Bingham Center News
Post contributed by Sagan Thacker, recent graduate of the University of North Carolina at Asheville BA in History. Read more in their senior thesis, “‘Something to Offend Everyone’: Situating Feminist Comics of the 1970s and ‘80s in the Second-Wave Feminist Movement,” forthcoming in the University of North Carolina at Asheville Journal of Undergraduate Research and available to read here.“Would You Buy a Comic Book from This Woman?” by Barb Behm, in Amazon: A Feminist Journal (Milwaukee, Wisconsin), February 1976. From the Atlanta Lesbian Feminist Alliance Periodicals Collection, Box 1.
In January 2020, I traveled from Western North Carolina to the Sallie Bingham Center to study feminist newspapers in two of the Bingham Center’s incredible collections: the Women’s and Lesbian, Gay, Bisexual, and Transgender Movements (LGBT) Periodicals and Atlanta Lesbian Feminist Alliance Periodicals collections. I was looking for material about feminist underground comics of the 1970s and ‘80s—books such as Wimmen’s Comix and Tits and Clits. I wanted to determine what feminists of the time period thought about the comics, and whether they viewed them as serious literature or just mindless entertainment.
I soon found several articles that turned popular notions of comics on their heads. Most notable was a February 1976 article from the Milwaukee, Wisconsin, newspaper Amazon: A Feminist Journal. Written by Barb Behm about the now obscure Pricella Pumps/Star Buckwheat Comic Book by Barba Kutzner (1976), the article cogently praised the book’s relatability and satire of American society and its metaphorical significance for all women. Behm touted Kutzner’s protagonist as both a character with which women could heartily identify and a way to break free from the oppressive system and celebrate non-normativity.
This source was instrumental in showing that feminist underground comics, far from being tangential and lowbrow parts of the second-wave feminist movement, were instead an important part of the intellectual discourse within feminism. By finding a critic who enthusiastically engaged with the work on a level beyond its perceived lowbrow status, it became clear that some feminists viewed comics as a valid and direct medium to write and engage with feminism on a level that would not be widespread until the zine revolution of the late 1980s and early ‘90s. This reframing of comics’ literary history deepens our understanding of second-wave feminism and gives a more nuanced portrait of its discursive diversity.Cover by Barba Kutzner, Amazon: A Feminist Journal (Milwaukee, Wisconsin), February 1976. From the Atlanta Lesbian Feminist Alliance Periodicals Collection, Box 1.
The Sallie Bingham Center for Women’s History and Culture is honored to host a virtual reading and discussion with Sallie Bingham, author of two new books: The Silver Swan: In Search of Doris Duke and Treason: A Sallie Bingham Reader.
In The Silver Swan, Sallie Bingham chronicles one of the great underexplored lives of the twentieth century. Bingham is especially interested in dissecting the stereotypes that have defined Duke’s story while also confronting the disturbing questions related to her legacy. According to Gloria Steinem, “Sallie Bingham rescues Doris Duke from this gendered prison and shows us just how brave, rebellious, and creative this unique woman really was, and how her generosity benefits us to this day.”
Treason: A Sallie Bingham Reader is a collection that captures the spirit of the author’s illustrious writing career via short stories, a novella, and a play. From the complex stories of artistic influence and the exhilaration and fright of solitude, to the incendiary rage of a betrayed young wife who sacrifices everything for revenge, to the struggles for independence of the three women who surrounded Ezra Pound like subservient stars, these fictions seize the reader’s attention while slashing stereotypes.
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Please join the Sallie Bingham Center for Women’s History and Culture for a panel discussion grounded in the history of Southerners on New Ground (SONG) that will explore how activist archives inform intersectional struggles for social justice. Mandy Carter (SONG co-founder), Wesley Hogan (historian), Lisa Levenstein (historian), and Mab Segrest (SONG co-founder) will reflect on the importance and contemporary relevance of SONG’s organizing in the 1990s and beyond.
Wesley Hogan’s On the Freedom Side and Lisa Levenstein’s They Didn’t See Us Coming both incorporate research using the SONG Records and the papers of two SONG co-founders, Mandy Carter and Mab Segrest, from the Rubenstein Library.
Co-sponsored by the Duke Program in Gender, Sexuality, and Feminist Studies and the Center for Documentary Studies.
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Kelly Wooten, Research Services and Collection Development Librarian for the Sallie Bingham Center.
For over twenty years, the Rubenstein Library has offered travel grants for researchers. The first grant began with the Sallie Bingham Center for Women’s History and Culture’s Mary Lily Research Travel Grant program and grew to include the John Hope Franklin Research Center for African and African American History and Culture; John W. Hartman Center for Sales, Advertising & Marketing History; History of Medicine Collections; Human Rights Archive; and most recently, the Harry H. Harkins T’73 Travel Grants for Lesbian, Gay, Bisexual, and Transgender History.
As archivists, we have long understood that research, scholarship, writing, and creative processes take time. The outcomes from the people and projects we support often come to fruition years in the future. Thankfully, we stay in touch with many of our grant recipients long after they visit the Rubenstein Library, and are thrilled to celebrate their publications and projects once they are out in the world. Here are a few selections we’d like to highlight:Anesthesia Mask, 4”x5” printed plexi glass plate, 2016-2018. History of Medicine Collections, David M. Rubenstein Rare Book & Manuscript Library, c. 20th c.
Lindsey Beal, Mellon Faculty Fellow at the Rhode Island School of Design Museum, received a History of Medicine travel grant in March 2016. Beal’s photographic work, Parturition, features History of Medicine Collections instruments and artifacts with a focus on obstetric and gynecological tools.
