Devil's Tale Posts
Date: Wednesday, October 25, 2017
Time: 5:00 PM
Location: Holsti-Anderson Family Assembly Room, 153 Rubenstein Library
Contact: Rachel Ingold, email@example.com, (919) 684-8549
Please join the History of Medicine Collections for our next Trent History of Medicine Lecture Series event. Todd Savitt, Ph.D. will present Race, Medicine, Authorship and the ‘Discovery’ of Sickle Cell Disease in 1910-1911.
The first two case histories of sickle cell disease (SCD) appeared in the medical literature within three months of each other in 1910 and 1911. The very divergent stories of the first two sickle-cell patients and their physicians are told against the backdrop of a racially divided America and of a highly competitive scientific community. Dr. Savitt’s talk will discuss how race and class affected the discovery of SCD and how credit for the two discoveries were apportioned. Dr. Savitt will also talk about his own “adventures” in tracking down the identities and backgrounds of these first two SCD patients.
Dr. Savitt is a medical historian and professor in the Department of Bioethics and Interdisciplinary Studies in the Brody School of Medicine at East Carolina University.
All are welcome to attend.
The post Oct. 25th: Race, Medicine, Authorship and the “Discovery” of Sickle Cell Disease in 1910-1911 appeared first on The Devil's Tale.
Date: Friday, October 20, 2017
Time: 1:00pm – 3:00pm
Location: Rubenstein Library 249 (Carpenter Conference Room)
Contact: Elizabeth Dunn, firstname.lastname@example.org
Are you interested in creating an oral history of your family, organization, or house of worship? Do you need to do oral histories for your academic research?
In this free workshop–taught by Craig Breaden, the Rubenstein Library’s Audiovisual Archivist–you’ll learn how to select equipment, negotiate rights issues, produce effective interviews, and archive your recordings. You will also receive a guide to the best oral history resources available in print and online.
The workshop is open to all, but registration is required.
Date: Tuesday, October 24, 2017
Time: 5:30-6:30 PM
Location: Holsti-Anderson Family Assembly Room, Rubenstein Library Room 153
Contact: Laura Micham,
Please join the Sallie Bingham Center for Women’s History and Culture for a program honoring the memory of feminist writer, artist, and activist Kate Millett (1934-2017) with readings and reflections.
Speakers will include Kimberly Lamm, Toril Moi, Sylvia Herbold, Heather McGowan, Kathy Rudy, Naomi Nelson, and others.
Co-sponsored by the Sallie Bingham Center for Women’s History and Culture; Gender, Sexuality & Feminist Studies; and the Forum for Scholars and Publics.
Date: Wednesday, October 11, 2017
Time: 5:00 PM
Location: Holsti-Anderson Family Assembly Room, Rubenstein Library Room 153
Contact: Valerie Gillispie, email@example.com
This summer, our second class of Duke History Revisited students dug into the University’s history, developing individual research projects that tell the stories of people and events that are not widely known.
On October 11th at 5 PM, five of the program’s students will come together to recap their projects. During this public event, each student will briefly introduce their topic, highlight their research discoveries, and offer their own insight into Duke’s history. The presentations will be followed by refreshments and an opportunity to talk with the students in more detail.
The students’ research projects are also available on the Duke History Revisited website.
The post Oct. 11th: Looking Forward: Duke History Revisited 2017 appeared first on The Devil's Tale.
Post contributed by Janice Hansen.Title page of Happel’s Thesaurus Exoticorum, from the Harold Jantz collection at the Rubenstein Library.
No one can describe the focal points of the Jantz Collection better than Harold Jantz himself. He described the better part of his book-collecting career as “amateur,” marked by “casual collecting according to personal tastes and interests.” Jantz did not consider himself a “bibliophile,” but rather a “reader and an explorer” (Jantz, xxii). This description rings particularly true when considering the Harold Jantz Collection as a whole. Duke University acquired the Jantz Collection in 1976. With approximately 10,500 volumes, it provides one of the most comprehensive and unique explorations of German Baroque literature in the United States. The collection highlights the areas in which Harold Jantz was most interested, including German Americana, Faustian and Goethean material, the occult, and more. In addition to these volumes, the David M. Rubenstein Rare Book & Manuscript Library holds the personal papers of Harold Jantz; a collection of 170 early manuscripts, music manuscripts, and autograph albums; and a graphic art collection consisting of engravings, etchings, and other prints with dates ranging from the 1400s to the 1800s.
The manuscript fragment through which I got to know the Jantz collection was used to bind Eberhard Werner Happel’s 1688 Thesaurus Exoticorum, a fascinating piece in and of itself. There are a number of reasons why this particular volume would have been of great interest to Harold Jantz, the great explorer of German Baroque literature. Happel’s work is a compendium of information in the German tongue. It collected news and curiosities, ordering these snippets of information and illustrating them profusely with intricate woodcuts.Engraved title page of Thesaurus Exoticorum showing some of the curiosities and rarities to be discussed in the course of the text.
Works like these have only begun to garner scholarly attention in recent years, but Jantz saw the value in the lesser-known authors and works. The Thesaurus Exoticorum is peppered with information about the Americas, placing it in the genre of Americana, another of Jantz’s collecting focal points. Happel considered reading to be a replacement for experience, this text thus allowing readers more knowledge in reading it than with many years of world travel. The icing on the cake for such a Baroque and Americana-filled work is then its fine binding.Entry on Brazilian culture as understood by Happel and one of the many descriptions of the New World in the text.
But what Jantz likely didn’t know, was just how unique of a binding it truly was. Using leaves of unwanted, outdated, or worn manuscripts to bind other works was a common bookbinding practice in the sixteenth and seventeenth centuries. This practice gave new life to materials that would otherwise be discarded. The manuscript waste on Happel’s work has its own story to tell, and a fascinating one at that.Exposed binding material used for Thesaurus Exoticorum. These manuscript scraps were once part of Legenda Aurea, or Golden Legend, by Dominican friar Jacobus de Voragine. Exposed binding material used for Thesaurus Exoticorum. These manuscript scraps were once part of Legenda Aurea, or Golden Legend, by Dominican friar Jacobus de Voragine.
While we did not know much about the unidentified fragment when we first started, we now know significantly more. Poking around on Google led me to a 1438 Middle Dutch text with striking linguistic similarities to the fragment. The Middle Dutch text was a translation of the Legenda aurea, or Golden Legend, by Dominican friar Jacobus de Voragine. The Golden Legend is a collection of hagiographies, originally compiled in the latter part of the thirteenth century. The text was incredibly popular in both the original Latin and in vernacular translation from the thirteenth century and well into the early modern period. There are approximately 200 different manuscript versions in German, and scholars have spent much time looking at these versions and trying to construct a history of German textual transmission.
Both leaves were part of the same hagiography, detailing the life of the Apostle Peter. What makes them especially interesting is that these two leaves relate the actions of Nero and his many horrific deeds. The description of Nero’s misdeeds is very detailed, a striking difference from many of the popular and widely-disseminated manuscript traditions of the Golden Legend in Germany. Comparing this fragment to the most popular German translations of the Golden Legend left us with more questions than answers. Our fragment aligned much more closely with the original Latin tradition.
