Could Not Bloom”: Repression and Remembrance on November 28
On November 28, 1980, the Duvalier regime unleashed a campaign of violent repression on the independent press and human rights activists, destroying the Radio Haiti station on Rue du Quai in downtown Port-au-Prince. The crackdown was not unexpected: in October of that year, Jean-Claude Duvalier had decreed on the National Radio station that only state media would be permitted, that “the party is over” (“le bal est terminé”) for independent Haitian media. In response, Jean Dominique composed his prophetic (and beloved) editorial Bon appétit, messieurs, in which he sardonically declares, “gentlemen, journalists of the official press — the country is yours and yours alone from now on. And all will be beautiful, all will be peaceful, all will be idyllic, all will be pink and wonderful!” and warns these “official journalists” of what will befall Haiti when the independent press is silenced. Ronald Reagan’s triumph in the US presidential election that November meant decreased international pressure on Duvalier’s government – which was largely dependent on US aid – to respect human rights. And so, on November 28, the inevitable crackdown occurred. More than a dozen of Radio Haiti’s journalists were imprisoned, tortured, and expelled. The regime issued an order to kill Jean Dominique on sight; he escaped to the Venezuelan embassy and later went into exile with Michèle Montas in New York. In the years that followed, resistance to the regime spread throughout the country, as economic conditions worsened for the majority of Haitian citizens while the Duvalier family’s lifestyle grew more ostentatious, lavish and dissipated.
On November 28, 1985, five years to the day after the 1980 crackdown on the independent media, protests broke out in Haiti’s third-largest city, Gonaïves. Three high school students — Jean-Robert Cius, Mackenson Michel, and Daniel Israël – were gunned down by Duvalier’s Tontons Macoutes. In photos, they are heartbreakingly young – boys, not yet men. The teenaged martyrs were christened the “Twa Flè Lespwa” (Three Flowers of Hope), and their deaths catalyzed outrage and resistance to the regime, both within Haiti and in Haitian communities abroad.Flier for Brooklyn protest against Duvalier and the killing of the Twa Flè Lespwa. Radio Haiti Archive.
In January 1986, Jean Dominique co-authored a short op ed in Newsday with lawyer and human rights advocate Arthur Helton, discussing the deaths of the Twa Flè Lespwa, the grassroots agitation provoked by their murders, and the United States’ complicity in supporting the Duvalier regime.“Haiti No Longer Suffers in Silence” by Jean L. Dominique and Arthur C. Helton. Newsday, January 27, 1986. Radio Haiti Archive.
They warn, perhaps cautiously: “Discontent grows and a fundamental conflict is looming.” The conflict was indeed looming, but it was not yet clear how imminent it might be.Le Petit Samedi Soir, Haitian independent magazine, for February 1-7, 1986. Radio Haiti Archive.
But on February 7, 1986, just over a week after Jean Dominique’s and Arthur Helton’s editorial was published, it happened: Jean-Claude Duvalier and his family boarded a US Air Force cargo plane and fled to France. On March 4, Jean Dominique and Michèle Montas returned to Port-au-Prince, where many thousands of people – “une masse en délire,” a delirious crowd, according to the Haitian newspaper Le Nouvelliste – received them at the airport and nearly carried them to the old Radio Haiti station on Rue du Quai.Photocopy of Nouvelliste story on return of Jean Dominique and Michèle Montas to Haiti. March 5, 1986. Radio Haiti Archive.
The station had been ravaged, their equipment smashed. But the recordings, miraculously, had survived. J.J. Dominique – Jean’s eldest daughter, who became the station manager after 1986 — explains: “We always said, ‘The Macoutes, they may destroy, but they don’t know the true value of so many things’… They didn’t think, they didn’t understand that the most valuable thing at the station was the work contained in the station’s archive.”
With assistance from the Haitian people – many of whom, though very poor, gave what little money they could afford — the station reopened in 1986. On November 28 of that year, Radio Haiti held a day-long commemoration of November 28, 1980 and November 28, 1985. It included tributes to the Twa Flè Lespwa and to station manager Richard Brisson who had been killed in 1982.Radio Haiti’s November 28, 1986 special programming. Radio Haiti Archive.
The archive also contains many pages of poetry written by Radio Haiti’s listeners, in Haitian Creole and French, on the Twa Flè Lespwa, the reopening of the station and the return of the journalists. The heartfelt, earnest intensity of these poems (these love letters, really) evinces the public’s devotion to Radio Haiti. For Radio Haiti’s listeners, the station was more than a station; it was a symbol of liberty, grassroots democracy, and freedom of expression. For Radio Haiti’s listeners, the journalists were more than journalists; they were heirs to the revolutionary legacy of Haitian heroes who had fought against French colonizers and US occupiers. For me, as the project archivist, finding these poems is a reminder of how irreplaceable and beloved Radio Haiti was and still remains, and how important this archive is.Un Jour Comme Aujourd’hui” by Elmate Parent. Radio Haiti Archive.
A day like today
Under the sorrowful sky of November 28 in the year ‘80
Haiti’s sun went out
Sending these brave men, these heroes,
Fruit of the body of Dessalines, of Charlemagne Péralte
Fighting with courage,
For nothing more than the liberation of Haiti,
Upon the claws of assassins cruel
With hope they suffered and toiled
All for the same cause.
A day like today
The skies of Haiti wept,
And her tears, borne of pain,
Allowed life to germinate.
You, brave patriots, true offspring of the people,
You have suffered such humiliation
And endured physical torture.