Little Cold Warriors: American Childhood in the 1950s by Victoria Grieve, Associate Professor of History at Utah State University, was published by the Oxford University Press in 2018. Dr. Grieve visited the Rubenstein Library in May 2016 as a Foundation for Outdoor Advertising Research and Education Fellow through the Hartman Center to use the Outdoor Advertising Association of America archives, the Garrett Orr papers, and the J. Walter Thompson Co. Writings and Speeches Collection.
Her Neighbor’s Wife: A History of Lesbian Desire Within Marriage by Lauren Jae Gutterman, professor of American studies at the University of Texas at Austin, was published in 2019 by the University of Pennsylvania Press. Dr. Gutterman received a Mary Lily Research Travel Grant from the Bingham Center in 2013. Her research focused on the Minnie Bruce Pratt papers, as well as the Atlanta Lesbian Feminist Alliance’s archives and the papers of prominent feminist thinkers Robin Morgan and Kate Millett. Dr. Gutterman is also co-host of the podcast Sexing History.
Marjorie Lorch, Professor of Neurolinguistics, Department of Applied Linguistics and Communication, University of London, visited the Rubenstein Library in February 2018 as a History of Medicine Collections grant recipient, utilizing the Henry Charles Bastian papers for her research. Her article, “The long view of language localization” was published in Frontiers in Neuroanatomy in May 2019. She also co-authored an article with R. Whurr, “The laryngoscope and nineteenth-century British understanding of laryngeal movements,” Journal of the History of the Neurosciences, also published in May 2019.
Rachel R. Miller successfully defended her dissertation “The Girls’ Room: Bedroom Culture and the Ephemeral Archive in the 1990s” to complete her Ph.D. in English at the Ohio State University on May 18, 2020. She received a Mary Lily Research Grant to use the Bingham Center’s zine collections in 2018. Since her defense was held via videoconference, Dr. Miller noted on Twitter, “I’ve been working for four years on a project about how teenage girls’ bedrooms are archival spaces, so I guess it’s only appropriate that I’ll be defending my project from my bedroom.”
Erik A. Moore, postdoctoral associate at the University of Oklahoma’s Humanities Forum, visited the Rubenstein Library in May 2017 as a Human Rights Archive grant recipient. His article “Rights or Wishes? Conflicting Views over Human Rights and America’s Involvement in the Nicaraguan Contra War” was published in the journal Diplomacy & Statecraft (v. 29, no. 4) in October 2018. Dr. Moore used the Washington Office on Latin America records in his research.
Wangui Muigai, Assistant Professor in African and African American Studies and History at Brandeis University, is a historian of medicine and science. She received a Franklin Grant in 2015 for research on infant mortality and race from slavery to the Great Migration. Dr. Muigai was awarded the Nursing Clio inaugural prize for best journal article for “‘Something Wasn’t Clean’: Black Midwifery, Birth, and Postwar Medical Education in All My Babies” in the Bulletin of the History of Medicine (v. 93, no. 1,) in 2019, which cites an interview from the Behind the Veil oral history collection.
John Hervey Wheeler, Black Banking, and the Economic Struggle for Civil Rights by Brandon K. Winford, Assistant Professor of History at the University of Tennessee at Knoxville, was published by the University of Kentucky Press in 2019. . Dr. Winford is a graduate of North Carolina Central University and went on to receive his Ph.D. at the University of North Carolina-Chapel Hill. He was awarded a Franklin Research Center grant in 2015-2016. While visiting the Rubenstein Library, Dr. Winford consulted the North Carolina Mutual Life Insurance Company archive, the C.C. Spaulding papers, the Asa and Elna Spaulding papers, and the Rencher Nicholas Harris papers. In February 2020, Dr. Winford returned to Duke to give a talk about the book and his research at the Duke University Law School.
Crap: A History of Cheap Stuff in America by Wendy Woloson, Associate Professor of History, Rutgers-Camden, will be published by the University of Chicago Press in September 2020. Dr. Woloson visited the Rubenstein Library as a Hartman Center grant recipient in 2017 and used the Advertising Ephemera Collection and the Arlie Slabaugh Collection of Direct Mail Literature.
Contributed by Amelia Verkerk, Graduate Intern, Sallie Bingham Center for Women’s History and Culture
This past fall the Sallie Bingham Center received a reference question from Dr. Elizabeth Harmon, American Women’s History Initiative Digital Curator at the Smithsonian Institution Archives about Serena Katherine “Miss Violet” Dandridge. Dr. Harmon wanted to know more about Dandridge’s involvement with the women’s suffrage movement since Dandridge was employed as a scientific illustrator at the Smithsonian Institution in the early 1900s. In her research, she had not come across many other women employed at the Smithsonian who had also been active in the campaign for women’s right to vote. Within the Bedinger and Dandridge Family Papers which comprise 64 boxes of correspondence, journals, sketches, photographs, and poems spanning across generations are archival materials relating to Violet’s life and her experiences with the suffrage movement and as a patient at a psychiatric hospital in Maryland around the same time.
Serena Katherine “Miss Violet” Dandridge was born March 15, 1878, at her family home of “Rosebrake” in Shepherdstown, West Virginia, to parents Danske Bedinger Dandridge and Adam Stephen Dandridge. Violet grew up at Rosebrake with two younger siblings, Stephen Hawks and Dorothea Spotswood, until moving to D.C. at the age of 18 in 1896 to begin studying art. She returned to Rosebrake in 1897 after her younger brother unexpectedly died while attending the University of Virginia. Dorothea Spotswood also died at a young age from an unspecified illness in 1907.Serena Katherine “Miss Violet” Dandridge
By 1903, Violet had moved back to Washington, D.C. and began drawing marine and fauna wildlife for publication at the National Museum in the Smithsonian Institution. In 1914, her parents committed her to Sheppard and Enoch Pratt Hospital, one of the nation’s oldest psychiatric hospitals in Maryland, for bouts of “nervousness” and possibly an eating disorder. The superintendent of the hospital stated that they resorted to force feeding Violet as she did not “retain food well” and her weight was a concern. However, in a letter to her family two weeks later, Violet noted that the staff were “kind and helpful” and the food was “delicious,” but she was just too anxious to finish her meals because she was worried about her mother, Danske, who also had a history of mental illness and particularly struggled after the deaths of Violet’s two younger siblings. Danske passed away from suicide during one of Violet’s stays at the hospital, but the nature of her death was concealed from Violet by doctors and family members out of concern for her well-being.