The fragment begins with the crucifixion scene of the Apostle Peter and then moves into further description of Nero’s deeds. Particularly gruesome are Nero’s slicing open of his mother’s womb to see how he once grew inside of her and his insistence that he experience pregnancy for himself. To fulfill this desire of knowing how great his mother’s labor pains were, Nero’s doctors give him a drink that secretly has a frog in it. The frog grows inside of Nero and is finally expelled through “childbirth” with the help of another secret drink. The frog emerges covered in slime and blood. Nero’s homosexuality is also mentioned explicitly, differentiating this version of the Golden Legend from more popular translations.
With further research we discovered similarities between our fragment and the Harburger Golden Legend, which exists only in one almost-complete manuscript and of which there were only five other known fragments. Based on the paleography (handwriting) and linguistic forms, our fragment is even older than the only full manuscript version of the Harburger Golden Legend, which was created between 1450 and 1475. The fragment used to bind Happel’s book dates to the first half of the 15th century, making it now the oldest known exemplar of the Harbuger Golden Legend.
From this single piece, we can see many of Harold Jantz’s collecting interests at play—Baroque German literature, Americana, and unique and interesting bindings. The Harold Jantz Collection is filled with research possibilities, and it is a collection I have turned to time and time again for many different research projects. Over 2,000 items from the Jantz Collection are digitized and included in the Internet Archive, making a number of unique materials open and accessible for research. The David M. Rubenstein Rare Book & Manuscript Library also offers the Eleanore and Harold Jantz Fellowship to support researchers drawing heavily from the collection.
Research on the Jantz Collection and the manuscript fragment was a joint effort between myself and UNC faculty member Ruth von Bernuth as part of my studies in the Carolina-Duke Graduate Program in German Studies. We are especially thankful to former Duke faculty member Anne Marie Rasmussen for leading us to the fragment and to Andrew Armacost for his support on the project. For further reading on the manuscript and the Jantz Collection in German, you can check out our work published in the Zeitschrift für deutsches Altertum und deutsche Literatur (ZfdA).
Post contributed by Jessica Chen. Jessica is a Duke undergraduate and was a participant in the Story+ program during Summer 2017.
This summer marked the first incarnation of Story+, a program for humanities research and dynamic storytelling sponsored by Duke University’s Franklin Humanities Institute. Each project team consisted of a few Duke undergraduates, one graduate student mentor, and a “client” such as the NC Justice Center, the Duke Classics Lab, and the Hartman Center for Sales, Advertising & Marketing History. As an art history major interested in archival work, I applied (and was hired) for a position with the Hartman Center’s “Race and Ethnicity in Advertising” project. The other students on the project included Lizzie Butcher, Cyan DeVeaux and our mentor, Meghan O’Neil.Perfume advertisement from the Jean Kilbourne Papers.
Our assignment was to create a digital resource for students and researchers that would serve as a portal for the Hartman Center’s resources related to underrepresented racial and ethnic groups in the United States. At first I wasn’t sure what ‘humanities research’ really entailed. I also didn’t know what the Hartman Center was, and I was confused as to why the Rubenstein Library wasn’t a normal, circulating library. Luckily, Hartman Center staff gave us an overview of the Center’s collections and the process of requesting and reserving materials for research. In the reading room, we looked at collections that featured different perspectives in the advertising industry: personal and professional documents of people of color who worked in advertising, marketing research reports analyzing and interpreting minority groups as consumer segments, and depictions of race and ethnicity in print advertising. We met with Hartman Center staff to present both our research findings and our website design ideas. We also were trained in how to build a website using Omeka.
Besides links to the various pertinent collections and a gallery of images, our website includes exhibits that each of us created with material from the Hartman Center, allowing us to pursue our individual interests in more depth. Our exhibits varied widely in topic. Lizzie Butcher’s exhibit described the “Black is Beautiful” movement in the 1960s and its effect on print advertisements, while Cyan DeVeaux’s exhibit depicted the development of professionals of color working in advertising. My exhibit, which illustrated the evolution of marketing research focused on minorities, taught me how to piece a narrative together by showcasing items from the Hartman Center’s collections and incorporating secondary sources to provide the historical context.
Through the Story+ program and this project, I learned how to conduct archival research, work in a highly interdisciplinary team, and create a website with assorted features – skills I had always wanted to develop, but didn’t have the opportunity to do so before this summer. I look forward to doing more humanities research in the future and spending more time in the Rubenstein Library, as well!
The post Story+ Students Create “Race & Ethnicity in Advertising” Website appeared first on The Devil's Tale.
Please join us this week for three very exciting events:The SNCC Digital Gateway Project presents “Music & the Movement,” Tuesday, September 19, 7:30-9:30 pm
Please join us for an exciting discussion with five veteran activists on Tuesday, September 19th at 7:30 p.m. at NCCU’s Alfonso Elder Student Union. Music & The Movement – During the Civil Rights Movement, mass meetings overflowed with people singing and clapping to freedom songs, demanding justice in the face of oppression and showing courage in the face of danger. Join us for a roundtable discussion with five veteran activists as they speak about the power of the music of the Movement. As song leaders, Bettie Mae Fikes, Charles Neblett, and Hollis Watkins carried the music in their own communities in the South or across the nation as part of the SNCC Freedom Singers. Meanwhile, Candie Carawan and Worth Long worked to document the music of the Movement, recording and preserving the songs that moved people to action. They experienced firsthand how music was a tool for liberation, not only bringing people together but holding them together. The conversation will be moderated by SNCC veteran Charles Cobb. Many thanks to our co-sponsors: SNCC Legacy Project, Duke University Libraries, The Center for Documentary Studies, North Carolina Central University, and SNCC Digital Gateway Project.Event Speakers: Bettie Mae Fikes, Charles Neblett, Hollis Watkins, Candie Carawan, and Worth Long Event Location: NCCU’s Alfonso Elder Student Union Event Contact: CDS Front Desk Event Contact Phone: 660-3663 Exhibit Tour and Reception: ‘I Sing the Body Electric’: Walt Whitman and the Body, Thursday, September 21, 11:45-1:30pm
Join us for a talk and tour of our current exhibit in the Mary Duke Biddle Room, featuring Stefania Heim, poet and Duke lecturing fellow, and exhibit curator Arianne Hartsell-Gundy, Head, Humanities Section and Librarian for Literature and Theater Studies.
“I Sing the Body Electric”: Walt Whitman and the Body (on display through October 28) features original manuscripts, photographs, and printed works showcasing Walt Whitman’s musings about the human body in the context of his life and the world he lived in.
A light lunch will be served.
More about the exhibit:
For more information, contact:Jean Dominique returning from exile to Haiti, March 1986. Radio Haiti Archive, Rubenstein Library.
Holsti-Anderson Family Assembly Room
Rubenstein Library, Room 153
Duke’s West Campus Quad
Free and open to the public.