You left your families
Your country and your friends
To go and live under another sky
Where you were strangers
All of this for nothing more than the deliberation of Haiti
Your native land…
A day like today
In the heavens over Gonaïves,
Three brilliant stars burned out
They gave their light
To reveal crimes
And their blood to fertilize
The arid soil of Haiti
Whereupon shall sprout and grow
The tree of freedom.
Mackenson Michel, Daniel Israël, Jean Robert Cius
Will your famous names,
Be erased from our thoughts?
Today, 28 November ’86…“Men bèl ti paròl yo” by Emmanuel St. Louis. Radio Haiti Archive.
“Men bèl ti paròl yo” (“Some lovely little words”) draws on metaphors of nature and harvest befitting Jean Dominique, a man who was, after all, an agronomist before he was a journalist and activist. The poet touchingly explains that he “spent all night thinking about Radio Haïti-Inter” before setting pen to paper.
If the sun didn’t shine, plants would not give fruit
If the rain didn’t fall, drought would never stop dancing,
If the rain didn’t fall, there would be no springs
Springs would not give rise to rivulets
Rivulets would not become streams
Streams would not become rivers,
Rivers would not become the sea…
Radio Haiti, you are the sea, we are the fish
If you were to dry up, we could not live.
Radio Haiti, you are our rain,
If you didn’t fall, we could not bloom…
Radio Haiti, be encouraged! Sow! Plant!
God will bring it to fruition.
Let us weed, even if the thorns are many,
The pruning shears of the Holy Spirit will aid us always.“Ayiti Intè ou se manman liberasyon won” by Gueline Alexis. Radio Haiti Archive.
From “Haiti-Inter, You are the Mother of Liberation”:
Yes, you are the mother of liberation
Because when the children of your womb were suffering
You never closed your eyes to it
You stood bravely to defend the people
Just as a mother hen would do
If a vulture came to devour her children…
Now the idol of the Haitian people
As returned to continue
The wonderful work it began
Beautiful mama, hold on tighter
Stronger – courage — never give up.
Post contributed by Laura Wagner, PhD, Radio Haiti Project Archivist.
A manuscript (i.e. handwritten) cookbook can tell us a great deal about its creator. What foods were available to her? How would her family have celebrated holidays and birthdays? Was she an elite woman with a cook who could prepare elaborate dishes, or a farm wife who had to prepare simple, hearty fare and preserve her harvest to feed her family? Do the recipes reflect a particular ethnic or religious background or geographical location? As is the case today, routine meals do not require a recipe. It is the special occasion recipes, especially those that require careful measurements to work properly, that are recorded for future reference.
We know, based on the ingredients, that Rubenstein Library’s New England Manuscript Recipe Book, [ca. 1860]- comes from the northeastern United States. It is no surprise that the little book includes a page of maple recipes, since maple is such a distinctive regional product.
I was intrigued by the Maple Ice Cream Recipe, in part because I am the proud owner of a fancy electric ice cream maker, so much easier than the hand-crank models that would have been available when the recipe was recorded. There is also the nostalgia of tasting maple: Santa always left a maple sugar woman in my Christmas stocking.
This is an extremely simple recipe, with just three ingredients: eggs, maple syrup, and cream:
I made a couple of changes. Given concerns about salmonella, I was not comfortable leaving the egg whites uncooked. I was also worried that mixing the eggs and syrup and boiling the mixture would result in curdled eggs. Instead, I boiled the syrup for about ten minutes to reduce it slightly, thereby intensifying the flavor. In a separate bowl, I beat the whole eggs. Then I slowly dribbled in about a cup of hot syrup, whisking the egg mixture constantly before whisking the egg mixture into the pot of hot syrup. Then I brought the mixture to 170 degrees, turned off the heat, and stirred in the cream.
Finally, I strained the mixture through a sieve to remove any solids and chilled it overnight before freezing, emptying into a plastic container, and leaving it in the freezer for a few hours to firm it up. The result: an absolutely luscious and elegant frozen dessert.
How did it taste? I brought in the whole container to share with my Rubenstein colleagues and it got rave reviews. It is very rich (note the quart of heavy cream!), but delicious.
Intrigued by the annotations (1896, Mrs. Kimber Thomas, Ladies Uplift Club), I did some searching and found a Morrisville, Vermont Uplift Club in The Register of Women’s Clubs (1922). I wondered whether Mrs. Kimber Thomas was given the recipe for Maple Ice Cream in 1896 and contributed it to an Uplift Club fund-raising cookbook and was thrilled to find a reference to this 53-page cookbook: Tried and Proven Recipes from Many Households. Morristown, Vt. : Ladies of the Uplift Club. The one known copy is in the Janice Bluestein Longone Culinary Archive at the University of Michigan in Ann Arbor. Staff have dated it to 1921, based on advertisements printed in the cookbook. As I write this, I am waiting for scans that I hope will confirm my hunches about the Maple Ice Cream recipe’s provenance. The tradition of noting the source and date of a recipe is a lovely way to link culinary creations to a vast network of friends, family, community, and history. The additional information would also allow us to more precisely identify the origins of this precious little cookbook.
Post contributed by Elizabeth Dunn, Research Services Librarian
The post 19th Century Maple Ice Cream – Rubenstein Library Test Kitchen appeared first on The Devil's Tale.
Copyright, Rob Amberg
Rob Amberg journeyed to the Appalachian mountains of North Carolina during the height of the back-to-land movement. It was a time when hippies and artists took John Prine’s advice and “blew up [their] TVs, threw away [their] papers, went to the country, and built [them] a house.” All kinds of folks retreated to the mountains back then, and Amberg arrived in 1973 with the suspicious title of documentary photographer.Tillman Chandler’s barn and tobacco crop, 1975.