Violet was involved in the movement for women’s suffrage, and by 1915, she was regularly making donations, attending local meetings, and subscribing to suffragist newspapers and magazines. Violet most likely became involved in women’s suffrage before her time at the hospital, as the superintendent in February of 1914 claimed that Violet “wishe[d] to die on account of man’s injustice to woman.” Violet also had a deep love and appreciation for the environment, being arrested twice when she was 52 years old for interfering with a company’s plan to cut down local trees. She found inspiration for her poems and her art in nature, particularly trees. Sometime after being released from the hospital, Violet moved back to her family home to raise sheep and live with her cousin, Nina Mitchell, both never marrying.
During the 1940s, Mary Katharine Kern, a graduate student at Duke University, contacted Violet to learn more about Danske Dandridge for her thesis on poets of the Shenandoah Valley in West Virginia. The acknowledgments of her thesis and correspondence from the curator at the time indicate that the library acquired the Dandridge Family Papers from Violet as a purchase. The library also acquired Violet’s cousin Nina Mitchell’s papers, which also hold traces of Violet’s story. Violet died on November 7, 1956, at age 78 after returning to Sheppard and Enoch Pratt Hospital for further treatment related to mental illness.
In the fall semester of 2019, we shared the letters sent from Sheppard and Enoch Pratt Hospital as primary evidence of early twentieth century treatment of women with mental illness with students in Seth LeJacq’s Writing 101 course on Women and Western Medicine. These letters provided a poignant complement to this course’s analysis of texts like Charlotte Perkins Gilman book The Yellow Wall-paper. Violet’s papers are a unique portrait of women’s involvement in science and politics as well as personal experiences with mental illness in the early 1900s.
Bedinger and Dandridge Family Papers, David M. Rubenstein Rare Book & Manuscript Library, Duke University.
The Rubenstein Rare Book & Manuscript Library is pleased to announce the recipients of the 2020-2021 travel grants. Our research centers annually award travel grants to students, scholars, and independent researches through a competitive application process. We extend a warm congratulations to this year’s awardees. We look forward to meeting and working with you!
Please note that due to widespread travel restrictions, the dates for completing travel during this grant cycle have been extended through December 2021.
Sallie Bingham Center for Women’s History and Culture (Mary Lily Research Grants):
Dena Aufseeser, Faculty, Department of Geography and Environmental Systems, University of Maryland, “Family Labor, Care, and Deservingness in the US.”
Elvis Bakaitis, Adjunct Reference Librarian, The Graduate Center, CUNY, “The Queer Legacy of Dyke Zines.”
Emily Larned, Faculty, Art and Art History, University of Connecticut, “The Efemmera Reissue Project.”
Sarah Heying, Ph.D. candidate, University of Mississippi, “An Examination of the Relationship Between Reproductive Politics and Southern Lesbian Literature Since 1970.”
Susana Sepulveda, Ph.D. candidate, Department of Gender and Women’s Studies, University of Arizona, “Travesando Chicana Punk”, an examination of Chicana punk identity formations through the production of cultural texts.
Tiana Wilson, Ph.D. candidate, University of Texas at Austin, “No Freedom Without All of Us: Recovering the Lasting Legacy of the Third World Women’s Alliance.”
John Hope Franklin Center for African and African American History and Culture:
Brandon Render, Ph.D. candidate, Department of History, University of Texas at Austin, “Color-Blind University: Race and Higher Education in the Twentieth Century.”
Erin Runions, Faculty, Department of Religious Studies, Pomona College, “Religious Instruction of Slaves on Fallen Angels and Hell in the Antebellum Period.”
Katherine Burns, Ph.D. candidate, Department of History, University of Edinburgh, “‘Keep this Unwritten History:’ Mapping African American Family Histories in ‘Information Wanted’ Advertisements, 1880-1902.”
Leonne Hudson, Faculty, Department of History, Kent State University, “Black American in Mourning: Their Reactions to the Assassination of Abraham Lincoln.”
Matthew Gordon, Ph.D. candidate, Department of History, University of Georgia, “American Memory and Martin Luther King, 1968-1983.”
Michael LeMahieu, Faculty, Department of English, “Post ‘54: The Reconstruction of Civil War Memory in American Literature after Brown v. Board.”
Harry H. Harkins T’73 Travel Grants for Lesbian, Gay, Bisexual, and Transgender History:
Amanda Stafford, Ph.D. candidate, School of History, University of Leeds, “The Radical Press and the New Left in Georgia, 1968-1976.”
Caitlyn Parker, Ph.D. candidate, American Studies Department, Purdue University, “Lesbians Politically Organizing Against the Carceral State from 1970-2000.”
John W. Hartman Center for Sales, Advertising, and Marketing History:
Andrew Wasserman, Independent Scholar, “The Public Art of Public Relations: Creating the New American City.”
Austin Porter, Faculty, Department of Art History and American Studies, Kenyon College, “Bankrolling Bombs: How Advertisers Helped Finance World War II.”
Elizabeth Zanoni, Faculty, Department of History, Old Dominion University, “Flight Fuel: A History of Airline Cuisine, 1945-1990.”