The Human Rights Archive and the Forum for Scholars and Publics invite Duke and the Durham community to a celebration of the opening of the National Coalition for Haitian Rights (NCHR) records and the Radio Haiti digital collection. Join us for a dialogue with Jocelyn McCalla, longtime Executive Director of NCHR, and journalist and broadcaster Michèle Montas, who headed the newsroom at Radio Haiti for 18 years and was the station’s director for three years. Prof. Laurent Dubois will moderate a discussion on Haiti’s modern human rights history from the perspectives of these two activists and how their organizations reported and responded to the impact of economic upheaval, state violence and repression, and immigration.
The event will be preceded by a reception and a display of items from the NCHR and Radio Haiti archives.
Sponsored by the Forum for Scholars and Publics and the Duke Human Rights Center at the Franklin Humanities Institute.
Date: Thursday, September 21st
Location: Rubenstein Library 153 (Holsti-Anderson Family Room)
The post Rubenstein Events: Music and the Movement and more… appeared first on The Devil's Tale.
Post contributed by Kelly Wooten, Laura Micham, and Laurin Penland.Kate Millett at the Los Angeles Women’s Center, 1977, photographed by Michiko Matsumoto. Kate Millett papers
We were saddened to learn of Kate Millett’s passing on September 6, 2017. As many people have been writing and speaking about her legacy, we realized we are not alone in trying to grapple with the significance of her contributions to the feminist movement, to the creation of feminist theory, to the art world, to writing, to LGBTQ activism, to advocacy for mental health reform, and to many, many other realms. Here at the Rubenstein Library, her papers have been at the heart of the Bingham Center’s collections since 2000, and have inspired much scholarship, enhancing our understanding of the world.
The Kate Millett papers in the Sallie Bingham Center provide rich documentation of Millett’s activities as a feminist activist, artist, and author. These materials reflect the intensely personal nature of much of Millett’s work and the frequent fusion of her personal, political, and professional interests. Materials in the collection also cover feminism and the social conditions for women around the globe, especially in France, Italy, and the Middle East—most notably Iran, where Millett traveled in the seventies.Brochure for Women’s Liberation Cinema Company film, Three Lives, directed by Kate Millett, 1971. Kate Millett papers
Born in 1934 in St. Paul, Minnesota, Kate Millett was an internationally acclaimed artist, writer, and activist. A founding member of the Noho Gallery in New York City, Millet created the Women’s Art Colony Farm in Poughkeepsie, NY in 1978, and had shown her work internationally since 1963. She was known for her sculpture and installation works in addition to pen and ink drawings both abstract and figurative. Millet’s Columbia University Ph.D. dissertation, Sexual Politics (1970), placed her at the forefront of the women’s movement. Her other political works include The Prostitution Papers (1973), The Basement (1979), Going to Iran (1979) and The Politics of Cruelty: An Essay on the Literature of Political Imprisonment (1994). Millett also wrote a series of memoirs that combine deeply felt personal revelation with trenchant political analysis. These include Flying (1974) about her early years, Sita (1977) and Elegy for Sita (1979) the story of a tragic romantic relationship, The Loony Bin Trip (1990) Millett’s exposé of the mental health system, A.D., A Memoir (1995) in which she reflects on her early life, and Mother Millett (2002) a meditation on her upbringing in middle America and her experience as an activist and then outcast from the movements she helped to form and lead.
In these books Millett gave her readers the analytical tools and inspiration for making a revolution. Her words, such as these from Sexual Politics, will continue to resonate, “For to actually change the quality of life is to transform personality, and this cannot be done without freeing humanity from the tyranny of sexual-social category and conformity to sexual stereotype—as well as abolishing racial caste and economic class.”Pen and ink drawing, ca. 1978. Kate Millett Papers
Many moving tributes have been published in newspapers, on websites, and on social media such as this one by Gloria Steinem on Facebook: “As Andrea Dworkin said, ‘The world was asleep, but Kate Millett woke it up.’ Sexual Politics—and all Kate’s work—will keep us Woke.” The impact of Kate Millett’s life and work cannot be overstated.
The post Breaking Every Taboo: A Remembrance of Kate Millett (1934-2017) appeared first on The Devil's Tale.
Post contributed by Valerie Gillispie, University Archivist
Have you ever wondered about the fancy chain that the president wears during commencement? Or about that big scepter that the chair of Academic Council carries during convocation? For the next month, get an up close look at the official Duke University chain of office and mace, on display near the service desk in Perkins Library.
Created in 1970, the mace and chain of office were formally debuted at Terry Sanford’s presidential inauguration on October 18, 1970. Both items are traditional symbols of leadership, and Duke’s versions feature distinctly Duke and North Carolinian decorations: pinecones, tobacco leaves, the school motto “Eruditio et Religio,” and the Duke family coat of arms.The mace and chain in action at Terry Sanford’s inauguration, October 18, 1970
The chain of office and mace will be on display until October 5, when they will be used during the inauguration of President Vincent Price, the University’s tenth president.
The post University Mace & Chain Now on Display in Perkins Library appeared first on The Devil's Tale.
Post contributed by Patrick Stawski, curator, Human Rights Archive
The Human Rights Archive recently acquired a copy of Petra Barth’s photobook “Los Mochileros” which is on exhibit in the Mary Duke Biddle exhibit suite through October 2017.
Through a series of piercing black and white portraits, Barth tells an intimate, visual story of people moving across the US-Mexico border. As with much of Barth’s portrait work, her collaborators capture the gaze of the camera, rather than be caught by it. Their pride, their strength, and their history challenge the camera and seem to confront us who stand behind it.Los Mochileros on display in the Rubenstein Library through October 2017
“Los Mochileros” (The Backpackers) has received critical praise in Lenscutlure.com and the Huffingtonpost.com. The photobook is part of larger project undertaken by Barth which includes a traveling exhibit of the prints featured in the book. “Los Mochileros” joins a large body of Barth’s prints currently part of the Human Rights Archive collections which documents her long relationship with Latin America and more generally her interest in the human condition. Eventually, the prints from “Los Mochileros” will be added to Petra’s collection at the Rubenstein.
I reached out to Petra to delve a little deper into the origin of “Los Mochileros”.
Q: What was the history and motivation for “Los Mochileros”?
A: The ‘Mochileros” has been a ‘bi-product’ of The Americas. Traveling from South to North, it was natural to cross and stop at the border, being a point of discussion in politics on both sides of the border. Originally, I enrolled in a workshop in AZ, which did not happen after all. Nevertheless, I did go and decided to explore the region on my own. I did not know at the time that I would return and the impact the story would have on my work.
Q: Your work at the US/Mexican border has involved both portrait and landscape. How do you feel each of these contributes to the visual representation of the border? How do these add to the dialogue around immigration?
A: I feel that my work is quite different than most of the work done in that area, which was my original intention. Despite the fact that it had a more journalistic starting point, I see my work at the border as pure documentary, quiet and not involved in people’s daily life. I wanted to document the border strip as how I experienced it myself, pure in its identity, as a boundary dividing two countries with barriers, walls and sometimes only barbwire. The display in Venice ties both portraits and landscapes together, as all these people crossed the border somewhere.
Q: Who were some of the important partners that contributed to “Los Mochileros”, directly or indirectly?
A: The project was made possible with the help and support of the Juan Bosco Shelter in Nogales, FESAC Fundacion del Empresariado Sonorense, A.C., BCA Border Community Alliance and all the migrants, of course, who passed through the shelter.