Copyright, Rob Amberg
I say suspicious because Appalachia has been a favorite testing ground for ambitious artists for more than a century. These artists, documentarians, and musicologists act as arbiters and preservationists for what they view as culturally interesting and valuable, and Madison County in particular, where Amberg found himself and where I grew up, is not always portrayed in a nuanced light.Joe Ross Chandler and Bobby Cantrell, 1977.
Copyright, Rob Amberg.
It’s easy though for artists to fall into the trap of reproducing certain convenient and sometimes sensational tropes. My personal favorite is the proliferation of snake handler portraits. A recent comment on a Vice Magazine series called “Two Days in Appalachia,” a series that provoked much conversation and criticism, pointed out that “poverty porn” has been a long standing tradition of documentary artists creating work from the Appalachian region. So, yes, I think it’s fair to initially approach any stranger with a camera in the mountains with suspicion.The first picture I made of Junior, 1975.
Copyright, Rob Amberg
All of this is to say that Rob Amberg has created a complex, beautiful, and compassionate body of work. Of the many aspects of his work that I find remarkable, I will mention two here: first, when he moved to Madison County in 1973, he came to stay. His photographs, whether documenting the small community of Sodom Laurel, the expansion of I-26, or the continual influx of new people, follow long-term changes in the landscape, a landscape that he calls a shatter zone. Amberg defines a shatter zone this way:
Shatter zone is an 18th-century term that refers to an area of fissured or cracked rock that forms a network of veins that are often filled with mineral deposits. The phrase took on new meaning after World War II when anthropologists and political scientists began using it to speak of borderlands. In this modern definition shatter zones are places of refuge from, and resistance to, capitalist economies, state making, and state rule. Appalachia and Madison County have always fit that definition.At Cricket’s birthday party, Big Pine, 2011.
Copyright, Rob Amberg. I-26 at Buckner Gap, Madison County, N.C. 2008.
Copyright, Rob Amberg.
For four decades, Amberg has acted as a witness and interpreter of both the visible and invisible fissures of a changing landscape, and he has captured moments that could not be experienced, let alone appreciated, by someone who was merely passing through. When viewing his photographs, I often ask myself, how did he get there? He got there because he has dedicated the majority of his life to being in Madison County.J.D. Thomas walking away from his burning home place, Sprinkle Creek, Madison County, N.C., 1997.
Copyright, Rob Amberg
The second aspect of his work that greatly interests me, which is related to the longitudinal nature of his project, is Amberg’s own increasingly entangled role in the community. Once, over lunch, Amberg and I talked about all the goings on in Madison County, and it became clear that he knew more about the land and the people than I did. I was born and raised there, but I left when I was sixteen and now live in Hillsborough. As I have become more of an outsider to the community, Amberg’s intimacy with the land and people continues to grow. And as this intimacy grows, he becomes more implicated in the narratives that he weaves, in the lives that he portrays. And, curiously, as his subjects view his work, they are informed and changed by the stories he tells. All is changing as the work goes on.Ben Amberg, Rob’s son, with Dellie and Junior, 1982.
Copyright, Rob Amberg Junior playing with my daughter Kate, 1992.
Copyright, Rob Amberg
To me, Amberg’s photographs are one continuous conversation. I keep going back to them; they keep speaking to one another and to me. It’s an amazing time to be able to view his work, in medias res. In fact, I’ve never quite had this kind of experience with an artist, one who so profoundly shapes my view of the place I grew up. It’s my hope that he continues to work for many years, and I am excited to follow his efforts as he contributes his photographs and papers to the Rubenstein Library.Isaac Gunter’s tobacco bed and cemetery, 1982.
Copyright, Rob Amberg. Migrant farmworker cutting and spudding tobacco, 1993.
Copyright, Rob Amberg New condominiums at the Wolf Ridge Resort. Upper Laurel, Madison County, N.C., 2007.
Copyright, Rob Amberg
As an addendum, I should mention that Amberg’s photographs reach well beyond Appalachia, and you can follow his current projects on his blog: http://robamberg.com/. Also, you can view the collection guide to learn more about the Rubenstein Library’s holdings.
*I have kept Amberg’s original captions, which reveal a glimmer of how he views the photographs, the people, and the land.
Post contributed by Laurin Penland, Research Services Assistant.
We are pleased to announce this year’s winner of the Middlesworth Award!
The Middlesworth Award is given annually in recognition of students whose research makes use of the primary sources and rare materials held in the David M. Rubenstein Rare Book & Manuscript Library. Funding for the awards has been provided by Chester P. Middlesworth (A.B., 1949) of Statesville, North Carolina.
This year’s winner is Michael Sotsky (’15) for “The Fight to End ‘Legalized Lynching’: The Civil Rights Congress’s Rise and Fall in the Southern United States in the Post World War II Era.” He wrote this paper as an independent study under Dr. Nancy MacLean. Sotsky’s primary sources included material on the Civil Rights Congress in the J.B. Matthews Papers and The Daily Worker from the American Newspaper Repository Collection.
We will be celebrating Sotsky and the winners of the library’s other writing and research prizes at an awards reception on Friday, October 30 from 3:30-4:30 in the Holsti-Anderson Family Assembly Room. All are invited for refreshments and the opportunity to honor the recipients.