Hossain Shahriar, Ph.D. candidate, Department of Business Administration, School of Economics & Management, Lund University, “Gender Transgressive Advertising: A Multi-Sited Exploration of Fluid Gender Constructions in Market-Mediated Representations.”
Jesse Ritner, Ph.D. candidate, Department of History, University of Texas at Austin, “Making Snow: Weather, Technology, and the Rise of the American Ski Industry, 1900-Present.”
Joseph Larnerd, Faculty, Department of Art History, Drexel University, “Undercut: Rich Cut Glass in Working-Class Life in the Gilded Age.”
Katherine Parkin, Faculty, Department of History and Anthropology, Monmouth University, “Asian Automakers in the United States, 1970-1990.”
Meg Jones, Faculty, Communication, Culture & Technology, Georgetown University, “Cookies: The Story of Digital Consent, Consumer Privacy, and Transatlantic Computing.”
Ricardo Neuner, Ph.D. candidate, University of Konstanz, “Inside the American Consumer: The Psychology of Buying in Behavioral Research, 1950-1980.”
Stanley Fonseca, Ph.D. candidate, Department of History, University of Southern California, “Cruising: Capitalism, Sexuality, and Environment in Cruise Ship Tourism, 1930-2000.”
History of Medicine Collections:
Jackson Davidow, Theory and History of Art and Design, Rhode Island School of Design, “Picturing a Pandemic: South African AIDS Cultural Activism in a Global Context.”
Lisa Pruitt, Faculty, Department of History, Middle Tennessee State University, “Crippled: A History of Childhood Disability in America, 1860-1980.”
Morgan McCullough, Ph.D. candidate, Lyon G. Tyler Department of History, William and Mary, “Material Bodies: Race, Gender, and Women in the Early American South.”
Human Rights Archive:
Andrew Seber, Ph.D. candidate, Department of History, University of Chicago, “Neither Factory nor Farm: The Fallout of Late-Industrial Animal Agriculture in America, 1970-2000.”
Eugene (Charlie) Fanning, Ph.D. candidate, Department of History, University of Maryland, College Park, “Empire of The Everglades: A Global History of Agribusiness, Labor, and the Land in 20th Century South Florida.”
Jennifer Leigh, Ph.D. candidate, Department of Sociology, New York University, “Public Health vs. Pro-gun Politics: The Role of Racism in the Silencing of Research on Gun Violence, 1970-1996.”
Richard Branscomb, Ph.D. candidate, Department of English, Carnegie Mellon University, “Defending the Self, Preserving Community: Gun Rights, Paramilitarization, and the Radical Right, 1990-2005.”
Would you like to help us commemorate the 100th anniversary of the 19th amendment? As we are working from home to prepare for the upcoming suffrage exhibit, that will hopefully be installed this summer in the Rubenstein Library, we would love for you to help us in your sewing rooms, craft rooms, or dining room tables. Although the RL holds various tapestries, banners, sashes, and other art objects created during the suffrage movement, these original items are very susceptible to light damage. In order to publicize the exhibition in the cases outside the Biddle Rare Book Room, we would love to incorporate YOUR versions – faithful reproductions or your own take – of suffrage banners, pins, sashes, or any kind of suffrage memorabilia! Items can reference the American women’s suffrage movement or other suffrage and voting rights struggles.
Enter your items in our friendly competition. Prizes will be awarded, and winning items will be on display with recognition in the Sperling exhibition case (and returned to creators when the exhibit is finished).
Due date: May 18, 2020
How to submit: Please send images along with a brief description of your completed item to Bingham Center-Exhibitions intern, Jess Epsten (email@example.com).
Judging: Submissions will be considered by jury consisting of members of the suffrage exhibit group, Meg Brown, Yoon Kim, Laura Micham, Jess Epsten, and Genna Miller (faculty member).
Prizes: A variety of prizes to be determined.Alice Paul sewing stars on Suffrage Flag (ca. 1912-1920).
Be a part of History! Artistic expression of political ideals, such as sewing banners, pennants, sashes and other items and incorporating phrases like “Votes for Women,” was a widespread and powerful strategy for suffragists and part of the long tradition of artistic expression in social justice movements. Equal suffrage leagues even held competitions for poster designs to support the movement. There are great sources of historical objects on the internet for inspiration-feel free to copy one, or create your own!
About the exhibit: Commemorating the ratification of the 19th amendment, “Beyond Supply & Demand: Duke Economics Students Present 100 Years of American Women’s Suffrage” will highlight a range of materials from the Rubenstein Library selected by the 38 undergraduate students in the Fall, 2019 course Women in the Economy. Students in the course were tasked with going beyond simple tools of “supply and demand” to examine original, archival materials from the past one hundred years to curate an exhibit examining the complexities and strategies of the American suffrage movement.Links for Inspiration!
Some online exhibits:
- Library of Congress – Shall Not Be Denied: Women Fight for the Vote
- National Archives – Rightfully Hers: American Women and the Vote
- National Women’s History Museum – Crusade for the Vote
Some project ideas and supplies:
Contributed by Amanda Mixon, PhD Candidate, Comparative Literature, University of California, Irvine. Read more in their recent article: Amanda Mixon (2019): “Not in my name”: the anti-racist praxis of Mab Segrest & Minnie Bruce Pratt, Journal of Lesbian Studies, DOI: 10.1080/10894160.2019.1678964
With the assistance of a Mary Lily Travel Grant, I visited the Sallie Bingham Center in the summer of 2018 to carry out research for my dissertation, which analyzes how a group of white southern lesbian writers theorize whiteness and practice anti-racist activism. The project is as much invested in tracing friendships and influences as it is in elaborating a single individual’s political thought. Therefore, when perusing the papers of Dorothy Allison (1949-), Minnie Bruce Pratt (1946-), and Mab Segrest (1949-), I was especially interested in how the holdings might give voice to these women’s relationships with each other and the two other figures in my study, Rita Mae Brown (1944-) and Lillian Smith (1897-1966).[i]“‘Listening to Sounds Larger Than Our Own Heartbeat’: A Conference on Lillian Smith” brochure listing talks by both Mab Segrest and Minnie Bruce Pratt, held at Georgetown University, October 7-9, 1994. From the Mab Segrest Papers, Box 63.