A: There were two moments, which had an impact on the story. The first was during my second visit in the shelter when I realized that I wanted to change the focus of the story. Initially, I had planned to focus on the broader border issue. After meeting and talking to many of the migrants, I decided to make a portrait story and focus on their faces and memories. The second moment was when I edited the pictures for the book, realizing that the people were not only a part of the story. They were a story themselves.
Q: What are your hopes for “Los Mochileros”?
A: I hope that the exhibit which is currently shown in Venice can travel to the US and become a travel exhibit – especially under the current political circumstances and can evoke interest and discussion for the subject. Hopefully through a broader distribution of the book, attention can be brought upon this issue. I hope we can display/exhibit the project in Nogales, so the population living on both sides of the border as well as passing migrants can see it.
Post contributed by Noah Huffman, Archivist for Metadata, Systems, and Digital Records
Darkness is Coming. I don’t know about you, but on Monday, August 21, I’m heading to Greenville, S.C., inside the path of totality for the Great American Eclipse of 2017. It’s my first eclipse chase, but I was curious if there was evidence of any earlier eclipse chasers in our Rubenstein collections. Here’s what I found:Eclipse of November 30, 1834 – Washington, D.C. – Charles Wilkes
In 1833, Lieutenant Charles Wilkes (1798-1877) assumed command of the Navy’s Depot of Charts and Instruments, what would later become the Naval Observatory. When a partial eclipse cast its shadow over D.C. the following year, Wilkes carried out a series of observations and measurements on a hill “directly north of the Capital, distant from it 1300 feet, and about 80 feet to the West of its center.” Wilkes relayed his observations (in excruciating detail) to Secretary of the Navy Mahlon Dickerson in a letter dated December 13, 1834, found in the Rubenstein’s Charles Wilkes Papers:Portrait of Lieutenant Charles Wilkes (1840) by Thomas Sully, U.S. Naval Academy Museum
Sir, Agreeably to your desire, I have the honor to report the following results of the observations made at this Depot on the Eclipse… The instruments employed in the observation were a three foot reflecting telescope by Troughton, a 42 inch refraction by Harris, and a 30 inch refraction by Gilbert, the former with a magnifying power of 175, the two latter with ones of 40… The times of beginning (meantime) 0.49.40, ending 3.30.01 afternoon…
I’ll spare you the rest of the details, which include temperature measurements (it dropped 24 degrees during the eclipse), notes on how he synchronized three clocks (very carefully), and nearly two-pages on his method for determining the precise latitude of his observatory. Compared to modern eclipse chasers, Wilkes’ comments are strictly scientific. There is no self-reflection in his account, no mention of prostrating and weeping in ecstasy, only an apology for his tardiness in sending his observations: “…they would have been sent to you sooner but owing to a severe sickness I was unable to attend to them.”Eclipse of July 18, 1860 – Cumberland House, Saskatchewan, Canada – William Ferrel
William Ferrel (1817-1891), the meteorologist not the comedian, spent most of his career studying “mid-latitude atmospheric circulation,” but as the total eclipse of 1860 approached he headed for more northern latitudes in the path of totality–all the way to Cumberland House, a remote outpost of the Hudson’s Bay Company in what is now Northern Saskatchewan.Eclipse of July 18, 1860, Saskatchewan. William Ferrel Papers, Rubenstein Library.
Ferrell was dispatched from Boston north to Saskatchewan by Charles Henry Davis, the superintendent of the American Nautical Almanac Office. In a letter dated June 11, 1860, Davis wrote to Ferrel with instructions:Eclipse, Cumberland House, Saskatchewan, July 18, 1860. William Ferrel Papers, Rubenstein Library.
I hereby instruct you to proceed to Cumberland House … for the purpose of making, in its vicinity and on the central line of shadow, observations upon the eclipse of the Sun of the 18th of July of this year…I have called your special attention, first, to the bulging protuberances, or rose colored prominences, seen at the time of total obscuration, in order that you may assist if possible in determining the question of their origin. Second, to the use of the polariscope, in the manner recommended by Arago; and, third, to the careful examination during the period of darkness, of the regions bordering on the Sun, for the possible discovery of inter-Mercurial planets…
While Ferrel’s papers don’t include any written record of his observations, we do have two photos he snapped during the period of totality. Don’t look directly at them, but if you squint you can maybe see some…bulging protuberances?
Eclipse of May 28, 1900 – North Carolina – Edward Featherston Small Portrait of Edward Featherston Small, Rubenstein Library
Edward Featherston Small (1844-1924) was a photographer, salesman for the Duke tobacco company, owner of a popular roller-skating team in Durham (it’s true!), and, in 1900, an amateur astronomer. When the path of totality crossed through central North Carolina on May 28, 1900, Small aimed his (large) telescope and camera to the heavens to capture the event. We can only hope he was wearing proper eye protection.Edward Featherston Small with telescope, May 28, 1900. Rubenstein Library Eclipse, May 28, 1900, North Carolina. Edward Featherston Small Papers, Rubenstein Library
Post contributed by Jacqueline Reid Wachholz, Director, John W. Hartman Center for Sales, Advertising & Marketing History
In response to the Civil Rights movement of the mid-20th century, many advertisers began to see the African American market in a new, and profitable, light. Advertising campaigns were developed over the next few decades celebrating African and African American heritage as a method of advertising products to this demographic. The Rubenstein Library’s Hartman Center for Sales, Advertising & Marketing History and John Hope Franklin Research Center for African and African American History and Culture jointly acquired this collection of 48 items showcasing black Americans through advertisements and political campaigns aimed at African Americans from the 1970s through the 1990s. Collected by a former public relations associated with the NAACP, this collection represents some NAACP marketing work and advertising images depicting notable African Americans and significant moments in African American history. These posters include biographical sketches of African American writers, scientists, professional athletes, soldiers, civil rights workers, entertainers, and other historical figures. Included are also a number of posters produced by and for the NAACP that the organization’s campaigns to reduce poverty and school dropout rates and increase voter registration and membership in the NAACP. Notable advertising campaigns include Budweiser’s “Great Kings of Africa” Series, Pepsi Cola’s “The Black Presence” Series, and the CIBA-GEIGY Corporation’s “Exceptional Black Scientists” Series.
Great Kings of Africa. A marketing campaign started in 1975 by the Anheuser-Busch Corporation designed to appeal to an African American audience while at the same time promoting African History. During its over 25-year campaign and with a total of 30 different images, it has been either celebrated as a means of showcasing and promoting African history or criticized for, as Rev Michael Pfleger of South Side Chicago’s St. Sabina Catholic Church puts it “one more attempt by the alcohol and tobacco industries to buy a reputation in the African-American community.” The campaign consisted of a series of paintings done by African-American artists commissioned by Anheuser-Busch that were accompanied by a short history of the subject being portrayed
Exceptional Black Scientists, CIBA-GEIGY, 1980-1984: These posters are meant to celebrate current scientific leaders of African American descent and inspire minority students to pursue careers in science. Each individual selected had recently made a substantial scientific discovery in their respective field. The posters are derived from portraits done by noted black artist and illustrator Ernest Chrichlow. This series was advertised directly to teachers, and was meant to be placed in the classroom, science fairs, or community centers.