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I catalog manuscript and other archival materials, the majority of which are unpublished and not described. They also cover a wide variety in type of material. Among the more exotic finds I have cataloged: a salesmen’s kit with patterns for men’s suits, musical instruments used by a jazz percussionist, feminist t-shirts, John Brown commemorative medals, and envelopes of 19-century bath and other powders.
Last Spring we acquired the Lisa Unger Baskin collection, which features five centuries of women’s history. Among the items is a work of needlepoint, a flower study, completed by Charlotte Brontë around 1840. I had never cataloged a work of needlepoint.
When faced with an unfamiliar format, a cataloger begins by looking for similar materials cataloged by colleagues nationally, searching in WorldCat. I found only a few pieces of embroidery, usually samplers, and those did not include extensive description of the item. I was determined to provide more detail than a basic record.
Fortunately, our donor had included with the Brontë needlepoint a photocopy from a book on Brontë artwork. The page focused on a flower study Charlotte had completed in watercolors while she was still in school. It offered a description of the piece which provided the level of detail I was seeking, so I based my own approach on it. However, to move forward with this approach I needed to confirm what flowers were depicted in Charlotte’s needlepoint study.
There was no argument that the top flower is a white lily. I felt the bottom left flower was a peony, while others said it was a rose. I had no clue what the bottom right flower might be. Who to consult? I approached a staff colleague who hails from England, and she offered to forward my photograph of the needlepoint to her father, who is a master gardener. After consulting his references, he agreed that the bottom left flower is a peony, and determined that the unknown flower on the bottom right is probably a carnation.
I also had to consult with Beth Doyle, head of our Conservation Services Department, regarding whether Charlotte’s needlepoint should be removed from its frame. While answering this question (no) Beth let me know the thread Charlotte used was probably wool. Beth’s mother is a master needleworker who may be able to determine what type of stitch Charlotte used.
Using all of this information, I wrote a description that provided the level of detail I was seeking, to give someone a basic mental image of the piece they would then find in our collection. However, even after I finished my initial work, one more consultation was required. My colleague, Lauren Reno, checked my catalogue record in RDA, the new cataloging standard I am applying to manuscript materials. She made several helpful enhancements.
I am very grateful for the “village” of people I can call upon in support of my work.
Post contributed by Alice Poffinberger, Archivist/Original Cataloger in the Technical Services Dept.
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Date: Thursday, October 29, 2015
Time: 2:00-4:00 PM
Location: Holsti-Anderson Family Assembly Room
Contact: Amy McDonald, email@example.com
Y’all, we hear you. The semester is getting more and more intense and sometimes Duke is just so . . . gothic, you know? Sometimes you just need to eat some free candy and look at cute things. And what better time to do that than in celebration of that traditionally cute holiday, Halloween?
Your cuddly Rubenstein librarians would like to invite you to visit us for Screamfest III, an open house featuring creepy ADORABLE things from our collections.
Or this illustration of these precious babies from our History of Medicine Collection’s Opera Omnia Anatomico-Medico-Chirurgica by Frederik Ruysch. Yes, fine, they’re skeleton babies, and they’re standing on a pile of human organs, but they’re totally listening to a song by The Wiggles.
You can also page through the 1984 Chanticleer to view the photos of this friendly library ghost, who just wants to bring you fuzzy slippers so you can study comfortably.
And sure, scourge and sword-wielding demons are very scary when they’re life-sized. But swing by our open house and you’ll be able to bravely make kissy-faces at this little dude (paperclip for scale) from the Edwin and Terry Murray Collection of Role-Playing Games.
In fact, we promise that there will be so much cuteness (and candy) that, well, you might die. See you there!
Guess what? Today, this blog turnsDesigned and photographed by Katrina Martin
We figure that blog years are roughly equivalent to dog years, so . . . we’ve been around a while. Around for 826 posts, to be exact.
Armfuls of thanks to our tireless and creative blog editors, our gracefully articulate and fascinating co-workers, and—most of all—our luminous and supportive readers.
And HT to Beth at Preservation Underground (our delightful and beloved partner blog), who always remembers our birthday. We love blogging with you!
With so many meetings, events, exhibits, performances, and games each day, it might seem difficult to set aside time to learn about your Duke student organization’s history. The University Archives, which collects student organization materials, knows how busy you are and we want to help!
Starting on October 20th, we’ll be holding a series of pop-up displays on student organization history, featuring historical materials from our collections. We’re calling this YOLO@UA: Your Organizations Live on @ the University Archives.
Each Tuesday, you’ll find us at a table just outside the Von der Heyden Pavilion from 2-3 PM, ready to show some cool stuff and answer your questions about student organization history.
We’ll be changing the display focus each time, so here’s the schedule:
October 20: Cultural Groups
October 27: Arts Groups
November 3: Student Government & Political Groups (Happy Election Day!)
November 10: Sororities, Fraternities, & Living Groups
November 17: Student Publications
Don’t worry if your organization isn’t covered with this schedule. We’ll plan more pop-up displays with different focuses during the spring semester. And you’re always welcome to get in touch with us to discuss how you can research your organization’s history at the University Archives!
P.S. Do you have student group materials that you’d like to archive at the University Archives? Learn more, and complete a form to let us know about your materials, here!Cast of “The Womanless Wedding,” ca. 1890s
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What can we learn from the gaps, absences, and silences in an archive? What are the stories that are hidden between the lines?