I knew that Smith, arguably the most outspoken white southern critic of Jim Crow segregation, had a profound impact on Pratt and Segrest. Her lifelong partnership with Paula Snelling (1899-1985) and searing critiques of white supremacy offered Pratt and Segrest a foundation from which to learn and build. However, when scanning Pratt’s papers, I was surprised to find an unpublished stage play that Segrest wrote about the couple in the late eighties. There, Segrest prioritizes Snelling’s experience, allowing her to criticize Smith for closeting their same-sex relationship. As Segrest told me in person, this centering is an ode to the significant amount of unrecognized work that Snelling contributed to Smith’s career and their collaborative projects. But what I found most compelling was Segrest’s creative license with the couple’s relationship: that is, no primary or secondary sources confirm the dynamic that Segrest depicts. As such, the untitled play is not only an example of how we represent historical figures in order to do them justice, but also an account of what those figures emotionally do for us. In their published nonfiction, both Segrest and Pratt express a yearning for a Smith not bound by the closet’s silence. In the play, Snelling becomes the voice of that desire. She asks: what would it have meant—for Smith’s own career and life, for Snelling, and for the countless women inspired by their work—if Smith had claimed a lesbian identity?“Scenes from play about Lillian Smith” by Mab Segrest, original pictured here from the Mab Segrest Papers, Box 63. Another copy is located in the Minnie Bruce Pratt Papers, Box 57.
[i] Rita Mae Brown is author of the 1973 lesbian coming of age novel Rubyfruit Jungle. Lillian Smith was a white civil rights activist, known for her 1944 novel Strange Fruit, which featured an interracial couple.
The David M. Rubenstein Rare Book & Manuscript Library is now accepting applications for our 2020-2021 travel grants. If you are a researcher, artist, or activist who would like to use sources from the Rubenstein Library’s research centers for your work, this means you!
The Sallie Bingham Center for Women’s History and Culture, the John Hope Franklin Research Center for African and African American History and Culture, the John W. Hartman Center for Sales, Advertising & Marketing History, the History of Medicine Collections, and the Human Rights Archive will each award up to $1,500 per recipient ($2,000 for international applicants to the Human Rights Archive) to fund travel and other expenses related to visiting the Rubenstein Library. The Rubenstein Library also awards up to $1,500 for individuals who would benefit from access to our gay, lesbian, bisexual and transgender history collections through the Harry H. Harkins, Jr. T’73 Travel Grant.
The grants are open to undergraduate and graduate students, faculty, independent scholars, artists, and activists who live more than 100 miles from Durham, North Carolina, and whose research projects would benefit from access to collections held by one of the centers listed above.
More details—and the grant application—may be found on our grants website. Applications must be submitted no later than 5:00 PM EST on January 31, 2020. Recipients will be announced in March 2020.
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Post contributed by Chiara Amoretti, PhD candidate, University of Bristol, UK
After the generous award of a Mary Lily Research Grant, I travelled to Duke University this winter to conduct research for my doctoral dissertation, a study on modern and contemporary women writers and the creation of a female divine. My project focuses on three authors, including Kathy Acker, so I was excited to have the opportunity to consult the Kathy Acker Papers housed here at the Rubenstein Library. The collection spans notebooks, drafts, typescripts, annotations, correspondence and much more. My research goal was to find any evidence that Acker engaged with religion and religious discourse or texts, but more importantly how she engaged with it. To better understand her published work’s fragmented use of such suggestions, I wanted to see how Acker had originally worked them into her texts.
In order to do this, I studied the many notebooks containing Acker’s drafts for her novels and other unpublished material. Her drafts amazed me not just for the evidence of relentless work and self-editing that she put her writing through, but especially for the many different uses of heterodox religious language that appear therein. I was particularly struck to find one of her notebooks containing a discussion of her cancer treatment, in an extended metaphor, as a Shamanic initiation rite. This seems to highlight the spiritual significance, for Acker, of her choice of alternative medicine, and a way to reclaim her lived experience in response to her diagnosis.
The archive also illuminated my understanding of Acker’s fascination with para-religious activities and discourses. Her interest in astrology, which her published work hints at, takes on deeper meaning after seeing the natal charts of herself, and other people in her life, that Acker consulted. This shows her attachment to diverse forms of spiritual meaning-making, especially towards the end of her life. My visit to the Acker Papers has been invaluable for my research, showing me many unexpected ways in which Acker devised her own spiritual narrative experimentation.
Post contributed by Stephanie Fell, Rare Materials Project Cataloger
When the Lisa Unger Baskin Collection was packed and shipped to Duke in early 2015, many of the materials were boxed thematically. Therefore, as we have been cataloging the collection, the materials tend to come in waves of various themes and subject matter. Lately a number of cookbooks and monographs relating to domestic arts have been coming across my desk. Some have been traditional cookbooks and domestic arts manuals, offering recipes, menus, and nutrition information, as well as advice to the home maker, from cooking, cleaning, and child care tips to household budgeting and how to decorate the home. I wanted to point out a couple of items in particular that caught my attention.An example of the typical publisher’s binding cookbook from the Lisa Unger Baskin Collection
These particular books, at first glance, are traditional cookbooks or domestic arts manuals for women to help them maintain a healthy and happy home through cooking and good housekeeping. Looking more closely, however, they contain a subversive message that rejects traditional gender roles and encourages the reader to emancipate herself from the kitchen.Foods and home making by Carlotta C. Greer
Foods and Home Making by Carlotta C. Greer, published in 1938, was intended to be used by teachers to train boys and girls to do household tasks better. This text looks typical of the genre and time period; it includes “many suggestions and devices to stimulate pupils to participate in home activities and to do their share in making their homes attractive and happy” (page iii-iv). Upon closer examination, the “To the teacher” note includes the following advice: “Much of the material of Foods and Home Making is suitable for boys as well as girls. Knowledge of food selection is necessary for boys. Stimulation of boys’ interest in home making contributes to their appreciation of home life” (page v). The author encourages the reader to get her sons involved (and appreciate!) the work involved with sustaining and maintaining a household.