Black Presences, PepsiCo, circa 1980s: A series of posters, that celebrated the African American ‘presence’ in America’s history and culture. Each poster features a portrait of the individual selected, a short biography, and is entitled by the category of culture (arts, sports, history, etc.) that the individual belongs to.
These posters are available to researchers in the Rubenstein Library.
The post New Acquisitions – African American history marketing and promotional posters, 1967-1984. appeared first on The Devil's Tale.
Post contributed by Elizabeth Dunn, Research Services Librarian
The Rubenstein Library’s Economists’ Papers Archive attracts numerous scholars from around the globe. This summer, it has also attracted one very special scholar: rising eighth grader Benjamin Knight. Nearly every day, he has been a quiet presence in our reading room, working his way diligently through boxes of our Oskar Morgenstern Papers.
Although we often welcome even very small children whose families make a pilgrimage to see our first edition Book of Mormon, Benjamin is the youngest serious researcher anyone can remember. Those of us on the Research Services staff found his interest in this important Austrian American economist intriguing. He was kind enough to take time out of his work to grant me an interview.Benjamin Knight in the Rubenstein Library reading room.
Photo by Elizabeth Dunn.
Asked how he became interested in Morgenstern, Benjamin replied that he had read an article about Von Neumann and Morgenstern. (The two economists overlapped at the Institute for Advanced Study in Princeton from 1938 until 1954. Morgenstern, an economist trained at the University of Vienna and influenced by Carl Menger, was grappling with the challenges of economic prediction. He knew John Von Neumann’s 1928 paper on the theory of games and the two collaborated on their influential 1944 book, Theory of Games and Economic Behavior.1) Benjamin was pleased to discover that we hold the Morgenstern Papers, and is using them to tease out the sources of Morgenstern’s key ideas: the University of Vienna or Princeton. More generally, he is interested in the application of game theory to the analysis of social interactions and political decision-making. Some of the Morgenstern documents are hand-written in German. Asked whether those were challenging, Benjamin replied that the handwriting is a little problematic, but translating the German, which he has never studied, is more difficult.
Benjamin has many other interests besides game theory. He represented Brazil (and, with partner Claire Thananopavarn, won Best Delegation) in the Eighth Annual Chapel Hill-Carrboro Middle School Model United Nations Conference in April. He was part of the Smith team at this year’s Middle School National Academic Quiz Championship Tournament and placed among the top twenty-five competitors in the 2017 Wake Technical Community College Regional State Math Contest. When not competing, Benjamin enjoys reading fiction, history, and politics.
Benjamin comes by his interest in social and political analysis naturally. His mother, cultural anthropologist Margaret “Lou” Brown, is Senior Research Scholar and Director of Programs at Duke University’s Forum for Scholars and Publics. His father Jack Knight is Frederic Cleaveland Professor of Law and Political Science and holds a joint appointment in Duke’s School of Law and Trinity College of Arts and Sciences. Benjamin has not yet decided on a particular career path, but all of us in the Rubenstein are happy that he found us and look forward to following his continued successes.Notes:
The post Young Researcher Prefers Game Theory to Video Games appeared first on The Devil's Tale.
Post contributed by Liz Adams, Special Collections CatalogerCover of Knight Asrael: and Other Stories, written by Una Ashworth Taylor and newly cataloged as part of the Lisa Unger Baskin collection.
When I open books, one of my favorite things to do is look for small signs of its previous owners, its provenance: Was the book a gift, with a thoughtful note to the recipient? Did the owner write her name, big and bold, on a flyleaf? Sometimes there are so many signs that a separate story, that of the owner, begins to emerge. This was the case with Una Vincenzo, Lady Troubridge and her copy of Knight Asrael: and Other Stories, written by her aunt Una Ashworth Taylor.Inscription by author Una Ashworth Taylor.
Una Vincenzo, Lady Troubridge was born in 1887 to a family steeped in literary culture. Not only did her aunt Una write Knight Asrael, but her other aunt Ida wrote several novels, contributed regularly to 19th century magazines, and published biographies on Lady Jane Gray, Queen Hortense, and Madame Roland (Palumbo-De Simone, 2004). Her grandfather, Sir Henry Taylor, was a well-known dramatist and poet (Reger, 2004). This literary heritage is felt early on in Una Vincenzo’s copy of Knight Asrael. Una Ashworth Taylor wrote a deeply personal inscription to her nieces, one explicitly connecting baby Una and her older sister Violet to literature, to the power of reading: “Here are your stories, Violet, for you to listen to now, to read to yourself soon, & to tell to baby when she is old enough to hear them. September-1889.”
Although it’s unclear if Violet read the chivalric stories in Knight Asrael, Una seems to have, or at the very least, she enjoyed its opening pages. On the front pages of Knight Asrael, there are exuberant blue drawings, signed by their artist: U.T.Drawings in the opening pages of Knight Asrael.
While these drawings might be some of the earliest known Una Vincenzo works, they are not the last: Una trained at the Royal College of Art, ultimately focusing on sculptural works (Ormrod, 1984, p. 29). A bust of the famed Russian ballet dancer Vaslav Nijinsky cast by Una now lives at the Victoria and Albert Museum.Drawings in the opening pages of Knight Asrael.
Una Vincenzo left one more sign in Knight Asrael, an inscription of her own on the title page: “Radclyffe-Hall & Troubridge, Chip Chase, Hadley Wood, Herts.”
Radclyffe Hall is the author of several novels, most notably The Well of Loneliness, an influential work in lesbian literature. She and Una met in 1915 and moved in together in 1919—after Una formally separated from her husband, Admiral Ernest Troubridge (Ormrod, 2004, p. 65, p.133). Una and Radclyffe (also known as John) were romantic partners for 28 years, living together at Chip Chase and abroad, until Radclyffe’s death in 1943 (Baker, 2004). Una documented their lives together through photographyInscription connecting Una Vincenzo with Radclyffe Hall and noting where they once lived together at Chip Chase.
and a biography published after Radclyffe’s death, The Life and Death of Radclyffe Hall. And even after death, Una continued to write letters to her beloved (Ormrod, 2004, p. 286).
When the provenance in Knight Asrael is taken together, the life and loves of Una Vincenzo, Lady Troubridge begins to break through: her artistic endeavors, her literary nature, and her deep love for Radclyffe Hall. Una ultimately lived to the age of 76, dying in 1963 in Rome, Italy (Ormrod, 2004, p.313).
The Rubenstein Library acquired its copy of Knight Asrael as part of the Lisa Unger Baskin Collection, a transformative collection documenting the lives and work of women across several centuries.
Baker, M. (2004). ‘Hall, Marguerite Antonia Radclyffe- (1880–1943)’, Oxford Dictionary of National Biography, Oxford University Press; online edn, May 2015 [http://www.oxforddnb.com/view/article/37878, accessed 21 July 2017]
Ormrod, R. (1985). Una Troubridge: the friend of Radclyffe Hall. New York: Carroll & Graf.