From September 1991 to October 1994, Haiti was ruled by a military junta that overthrew the democratically-elected government only a few months after it came into power. The military regime was a particularly unjust and brutal era in Haiti’s unjust and brutal history, in which dissidents, pro-democracy and human rights activists, and journalists were beaten, raped, imprisoned, and killed by military and paramilitary forces. The politically-engaged poor were especially targeted, and subjected to physical and psychological terror. The US responded by imposing a trade embargo on the de facto regime, in the hope that economic sanctions would force the coup leaders from power, but the embargo hurt the poorest and most marginalized Haitians the most. Fearing political persecution and struggling under a suffocated economy, tens of thousands of people fled on boats seeking refuge in the United States. Much as Reagan had done in the early 1980s, the Bush administration claimed that the Haitian refugees were not victims of human rights violations, and therefore the US would not grant them political asylum. Many died at sea; others were incarcerated at detention camps at Guantanamo; most were repatriated to Haiti (where some were indeed killed for their politics).
Radio Haiti stopped broadcasting on October 4, 1991, five days after the coup d’état, after the military regime cracked down on independent media. Soon after, Jean Dominique and Michèle Montas went into exile in New York for the second time. The station did not open again until 1994.Jean Dominique uses his famous pipe to point to the bullet holes in the façade of the Radio Haiti building. Washington Post, October 25, 1991. Radio Haiti Collection, paper archive.
We have no tapes from that time, save one – a recording of the July 1993 meeting at Governors Island in New York, where US officials attempted to broker an agreement between deposed president Jean-Bertrand Aristide and junta leader Raoul Cédras. When Radio Haiti was on the air, the paper materials reflect the audio materials: on-air scripts and journalists’ notes, and printed material from Haitian organizations. By contrast, the paper archive contains no notes and no scripts from the coup years, except for Jean Dominique’s assiduously detailed handwritten chronology of the Governors Island meeting.The first page of Jean Dominique’s notes on the 1993 Governors Island meeting. Radio Haiti collection, paper archive.
But it is not a passive silence; it is a fraught and frustrated silence, an absence that draws attention to itself. Radio Haiti’s paper archive gives us a glimpse of Jean Dominique’s experience of exile – of a time when he, like the Haitian masses, could not speak freely in his homeland; of a time before the Internet and long before social media, when reliable firsthand information coming from Haiti was scant, terrifying, and tragic. For a Haitian in exile from Haiti, a journalist exiled from his microphone, the distance must have been unbearable.
The volume of secondary printed material from 1991 to 1994 testifies to an archive passionately and scrupulously amassed. There are several fat, overstuffed folders filled with tightly-bound news clippings, most of them from American media – the New York Times, Newsweek, the Christian Science Monitor, the Washington Post the Nation. We have several artifacts from the reliably nuanced and thoughtful New York Post.New York Post, October 6, 1991, Radio Haiti collection, paper archive.
There are also clippings from smaller publications, such as college newspapers and newspapers of the Haitian and Caribbean communities in New York. There are in-depth articles, photo spreads, short op eds, brief marginal asides. They were cut out of newspapers, mailed by friends and family (often with notes attached). These articles detail the mounting violence in Haiti, the effects of the embargo, the plight of refugees at sea and incarcerated at Guantanamo, the Bush administration’s refusal to grant asylum, and pro-Aristide demonstrations in New York, Miami, Washington DC, and elsewhere.
The collection features some rather extraordinary documents. There is this acerbic fax from pro-democracy activist Antoine Izméry, dripping with unconcealed disdain, congratulating Bush on his loss in the 1992 presidential election. “You failed all over,” Izméry declares. He decries the Bush administration’s racism, hypocrisy, and self-interest and blames the US for engineering the 1991 coup, before wishing the departing president a “peaceful and repentant retirement.”
Also in the archive is a copy of this press release from Father Gérard Jean-Juste, a liberation theology priest and prominent Aristide supporter. Jean-Juste, “in hiding in Haiti,” refers to Bush’s “skinhead policy,” suggests that Bush’s sudden illness at a state dinner in Japan earlier that year was the result of a
“voodoo curse,” and implores him to “BE A GENUINE AMERICAN, Mr. BUSH. Get your perceived KKK titles off. Work your way to HEAVEN as being a christian.”
Haiti’s beleaguered pro-democracy movement was hopeful that the election of Bill Clinton would lead to more just and humane policies toward Haitian refugees and the restoration of the Aristide government. But Clinton ultimately did little to improve conditions for Haitian refugees, and Aristide would not return to power until nearly two years later, after armed intervention by the United States. By then, Antoine Izméry would be dead. He was dragged from Sacre Coeur church by plainclothes police and shot dead in the street on September 11, 1993 in full view of parishioners and human rights observers attending a commemoration of the 1988 St. Jean Bosco massacre.
In late 1994, after Aristide was restored to power, Radio Haïti reopened. The three years of radio silence were broken by a new series of jubilant jingles and slogans: Nou tounen! Nou la pi rèd! [We’re back! We’re here stronger than ever!] But the damage wrought by the coup years and the conditions of Aristide’s return was enduring; the pro-democracy movement would never again possess the same momentum or clear emancipatory promise that it had in 1991.
Post contributed by Laura Wagner, Ph.D., Radio Haiti Project Archivist.