Another noteworthy feature of the Rubenstein Library’s copy is that it contains manuscript annotations indicating the owner was using the volume to prepare for an exam. Part of my work as a rare materials cataloger is to include provenance-related information such as this in the library’s catalog record in copy-specific notes. This kind of information about the book is important to include in the bibliographic record, because it shows not only how a former owner used the item, but also helps to differentiate this copy from copies at other institutions.Manuscript annotations show a former owner’s use of the item.
Another volume I cataloged recently is Uncooked Foods & How to Use Them by Mrs. & Mrs. Eugene Christian. Published in 1904, it is dedicated to “the women of America on whom depend the future greatness of our glorious country”. This unassuming volume includes more than just recipes and housekeeping advice. Scrolling through the table of contents, the reader will find that chapter 8 is entitled “Emancipation of Woman”. The authors advocate a raw food diet — one reason for this being simplicity: “There is nothing more complicated–more laborious and more nerve-destroying, than the preparation of the alleged good dinner. There is nothing simpler, easier and more entertaining than the preparation of an uncooked dinner” (page ). The authors argue that eating raw foods is healthier and will “emancipate [the reader] from the slavery of the kitchen and the cook stove” (page ). They continue, “… the use of uncooked or natural foods will surely bring relief and freedom” (page 52). Mr. and Mrs. Christian were admittedly ahead of their time in more than one regard.Uncooked Foods & How to Use Them by Mr. & Mrs. Eugene Christian
As I’m cataloging the Lisa Unger Baskin Collection, which documents the work of women over the last 500 years, I’m not just describing the materials bibliographically, but I’m also trying to provide relevant access points and descriptive information for researchers. In addition to these items, the Rubenstein Library holds many other volumes related to cooking and domestic life. One can find other examples of domestic arts advice for women both inside and outside of this collection through Duke University Library’s online catalog. A genre term search for “Cookbooks” will return many items in that category and a keyword search for “prescriptive literature” may yield broader results.
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Post contributed by Adrian Kane, doctoral candidate in History at the University of Washington
I travelled to the Rubenstein Library this winter, with generous support from the new Harry H. Harkins Jr. T’73 Research Grants, to conduct research for my dissertation “Narrating Sex: Transitional Bodies and ‘Expertise’ in the British Empire and Commonwealth, 1945-1970.” The Dawn Langley Simmons papers, a collection of correspondence and ephemera related to the English-born Charlestonian author, offer an unusually rich portrait of the life of a woman of transgender experience in the 1960s and 70s—one all the more valuable because Simmons played an active role in the archive’s construction.
Simmons, a prolific biographer in her own right, was keenly aware of the way textual evidence shapes memory. Her sequence of donations to Duke chronicle her 1968 transition and marriage to John-Paul Simmons—the first marriage between a white woman and Black man in South Carolina, she claimed—as well as her struggles with racist violence, housing instability and single-income working motherhood. Many of the documents bear Simmons’s marginal comments in colorful ink, explaining in-jokes or clarifying her relationship to the correspondent. Her 1975 diary, for example, closes with a list of “Points of Int.” written on the inside flyleaf, while the bland, newsy letters from her sister Fay assume a different tone in light of Simmons’s comment that Fay and her right-wing “Powellite” family refused to see her in person after her wedding.Front endpapers of Dawn Langley Simmons’s diary
What is largely absent from either the letters or the marginalia, however, is the suggestion that transition was a central part of her identity or a primary source of adversity in her life. Of all the letters she chose to donate only one expresses disapproval of her transition, and her friends in the United States and England alike seem to have readily adopted her new name and pronouns. This may, of course, reflect curation on her part. But even if there are deliberate gaps in the archival record, it is significant that Simmons chose to preserve vacation postcards and programs from her daughter’s Christmas pageants rather than accounts of her changing body or any hostility she endured because of it. Even today, after all, trans people are expected to recount feelings of gender-based misery in order to access basic healthcare and legal support, and, as an historian, I had assumed that the pressure to reproduce the “correct” narrative would have been still greater in the early days of the Johns Hopkins gender identity clinic. Yet Simmons seems to have taken active steps to ensure that no future biographer could reduce her life to a simplistic tale of suffering and its surgical redemption. She was a writer, a mother, a lover of antiques and old houses, a bon vivant, a restless soul with one foot planted on either side of the Atlantic—all of these aspects of her identity come to the fore in the Dawn Langley Simmons papers, and serve as a reminder that published or institutional records of transition cannot fully represent the way mid-twentieth century trans people understood themselves.
The post Curating the Self: The Dawn Langley Simmons Papers and Transgender History appeared first on The Devil's Tale.