Palumbo-De Simone, C. (2004). ‘Taylor, Ida Alice Ashworth (1847–1929)’, Oxford Dictionary of National Biography, Oxford University Press; online edn. May 2015 http://www.oxforddnb.com/view/article/46564, accessed 21 July 2017]
Reger, M. (2004). ‘Taylor, Sir Henry (1800–1886)’, Oxford Dictionary of National Biography, Oxford University Press; online edn. May 2015 [http://www.oxforddnb.com/view/article/27030, accessed 21 July 2017]
The post Tales of Provenance: Una Vincenzo Revealed in Three Inscriptions appeared first on The Devil's Tale.
Post contributed by Thomas Gillan, Rubenstein Library volunteer, PhD candidate, College of William & Mary
The Rubenstein Library has recently acquired an important gift from the Brand Family, descendants from the notable book collector and Duke graduate Harry L. Dalton, class of 1916. This is a French work, Simon de Nantua, written by the French moralist Laurent-Pierre de Jussieu and published in Paris in 1818. It tells the story of its title character, Simon de Nantua, a travelling merchant who trades as much in wisdom as in goods. The book, which was published under the auspices of the Société pour l’instruction élémentaire, was awarded the society’s prize medal in 1818.
The library’s copy would be less remarkable were it not for its noteworthy provenance. Thomas Jefferson received the book in 1819 along with a number of other books from his Paris booksellers DeBures Freres. This is one of the books he purchased after selling much of his library to the Library of Congress in 1815. According to an invoice, Jefferson paid 3 francs for the book, which bears his ownership mark on page 17, signified in this case by the block letter “T” written in ink in front of the publisher’s signature mark “1*.” According to James A. Bear, Jefferson employed this system of ownership marks, with slight variations, over a period of about fifty years.
In a letter to Philadelphia publisher Mathew Carey, Jefferson praised the “school book” as “undoubtedly one of the best for young learners to read that I have ever known,” and even considered having the book translated into English, “so valuable” would it be “to our Elementary schools.” The book was among those sold at auction in 1829 by Nathaniel Poor and is included in Poor’s catalog of Jefferson’s books. Later in its history, this volume was owned by President William Taft.
Nearly 200 years after its publication it seems that there are only two copies held by libraries in the United States, and both of these copies have a Jefferson connection. The Duke copy is Jefferson’s own copy, and the other copy is held by the University of Virginia. Jefferson in 1825 recommended a number of items to the University of Virginia library of which this was one. This volume is now available in the Rubenstein Library reading room.
 DeBures Freres to Thomas Jefferson, 11 September 1819, Founders Online, National Archives, http://founders.archives.gov/documents/Jefferson/98-01-02-0741.
 James A. Bear, Thomas Jefferson’s Book-Marks (Charlottesville, VA: Alderman Library, University of Virginia, 1958), 8.
 Thomas Jefferson to Mathew Carey, 13 March 1820, Founders Online, National Archives, http://founders.archives.gov/documents/Jefferson/98-01-02-1143.
 Nathaniel P. Poor, Catalogue, President Jefferson’s Library (Washington, 1829), 9.
The post New Acquisitions: From the Library of Two Presidents appeared first on The Devil's Tale.
Post contributed by Erik A. Moore Ph.D. student in the History Department at the University of Oklahoma, is recipient of a 2017 Marshall T. Meyer Research Travel Grant.Letter from Rep. David Bonior to Alex Wilde, 1988
This summer I had the privilege of visiting the David M. Rubenstein Rare Book & Manuscript Library to conduct research in the collection of the Washington Office on Latin America (WOLA) records. WOLA’s records are held in the Duke Human Rights Archive. My research was made possible through generous funding from the library through the Marshall T. Meyer Research Travel Grant. Durham is a wonderful city to visit, and the facilities and the staff at the library were great. And the research was fascinating.
I am working on my doctoral dissertation that examines how non-governmental organizations (NGOs) such as WOLA used arguments based on human rights to contest U.S. support of counterrevolutionaries (the Contras) in Nicaragua in the 1980s. The Reagan administration claimed the Sandinista government in Nicaragua was an ally of the Soviet Union and wanted to spread communist revolution throughout the hemisphere. Reagan used the Contras to pressure the Sandinistas to adopt democratic reforms, but, in doing so, Reagan funded and armed a guerrilla force that was accused of committing atrocities against the Nicaraguan people. I am investigating how successful NGOs were at using human rights advocacy to influence U.S. foreign policy. WOLA is as one of NGOs on which I focus in the dissertation.
Letter from U.S. House of Representatives Democratic Study Group, 1988
My work at the library revealed a surprising level of coordination among not only NGOs, but also government officials and Congressional staff members who opposed U.S. support of the Contras. Members of Congress such as Representative David Bonior (D-MI) worked closely with WOLA and other human rights NGOs on issues facing Nicaragua and lobbying other members of Congress to support legislation. I also found a memo from a Congressional staff member, Holly Burkhalter, to the Human Rights Working Group in which she provided analysis of the then-current functioning of the State Department’s Bureau of Human Rights. The Human Rights Working Group was a coalition of national organizations, including WOLA, that periodically met to coordinate efforts toward common goals. WOLA seems to have operated within a large community of progressive human rights-conscious NGOs that often pooled their resources and expertise to influence debates in Congress over U.S. foreign policy. Often, representatives from various organizations met to discuss pending issues and how they could all work together.Memo from the Arms Control and Foreign Policy Caucus, U.S. Congress, 1988
This coordination is particularly fascinating for my research because I have found that many of these organizations operated with different agendas, though not necessarily conflicting agendas. One such instance that I found in which the community of human rights NGOs split was over a Contra aid proposal in 1988. Democrats offered a package based on humanitarian non-military aid that served as an alternative to what Reagan and Republicans wanted to offer. The Republican proposal would have centered on military aid. WOLA supported the Democratic aid package in order to bring humanitarian aid to Nicaragua and the rest of Central America and to prevent the Republican plan from coming to a vote and likely passing. Other NGOs, such as the Nicaragua Network, Witness for Peace, and Quest for Peace, all of which worked closely with WOLA throughout the 1980s, opposed any form of aid to the Contras and rejected the Democratic alternative.
My research will continue to investigate strategies and coordination of NGOs opposing the Contra War and how the different interpretations given to human rights influenced the decisions and advocacy of these NGO in lobbying Congress
 David E. Bonior to Alex Wilde, Letter, (March 14, 1988), Box 27, Folder: Democratic Contra Alternative, Washington Office on Latin America Records, David M. Rubenstein Rare Books & Manuscript Library, Duke University.
 Holly Burkhalter to Human Rights Working Group/Coalition, “The Bureau of Human Rights: Law and Implementation,” Memorandum, (June 24, 1981), Box 433, Folder: Human Rights Working Group 1981, Washington Office on Latin America Records, David M. Rubenstein Rare Books & Manuscript Library, Duke University.
 Holly Burkhalter to Human Rights Working Group/Coalition, “The Bureau of Human Rights: Law and Implementation,” Memorandum, (June 24, 1981), Box 433, Folder: Human Rights Working Group 1981, Washington Office on Latin America Records, David M. Rubenstein Rare Books & Manuscript Library, Duke University.