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Please see details below about an upcoming symposium related to Vesalius and the exhibition Languages of Anatomy: From Vesalius to the Digital Age.Symposium: Vesalius and the Languages of Anatomy Organized by Valeria Finucci, CMRS, Romance Studies and Theater Studies Thursday Sept. 17 and Friday Sept. 18, 2015
THURSDAY, September 17, 2015, Carpenter Room Rubenstein Library #249, 2nd Floor Opening Session, 4:00-4:15
Naomi Nelson, Director, Rubenstein Library
- “Welcome Remarks: Today at the Rubenstein”
Valeria Finucci, Center for Medieval and Renaissance Studies, and Romance Studies
- “Introduction: Vesalius and the Languages of Anatomy”
Moderator: Valeria Finucci, Romance Studies, Duke University
Eugene Flamm, Neurosurgery, Albert Einstein College of Medicine, Montefiore Medical Center
- “Illustration of the Brain in Pre- and Post-Vesalian Publications of the 15th and 16th Centuries”
Margaret Brown, Exhibit Librarian, Duke University
- “Collecting and Exhibiting the History of Medicine at Duke University Libraries”
Rachel Ingold, Curator, History of Medicine Collection, Duke University
- “Vesalius in the Trent Collection”
Visit Exhibition, 6:15
“The Languages of Anatomy: From Vesalius to the Digital Age”
- Chappell Gallery and Trent History of Medicine Room
Welcome Reception, Gothic Lounge, Rubenstein Library, 2nd Floor, 6:45FRIDAY, September 18, 2015, Holsti-Anderson Family Assembly Room, Rubenstein Library #153
8:30-9:00 Coffee, tea, pastries, fruitSESSION II: Vesalius’ Hands-On Knowledge, 9:00-10:45
Moderator: Thomas Robisheaux, History, Duke University
Cynthia Klestinec, English, Miami University
- “Vesalius and the Works of the Hands”
Pablo Maurette, Comparative Literature, University of Chicago
- “The Organ of Organs: Vesalius, Casserio, Crooke, and the Wonders of the Human Hand”
10:45-11:15 Coffee BreakSESSION III: Vesalius and Padua, 11:15-1:00
Moderator: Elvira Vilches, Romance Studies, Duke University
Hélène Cazes, French, University of Victoria
- “The Anatomist, the Butcher, and the Cannibal: the Fabric of Scandal”
Maurizio Rippa-Bonati, History of Medicine, University of Padua, and
Valeria Finucci, Romance Studies, Duke University
- “Vesalius’ Padua”
Lunch Break, Rubenstein Library, 1:00-2:00SESSION IV: Vesalius and the Female Body, 2:00-3:45
Moderator: Jehangir Malegam, History, Duke University
Jennifer Kosmin, History, Bucknell University
- “Vesalius’ Midwives: Authority, Gender and Generation in the 1543 Frontispiece of De humani corporis fabrica”
Lucia Dacome, Institute for the History & Philosophy of Science and Technology, University of Toronto
- “Through the Glass Womb: Anatomy and Midwifery in 18th Century Bologna”
Coffee Break, 3:45-4:15SESSION V: Vesalius’ Legacy, 4:15-6:00
Moderator: Valeria Finucci, Romance Studies, Duke University
Jonathan Sawday, English, Saint Louis University
- “‘But Yet the Body is his Book’: Books of the Body in England After Vesalius.”
Fabrizio Bigotti, Wellcome Trust Centre for Medical History—University of Exeter
- “Vesalius’ Legacy and its Development in the Medico-Philosophical Contest of the Renaissance”
Date: Thursday, September 17, 2015
Location: Bays 4 and 5, Smith Warehouse, Franklin Humanities Institute at Duke University
Contact: Sara Seten Berghausen, firstname.lastname@example.org
In collaboration with Science Fiction and Fantasy Writers of America (SFWA) and the FHI Story Lab, Duke Libraries presents a panel of SFWA Southeast member authors speaking on the theme of Storytelling and Migration.
Authors Gail Z. Martin, Alyssa Wong, Ursula Vernon, Delilah Dawson, and Monica Byrne will be on the panel, and the discussion will be moderated by Jaym Gates.
This event is free and open to the public. More information on Facebook.
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Megan Ó Connell is the Rubenstein’s Reproduction Services Manager. Megan has been a part of the Duke library system since 2006, when she served as a University Archives intern. She joined the library full-time in 2009.
Tell us about your academic background and interests.
I have always been interested in the cultural record left by humans. I studied Anthropology, with a focus on American archaeology, and I worked in Southeastern and Gulf Coast archaeology for many years. After studying what can be learned from the unintentional record left by artifacts, I wanted to interact with the intentional/communicative record, as it was left in the past and continuing into the “futurepast,” that is, the present. Rare books and archives satisfied that wish.
What are the main projects you work on at the Rubenstein?
I manage the patron reproduction requests, including those made by both onsite and remote researchers, ensuring that the most appropriate technology is used based on the specific items and desired output; liaise with onsite and offsite services; and deliver requests as efficiently as possible while maintaining high quality and providing RL’s acclaimed customer service. Exponentially increasing numbers of library users want digital versions of our materials, and these researchers often cannot do the reproductions themselves, so I help ensure that they get what they need for their research, whether they live in Durham or Durban.
What does an average day look like for you?
On most days I log new reproduction requests; route materials to be used in requests; examine materials for reproduce-ability; discuss options and approaches with technical specialists, RL staff, and my student assistant; and communicate with staff and patrons about technical considerations and goals. I may do some reading on specific media types, technologies, or techniques; troubleshoot imaging equipment maintenance issues; train staff on processes; or communicate with vendors. I assist researchers about 12 hours a week on the Reading Room desk, and also work on general reference questions, many of which lead to reproduction requests.
What do you like best about your job?