The Rubenstein Rare Book and Manuscript Library is pleased to announce the recipients of the 2019-2020 travel grants! Our research centers annually award travel grants to students, scholars, and independent researchers through a competitive application process. Congratulations to this year’s recipients:
Sallie Bingham Center for Women’s History and Culture (Mary Lily Research Grants):
Emily Fleischer, Artist: Artistic project will include a series of drawings based on historic needlework that create a narrative about the lives of American women before 1920
Charlie Jeffries, Faculty, University of East Anglia: Your Best American Girl: Construction of Adolescent Sexualities in the US Culture Wars
Laura Kenner, Doctoral Candidate, Harvard University, History of Art and Architecture Department: Text, Sex, and Video: New York City’s Downtown/Underground Scene (1973-1996)
Nell Lake, Doctoral Candidate, Brown University, American Studies Department: Research for dissertation that will link 20th century moral discourse around care and domestic labor with 20th century politics of women’s work
Jessica Lapp, Doctoral Candidate, University of Toronto, Faculty of Information: The Provenance of Protest: An Exploration of Feminist Activist Archiving
Kaja Marczewska, Research Fellow, Coventry University, Centre for Postdigital Cultures: Distribute-it-Yourself: Judy Hogan and the History of North American Small Press in Circulation (1960s-1990s)
Jennifer Withrow, Doctoral Candidate, University of Massachusetts Amherst, Economics Department: Three Essays on Labor and Marriage Markets: Farm Crisis and Rural-to-Urban Migration in the United States, 1920-1940
John Hope Franklin Center for African and African American History and Culture:
Selena Doss, Faculty, Western Kentucky University, History Department: Involuntary Privilege: Black Southerners and Territorial Separatism, 1783-1904
Jacqueline Fewkes, Faculty, Florida Atlantic University, Harriet L. Wilkes Honors College and Anthropology: American Mosques: An Ethnohistory of Space, Memory, and Muslim-American Community
John Harris, Faculty, Erskine College, Department of History: Pirates of New York: The United States and the Final Era of the Illegal Slave Trade, 1850-1867
Martina Schaefer, Doctoral Candidate, Vanderbilt University, Department of History: Black Power and Afro-Caribbean Religions: The Spiritual and Cultural Trajectory of Black Empowerment, 1966-1998
Kali Tambree, Doctoral Candidate, University of California, Los Angeles, Department of Sociology: Study of enslaved Africans and death on slave ships en route to the Americas
Charles Weisenberger, Doctoral Candidate, University of Massachusetts Amherst, History Department: The Telfair Family and the Antebellum One Percent: Slavery in the Early United States, 1735-1875
John W. Hartman Center for Sales, Advertising, and Marketing History:
Sarah Arnold, Faculty, Maynooth University, Department of Media: Television, Technology and Gender: New Platforms and New Audiences
Mark Bartholomew, Faculty, University of Buffalo, School of Law: “Advertising Outrage and its Legal Regulation”
Rachel Kirby, Doctoral Candidate, Boston University, American and New England Studies: Study of visual representation of Southern agricultural products
Shayan Lallani, Doctoral Candidate, University of Ottowa, Department of History: Cultural Globalization in the Caribbean: Dining and the American Middle-Class Turn in Cruise Ship Tourism, 1920-2016
Adam Mack, Faculty, School of the Art Institute of Chicago, Liberal Arts Department: Limitless: Supermarkets and the Dilemma of Choice
Brent Malin, Faculty, Pittsburgh University, Department of Communications: Ordinary and Necessary: A History of the American Tax Deduction for Advertising
James McElroy, Doctoral Candidate, University of Minnesota, Department of History: Racial Segregation and Market Segregation: The Late-Twentieth Century History of the American City Supermarket, 1960-1990
Emily Morgan, Faculty, Iowa State University, Department of Visual Culture: Imagining Animal Industry: Visualizing the American Meatpacking Trade, 1890-1980
Robert Terrell, Faculty, Syracuse University, Department of History: The People’s Drink: The Politics and Culture of German Beer in the Twentieth Century
Emily Westkaemper, Faculty, James Madison University, Department of History: Career Women: Image and Reality in U.S. Popular Culture, 1940-2000
History of Medicine Collections:
Matthew Barrett, Doctoral Candidate, Queen’s University, History Department: Conduct Unbecoming an Officer and a Doctor: Medical Attitudes toward Homosexuality and the Court-Martial of Dr. Percy E. Ryberg
Kelly ODonnell, Faculty, Thomas Jefferson University, College of Humanities and Sciences: Study of the role doctors’ wives played in the medical profession, recasting the history of American health care by focusing on the women behind the “great men” of medicine
Laura Smith, Doctoral Candidate, University of Arkansas, History Department: Southern Doctors from Southern Communities: Medical Education and Professionalization in the Nineteenth-Century South
Human Rights Archive (Marshall T. Meyer Research Travel Grants):
Meghan Gibbons, Independent Researcher: Nationalism and Maternal Protest in the US, El Salvador, and Argentina
Gabrielle Girard, Doctoral Candidate, Princeton University, History Department: Modeling Democracy: The Global History of an Argentine Human Rights Experiment, 1978-1991
Michael Jones, Doctoral Candidate, Tulane University, Department of Political Science: Blood & Peace in the Hills of Africa: Post-conflict Institutions in Comparison
Zachary Norman, Faculty, University of Utah, Department of Art & Art History: “Researching Images of Incarceration: Developing Visual Art & Studies Courses to be Taught Inside”
Mira Rai Waits, Faculty, Appalachian State University, Department of Art: Colonial Carcerality: The Birth of the Modern Prison in India
Harry H. Harkins T’73 Travel Grants for Lesbian, Gay, Bisexual, and Transgender History:
Jonathan Coleman, Independent Researcher: Anywhere, Together: A Queer History of Kentucky
Benjamin Serby, Doctoral Candidate, Columbia University, History Department: Gay Liberation and the Politics of the Self in Postwar America
Photographic Research Grants, Co-Sponsored by the Archive of Documentary Arts and the History of Medicine Collections:
Rachel Fein-Smolinski, Faculty, Syracuse University, Department of Transmedia: “Sex Lives of Animals Without Backbones: A Study of the Aesthetics of Pain and Courage Within the Western Healthcare System”
We look forward to working with you all!