 “Special Alert: Contra Aid Packages” (Washington, D.C.: Arms Control and Foreign Policy Caucus, March 1, 1988), Box 27, Folder: Democratic Contra Alternative, Washington Office on Latin America Records, David M. Rubenstein Rare Books & Manuscript Library, Duke University.
The post Uncovering a Coordinated Effort to Defend Human Rights in 1980s Nicaragua appeared first on The Devil's Tale.
Post Contributed by Laura Micham, Merle Hoffman Director, Sallie Bingham Center for Women’s History & Culture
Caroline Bartlett Crane: “America’s Housekeeper,” Renaissance WomanPortrait from Is God Responsible? A Sermon, Kalamazoo, Mich. 1898.
Caroline Bartlett Crane (1858-1935) was an American Unitarian minister, suffragist, civic reformer, educator, and journalist. Among the first wave of college-educated women in the U.S., she worked as a teacher, school principal, and newspaper reporter before pursuing the call to ministry she first experienced as a teenager.
Bartlett Crane was accepted as a candidate for the ministry at the Iowa State Unitarian Conference in the 1880s. In 1889, after ordination and completion of her first church assignment, she began work at the Unitarian church in Kalamazoo, Michigan. Within a short time she led the church to open the first free public kindergarten, a school of manual training and domestic science, a gymnasium for women, a day nursery, a cafeteria, and the Frederick Douglass Club for the “young colored people of the city.” The church continued to expand until it outgrew its building. In 1894 a new one was built and renamed “People’s Church.” In 1898, after illness and differences with the board, she resigned her ministry.Published by The Young Men’s Union of the People’s Church of Kalamazoo, Mich., 1896.
The Sallie Bingham Center has recently acquired three rare pamphlets written by Rev. Bartlett Crane between 1896 and 1898. Two are sermons delivered in the People’s Church. Why the People’s Church…, published in 1896, outlines Bartlett Crane’s philosophy regarding opening church membership to “any human being who is willing to join in the work of helping the world.” The second, Is God Responsible?, published in 1898, is a reflection and expression of sympathy and support for her congregants after a tragic fire and explosion in a local chemical plant.Published by The Young Published by The Young Men’s Union of the People’s Church of Kalamazoo, Mich., 1898.
The third pamphlet, If I Were Twenty Again!, also published in 1898, offers the accumulated wisdom of a woman who had already had four successful careers and was about to embark on her fifth and final career. Turning to public health and sanitation reform at the turn of the 20th century, Bartlett Crane successfully campaigned for meat inspection ordinances after discovering unsanitary conditions in local slaughterhouses. She founded the Women’s Civic Improvement League in 1903-4. By 1917 Bartlett Crane had inspected facilities in sixty-two cities in fourteen states. As a result of her work to improve urban sanitation, she was known as “America’s housekeeper.”
A tribute to Caroline Bartlett Crane is a small house in Kalamazoo, Michigan which won first place in the Better Homes in America contest in 1925. Bartlett Crane headed a local committee that designed the house to be functional and affordable for a family of moderate income. Called “Everyman’s House,” it was built by volunteers and received national attention. Almost sixty years later Bartlett Crane’s achievements were recognized by her induction, in 1984, into the Michigan Women’s Hall of Fame. The pamphlets are available for researchers in the Rubenstein Library.
The post New Acquisitions – Rev. Caroline Bartlett Crane Pamphlets appeared first on The Devil's Tale.
Post contributed by John B. Gartrell, Director, John Hope Franklin Research Center for African and African American History and CultureThe Amenia Conference, 1925
This past year the John Hope Franklin Research Center has added to its collections materials that document significant public gatherings of black intellectuals during the 20th century. The first is a publication authored by seminal black scholar W.E.B.DuBois, The Amenia Conference, an Historic Negro Gathering. Published in 1925, DuBois wrote his reflections of a notable meeting held in 1916 in Amenia, NY that was called by the fledgling NAACP, designed to bring black intellectuals who were working to solve, what DuBois referred to in his Souls’ of Black Folk (1910), as the “problem of the color-line.” With close to 60 attendees, this small publication is one of the few, if not only, documents that provides descriptions of the meeting as DuBois noted no record was kept of the conversations. Held one year after the death of Booker T. Washington, in many ways the dean of black leadership at the turn of the 20th century, DuBois stated that “…the Amenia Conference was a symbol. It not only the end of the old things and the old thoughts and the old ways of attacking the race problem, but in addition to this it was the beginning of the new things.”
6PAC Press Release
Later in the century, after the wave of black activism in the form of the Civil Rights Movement in the US and waves of independence movements in Africa and the Caribbean during the 1960s, the 6th Pan-African Congress (6PAC) was held in Dar es Salaam, Tanzania in 1974. The Courtland Cox Papers document the planning and programs held during the week long meeting that was the first Pan-African Congress held in Africa. Cox himself left Howard University in the early 1960’s to a join the Student Nonviolent Coordinating Committee (SNCC) and organize against disenfranchisement and poverty in America’s Deep South. Coming out of SNCC, he and a number of SNCC activists became involved in organizing around black consciousness and black solidarity on the global level.Photograph of 6PAC Meeting
Cox spent time in Tanzania in the early 1970’s and served as secretary-general for the 6th Pan-African Congress, a conference whose history dated back to 1900, although it was the first held after World War II. Over the course of the week in Dar es Salaam, sessions were held to discuss everything from economic empowerment in Africa, environmental issues in black communities, and the meaning of black solidarity around the world.
Both collections are open and available to researchers in the Rubenstein Library.
The post New Acquisitions – Two Significant Gatherings of Black Activists and Intellectuals appeared first on The Devil's Tale.
Post contributed by Brooke Guthrie, Research Services Coordinator
For my last Test Kitchen post , I attempted a Mexican-Italian fusion recipe from the 1940s. That mostly worked out (destroyed spatula notwithstanding) so I decided to continue with the international cooking theme. Luckily, the Rubenstein Library is a very worldly place. The library has 27 cookbooks published by Time-Life Books as part of their Foods of the World series in the 1960s and 1970s. These heavily illustrated books combine cooking instructions with travelogues and food histories. The books usually cover each region of a country and describe how to properly throw a party there.
Our Foods of the World holdings include cookbooks covering the foods of the great American West, Africa, France, the Middle East, China, and the British Isles. With so many choices, making a recipe decision was tough. I briefly considered a kulebiaka (a flaky cabbage loaf from Russia) which is, apparently, considered a “food of the people.” The Russian cookbook also contained a decent amount of beet-based recipes that were pretty hard to pass up. The cuisine of nearby Scandinavia (also lots of beets) piqued my interest. It involved a lot of pickled things, dishes served with a side of raw eggs, and much of it was described as “food for a man’s appetite.” Could I even handle that? I wasn’t sure.
Ultimately, I decided to tackle the food of the German people. I don’t really know much about German cuisine. I know that sausages and beer are important, but I assume they eat other things from time to time.