I love seeing (and hearing) the panoply of treasures we hold at the Rubenstein — pamphlets, photographs, beautiful bound volumes, maps, vintage sound and film recordings, broadsides, artists’ books, zines, ads, papyri… and I enjoy learning about how researchers are using this richness to ask intriguing questions and shed light on cultural phenomena. People might be surprised to know that our library is so busy that we produce around 20,000 digital reproductions per year for patron requests! I enjoy helping our diverse researchers, from students to professors to authors to genealogists, and working with people all over the globe, learning about their lives – and often connecting with them on a personal level. It is gratifying to be able to be a part of so many efforts to illuminate aspects of human existence.
Do you have a favorite piece or collection at The Rubenstein? Why?
I love the H. Lee Waters films because while Waters intended to create a record, unlike most documentaries, the intended audience was the subjects themselves. The films’ subjects were caught in their everyday activities, yet they were very aware of the camera’s presence, and many behaved as if they were amusing their friends, rather than consciously creating a historical record. It’s just fun to watch the subjects ham it up, although the quick cuts can be a bit dizzying after a while.
Where can you be found when you’re not working?
I enjoy nature walks, photography, reading, hiking, canoeing, gardening, fishing, and playing music.
What book is on your nightstand/in your carryall right now?
Interview composed and photographs taken by Katrina Martin.
Now that we’re all moved into our new building, we’re excited to bring back our test kitchen series! New here? On the fourth Friday of every month we share a recipe from our collections that one of our staff members has found, prepared, and tasted.
The Campus Club has been around since 1914, starting out as a social and educational group for the wives of faculty members. Open to all women of Duke, the Campus Club is a social and activity group that hosts a wide variety of events and interest groups. Interest groups meet regularly, allowing members to explore new foods, drink, activities, and culture. A long-lasting and highly active group within the Campus Club is the Morning Gourmet group, which selects a particular topic or theme and invites members to prepare a dish related to the topic or theme, bring the dish, and share the recipe with the group.
Processing a recent accession from the Campus Club, I was distracted again and again by the many intriguing recipes this group has tried over the years. Some themes were related to national or cultural cuisines, others to parts of a meal or an ingredient. But when I stumbled across the Praline Thumbprints, I found my personal winner.
This is a very recent recipe from an archivist’s perspective, appearing in a 1989 Southern Living (I was actually alive when this recipe was published, so: recent). It seemed very simple and straightforward, with modern measurements and guidance, and seemed like no problem at all. I’ll admit here that the above image is a photocopy I made of the original item in the collection, which is itself a typed version of the recipe as it appeared in the magazine. After a bit of digging, I discovered the recipe appeared in the May 1989 issue of Southern Living, in an article titled “Moms and Daughters Bake Cookies,” and you can see a PDF copy of the original through Duke’s subscription to the electronic version of Southern Living here (libraries hooray!). This also led me to discover that the version in the Campus Club records includes comments, recommendations, and modifications by the person who typed it up, and which were very helpful.
I got my ingredients together and got rolling. The first thing I needed to do was grind up some pecans nice and fine. I bought some pecans in bulk at Whole Foods (this is cheaper than buying pre-ground or bagged pecans, but requires an extra step) and put them briefly through the food processor to get them finely ground.
Then I mixed together the cookie ingredients and got a pretty sticky dough, with lovely bits of pecan mixed in. I rolled it up into balls as instructed, but I am not so good at accurately replicating the size mentioned in recipes. I also only have one cookie sheet and a very tiny oven, so the shaping and baking part took me a while.
Eventually I shaped, placed, pressed, and baked the cookies until I had many scooped cookies. I ended up with probably close to the 4-5 dozen described in the recipe (I didn’t count, but it seemed like a lot). I don’t have a picture of the plain baked cookies, but it should be noted that since they do not contain any egg, they are a little powdery and can crumble very easily.
Due to underestimating the amount of time it would take me to actually get all the cookies finished, I didn’t get a chance to make the praline topping until two days later, at which time I had several fewer cookies to fill. I added the ingredients to a pan I usually use for candy-making (a regular, good-quality pan with a thick bottom).
The praline filling is essentially a candy, and candy-making can sometimes be tricky. I have a candy thermometer, but I recommend in this recipe paying a little more attention to the time passing than to the precise temperature. I was very concerned with getting to the recommended temperature, which took waaaaaay longer than the prescribed two minutes, and the candy set up before I could finish scooping it onto the cookies, leaving me with a pan like this:
Luckily, it’s pretty much just sugar and will dissolve in hot water. But even though it set sooner than I expected, it didn’t get really hard and I could still cram it into the cookies. And it was SO. WORTH IT. This stuff is AMAZING. All those little crumbly bits at the bottom of the pan were extra; the recipe even notes you’ll make more filling than cookies. Maybe I was supposed to make three batches of cookies and two of filling? LOL, no. That’s too much work and the extra filling was crazy good on its own. I recommend putting it on ice cream or just eating it with a spoon (no judgments).
I ended with some pretty nice looking and definitely delicious cookies. They were very popular when I brought them to work (safely quarantined from the materials) and had some friends take some home, which is the only thing that prevented me from eating them all myself. As mentioned above, the cookies are a bit crumbly and I accidentally made the praline a bit crumbly as well, so be warned: just put the whole thing in your mouth at once.
More recipes tried by the Morning Gourmet group and lots of other information about the Campus Club can be found in the records described in this collection guide.
Post Contributed by Tracy Jackson, Technical Services Archivist for University Archives
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While processing the Benjamin Rush papers, which will soon be digitized and available online, Alice Poffinberger, Archivist/Original Cataloger, came across a letter from Thomas Jefferson to fellow Founding Father Dr. Benjamin Rush. The letter, dated January 3, 1808, requests that Rush grant Jefferson’s teenage grandson his “friendly attentions” when he moves to Philadelphia the coming autumn. Though unnamed in the letter, the grandson in question is Thomas Jefferson Randolph, who attended the University of Pennsylvania from 1808 to 1809.
Stating that he is “without that bright fancy that captivates,” Jefferson hopes the fifteen-year-old “possesses sound judgment and much observation” in addition to the quality he values “more than all things, good humor.” Jefferson goes on to list the qualities of the mind he appreciates as good humor, integrity, industry, and science. Following this list, he claims “The preference of the 1st to the 2nd quality may not at first be acquiesced in, but certainly we had all rather associate with a good humored light-principled man, than an ill-tempered rigorist in morality.”
Randolph would go on to serve six terms in the Virginia House of Delegates and manage his grandfather’s sizable debts as the sole executor of his estate.
Post contributed by Katrina Martin, Technical Services Assistant.
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Dear readers, take note: it’s now the end of Week Five of the move, and we’re pretty sure we’re all going to have massive and amazing biceps come Winter Break.
This is because our manuscript collections are taking up residence in our new compact shelving. This kind of shelving moves on rails, so the shelves can slide together (in a safe and controlled way) or be cranked apart to access the shelves’ contents. Here’s a video of Kat Stefko, our Head of Technical Services, demonstrating how they work.
So we’ll be cranking these shelves, filled with boxes of manuscripts, open and closed several times each day, to retrieve materials for patrons, to find materials to answer reference questions, to reshelve things, to pull materials for class visits . . . .
We hereby promise that we will not challenge any visiting researchers to arm wrestle. Unless they want to.
Onto other things! We have—and we really can’t believe this—ONE WEEK until we reopen. Over the course of the week, several things have been checked off the reopening “to do” list, and many more are on their way to being completed.
Our talented exhibits staff worked on the installation of one of our opening exhibits, “Languages of Anatomy: From Vesalius to the Digital Age,” which will be on display in the Chappell Family Gallery and features materials from our History of Medicine Collections.Display case showing 3-D printed prosthetic hand made by DukeMakers. Photo by Amy McDonald.
Books were returned to the refurbished bookcases in the beloved Biddle Rare Book Room.Photo by Amy McDonald.
And we finished moving our flat files (an enormous amount of work) and started moving historical medical instruments from the History of Medicine Collections, as well as our early manuscripts.Moving HOM’s medical instruments. Photo by Rachel Ingold.
Moving HOM’s medical instruments. Photo by Rachel Ingold.
In the photo above, the long box at the right holds HOM’s late 16th or 17th century amputating saw. Here’s what it looks like out of the box, in case you’re curious:
What else did we do? We practiced our teamwork by forming a bucket brigade to shelve manuscript collections.University Archives staff bucket brigade! Photo by Amy McDonald.
We discovered, to our dismay, that we are not the most interesting people in the Rubenstein.He is SO INTERESTING. Photo by Tracy Jackson.
And we found new challenges to test our librarian skills. This one is called “can we get all of the foam book rests to the new reading room in one trip?” (We did.)Photo by Amy McDonald.
Look at these empty stacks in our temporary 3rd floor space! August 24th, here we come!Photo by Meghan Lyon.
Gather with friends and learn about a few of the ways that Duke is active with and supportive of its LGBTQ student and alumni community:
- Bernadette Brown, the new director of Duke’s Center for Sexual and Gender Diversity, will be introduced.
- Laura Micham, Merle Hoffman Director of the Sallie Bingham Center for Women’s History and Culture and the Curator of Gender and Sexuality History Collections for the Rubenstein Library, will provide a brief look at the Rubenstein’s notable LGBTQ history and culture collections. Many of these collections were used in the Libraries’ recent exhibit, “Queering Duke History.”
- Kristen Brown Smalley of the Office of Gift Planning will share more about Duke’s activities in the LGBTQ community and our growing affinity network across the country.
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Week 5 feels like it’s been a big one. The stacks are filling up with manuscript boxes and books and feel less cavernous and more cozy. By the numbers it’s been a big week too. On Tuesday we hit an important milestone: 10,000 manuscript boxes landed in their new homes in the stacks. It’s been a good week for our books too. We’ve moved, Library of Congress-ified, and shelved nearly all 4,000 of our folios and all 20,000 duodecimos; octavos and quartos are next on our list. Some new formats started moving this week as well: 100 drawers worth of oversize flat files moved and about half or our papyrus collection made the journey too.
We also want to invite everyone to our open house on September 10th! You’ll have a chance to tour the new spaces and exhibits, meet and mingle with library staff, and learnhow the Rubenstein Library can support your research. Check out the details here.
Archival collections back from offsite and awaiting their new homes. Photo by Tracy Jackson. Photo by Meghan Lyon Sums up the Rubenstein move pretty well. Photo by Meghan Lyon. New exhibit on Duke University history! Exhibit cases have been installed in the Rare Book Room. Henry’s been on the job in Conservation Services for five days and he is already on Rubenstein Library move duty. Here is he helping move the papyri. From The Book of the Home. Photo by Kelly Wooten. Some of those big flat files. Photo by Meghan Lyon. Inlaid leather cover on Slapstick and Dumbbell : A Casual Survey of Clowns and Clowning.
‘Til next week!