Despite the appealing pictures of meat and sauerkraut artfully served in a pineapple, a hearty German cake called a “Frankfurter Kranz” seemed like the way to go. This cake is described as a layer cake with butter-cream filling and a praline-topping. The cookbook goes on to say that this cake “is a frankly extravagant cake” and “it is a special treat served only on the most elegant occasions.”
In addition to sticking to an international theme, I also, rather unintentionally, continued with the unhealthy cooking theme. While the last recipe involved an unacceptable amount of lard, this fancy German cake requires an almost unbelievable amount of eggs. SIXTEEN EGGS. While this cake is mostly just egg, it also requires 1.5 pounds of butter, nearly 3 cups of sugar, and 2 cups of rum. Yum.The recipe is really long! I’ll note that this really artsy ingredients picture leaves out an additional pound of butter (or 4 sticks) that you’ll need. I had to make a quick run to the store to get more
The cake batter is fairly simple – eggs, butter, sugar, flour, baking powder, and cornstarch. I’ll admit here that I added the rum to the cake at the wrong time. The instructions say to sprinkle ¾ cup of rum on the baked cake as it cools. I got excited about the rum and added it directly to the batter.
If you are a “lick-the-bowl” type of person (as I am), you may want to fight that impulse here. The batter is mostly rum added to 6 raw eggs and that is exactly what it tastes like.Mmmmm rum batter going into the oven.
I baked it for 40 minutes in an oven preheated to 325 degrees. You’ll notice that I used a regular cake pan and not the “tube cake pan” called for in the recipe.
The cake came out of the oven looking quite nice. I let it cool for about an hour while I made an emergency butter buying trip. The next step was the most worrying in the recipe. I had to cut the cake into 3 layers with a sharp knife. I was genuinely surprised that I managed to do this without completely butchering the cake, cutting myself, or yelling. The 3 parts were a bit uneven, but not too shabby.
The next step was supposed to be sprinkling ¼ cup of rum over each of the cake parts. But, as you’ll remember, I accidentally added the rum to the batter. To (sort of) make up for this error, I drizzled a bit of rum on each. A little more rum, a little more fun, right?
The butter-cream frosting used a whopping 10 egg yolks along with a pound of butter and over a cup of sugar. In the first step, I boiled sugar, cream of tartar, and water to create a syrup. The recipe says to boil it to 236 degrees and to use a candy thermometer. I don’t own one of those so I just let it boil for a while and guessed. This mixture is added to the eggs and butter along with another ½ cup of rum. I used an electric mixer to beat this together for 5 minutes. The frosting then went into the refrigerator for 30 minutes to thicken up.Mostly eggs.
The frosting looks like what it is which is eggs. This part of the recipe seemed a bit suspect to me. Is the heated syrup supposed to cook the 10 raw eggs to the appropriate temperature? I guess I can buy that. No one who tested the cake reported any stomach discomfort.
The final part of the cake is a praline topping. No eggs here. This also involves making a syrup with sugar and water and bringing the mixture to 236 degrees. Again, I guessed here.
Then, I stirred in some almonds and brought the mixture to what I felt was 310 degrees. I then poured this onto a baking sheet and let it harden. Once it was hard, I crushed it into small pieces. The recipe says to use a blender or mortar and pestle to pulverize the praline. I tried to use the blender, but the nut mixture was too hard for it to chop. Instead, I improvised by putting the praline into a plastic freezer bag and beating it on my kitchen counter with a potato masher. Effective and therapeutic.
Constructing the cake was easy, but messy. You take a cake layer, smother it in frosting, and top it with the next layer. At the end, you cover all three layers with frosting and then add on the praline. The frosting did not thicken as much as it was probably supposed to. It just dripped off the cake. And not in a visually appealing way.
I’d give it 3.5 stars.
Pros: very moist, the praline crunch, tasted pretty good
Cons: Too rich, so heavy, rum
The taste is ok, but not mindblowing. I think the rum is a bit much and it just reminded me that chocolate is better. The cake is too rich for an American – half of a piece is more than enough. The praline topping really saves the cake with a nice crunch.
Would I make it again?: No. Since it is served only for the most extravagant occasions, I can’t imagine why I would need to.
The post Frankfurter Kranz: A Frankly Extravagant Cake (1969) – Rubenstein Library Test Kitchen appeared first on The Devil's Tale.
Post contributed by Paula Jeannet Mangiafico, Visual Materials Processing Archivist
There are many music-related collections in the Rubenstein Library, but the Gilmore Ward Bryant papers are special to the history of Durham, North Carolina. This small collection of diaries, photographs, school records, and sheet music documents a time when turn-of-the-century citizens held cultural aspirations that included unleashing the terpsichorean muse on Durham—hoping perhaps that arpeggios and arias would temper the roughness of the tobacco town (population 18,241 in 1910).
Enter Gilmore Ward Bryant, born in 1859 and raised in Bethel, Vermont.Gilmore W. Bryant, circa 1870, from the Gilmore Ward Bryant papers
After a successful musical career in New England and Virginia, he was reportedly lured to the Southern upstart town of Durham by the Duke family, who financed the design and construction for what was to become the Southern Conservatory of Music. Finished in 1898, the grand Italianate-style building stood on the corner of Main and Duke Street, across from the Liggett Myers Building, on land that today belongs to the Brightleaf Square parking lot.
Here is a view of the Conservatory. This is what you would have seen if you stood at Toreros Mexican restaurant and looked across the street:Conservatory Calendar, 1920-1921, Gilmore Ward Bryant papers
Its auditorium, practice rooms, and parlors were classically grand in scale—the reverberations must have been amazing, to say the least:Conservatory Calendar, 1920-1921, Gilmore Ward Bryant papers Gilmore Ward Bryant, circa 1920, Conservatory Calendar, 1920-1921
“G.W.” Bryant served as Director of the Conservatory, and along with his partner and wife, Mattie Emily Bullard Bryant, the head of the Voice Department (his daughter-in-law also taught piano), kept the undoubtedly expensive venture thriving for many decades. The school was a huge success, hosting large concerts, alumni dinners, and recitals several times a year.
Bryant was also a composer, penning scores as early as 1895 and continuing into the 1930s. He wrote and published many pieces, including a “Tiny Waltz” and another piece entitled “Topsy Turvy.”Sheet Music Series, Gilmore Bryant papers Sheet Music Series, Gilmore Ward Bryant papers
Eventually, perhaps due to a familiar pattern of rising downtown rents, the Bryants laid the cornerstone for a new Conservatory on South Alston Avenue, then open countryside, in summer 1923, and the old Conservatory was demolished in 1924. Bryant’s wife writes in her 1923 diary on December 31: “Went up & thru the old Conservatory— was terrible—nearly dropped to pieces.”
Today Durham hosts several music schools, but the era of grand edifices and classical conservatory training has yet to return. In the meantime, we applaud the Bryants’ vision for and dedication to their adopted Southern hometown. Luckily, some of the Conservatory’s records and the Bryant family’s personal papers and photographs have been preserved for researchers at the Durham County Library and the David M. Rubenstein Rare Book & Manuscripts Library. You can see the inventory for the Rubenstein collection here:
The post Notes from Durham’s Musical Past: Polonaises and Mazurkas on Main Street appeared first on The Devil's Tale.