So far this academic year, Rubenstein librarians have taught 132 class sessions (though we won’t finalize these numbers until the end of the spring semester). You’d think that’d be enough to fill our time, but we’ve also been meeting monthly to discuss our individual teaching practices and how to improve our students’ experiences in our class sessions. We want to inspire confident special collections researchers for life!
Through our discussions, we realized that we often returned to couple of key points about archives and primary source research in our class sessions. We’d broach those points on an ad hoc basis as they arose in classes, but we wondered if starting our class sessions off with a shared understanding of those points would be useful, reassuring, and perhaps even empowering for our students.
We’ve followed the development of codes of ethics for different spaces and organizations within (and beyond) our profession and thought that model might also work for us. Early this semester, we drafted and began implementing what we’re calling our approach to classes at the Rubenstein Library. (“Code of ethics” seemed so heady that it might have the unfortunate effect of tamping down student engagement.) Here is what we developed:
Explore and be curious! Our class sessions are interactive, hands-on opportunities to look at lots of materials, so take advantage of this time. Challenge yourself to look (even briefly) at items that don’t initially catch your interest—you might be surprised at what you discover.
Our class sessions seek to be inclusive, offering multiple perspectives, viewpoints, or lived experiences, but may not include the voices of every population for a number of reasons. Let’s talk in class about the voices that aren’t being presented.
The background, experience, and knowledge you bring to this class session are valuable. There isn’t one right interpretation of a historical document. Please listen carefully and treat everyone’s responses respectfully.
The material you encounter in this session has the potential to be uncomfortable or upsetting. Be kind to yourself and recognize your limits. You can look at something else or even step out of the room to take a break.
When working with historical documents, you may encounter racist, oppressive, or outdated language in the documents themselves or in the archival record. When we discuss these items, we will want to use terms that reflect the ways these communities describe themselves today.
Later this month, we’ll come together as a group of instructors to talk about how we’ve been able to incorporate the code into our class sessions—but informal reports suggest it’s been useful! Our practice has generally been to give students two to three minutes to individually read over the code (presented on a slide) and then talk as a class about any questions they might have and how the individual points in the code might come up in the class session.A Rubenstein librarian teaches our new instruction code of ethics in a recent class session.
We see this as a living document that we’ll continue to refine and add to as needed. So please do let us know what you think and feel free to borrow or adapt our instruction code of ethics for your own class sessions!
The post Developing a Code of Ethics for Rubenstein Library Instruction Sessions appeared first on The Devil's Tale.
Post contributed by Kelly Wooten, Librarian for the Sallie Bingham Center for Women’s History and Culture
In the fall 2018 semester, I worked with students in two sections of Dr. Amanda Wetsel’s Writing 101 course, Photography and Anthropology to introduce them to the Rubenstein Library’s collection of artists’ books.
As context, Dr. Wetsel shared that students in Photography and Anthropology consider how anthropologists have treated photographs both as an object of inquiry and a means of communicating their findings. She writes, “As they read both early and contemporary anthropological texts, students think about multiple ways words and images interact. They then conduct ethnographic research on a photographic genre here at Duke, such as lock screen photographs, Instagram accounts, and displays of photos in dorm rooms.” As a final project, several students used the format of an artists’ book to convey their findings with words and photographs.
After their research visit, Dr. Wetsel reflected on how the works the students explored during their session inspired them to think creatively about their own projects:
Viewing artists’ books at the Rubenstein prompted students to think about how the form of a book can reflect its content, how to create powerful texts and format those texts creatively, and ways of making books engaging. As they unfolded the game board of Julie Chen’s A Guide to Higher Learning, stretched Ed Ruscha’s Every Building on the Sunset Strip across the table, tugged down the staircase-like accordion folds of text on Clarissa Sligh’s What’s Happening with Momma and unrolled the delicate, cigarette-shaped scrolls of Amy Pirkle’s Smoke, students thought about how they could adapt the forms to communicate their own research. We’re fortunate to have a range of creative and beautiful artists’ books at the Rubenstein for students to touch, read, and use as inspiration. The form of the artists’ book allowed the students to combine text and photos in powerful and unexpected ways.Kim’s “A View into the Wallpaper”
Joanne Kim, ’22, created a book entitled A View into the Wallpaper. The book itself resembles a cell phone, a box which opens to reveal four smaller icon-shaped boxes. She writes:Detail from “A View into the Wallpaper”
The transition from home to college life is a daunting change which necessitates adaptation and the reconciliation of homesickness, and in some cases, existentialism. At Duke University, freshmen female and male students handle change differently. Female students respond by physically displaying the change in spaces such as their cellphone lock and home screen wallpaper. Male students seek some consistency in a major time of change, and therefore, keep their lock and home screen wallpapers the same through the transition. All the while, both genders utilize the space as a means of protecting and discovering their core identities throughout their freshman year and beyond.
Joshua Li, ’22, describes his piece Lily as having “six long and blue trapezoidal flaps with a Rubik’s cube at the center.” Each flap as an image of a meme which he presents as a form of community building, and the cube can be removed and played with separately. He shared a quote from the text in the book:
Memes function like a societal adhesive, a catalyst for unity in the ultra-diverse Duke community, as these witty photographs have for many years brought people together through shared laughter and warmth. Similar to how creating and looking at memes promote harmony, solving a Rubik’s cube enables one to achieve that same sense of harmony by restoring order to the scrambled and disorganized faces of the cube.“Lily,” opened “Lily,” closed
He titled his book Lily “not only because the end product looked like the flower, but also because in Chinese culture lilies symbolize harmony and unity, which was the main conclusion from my research.” He continues, “The fact that the meme cube is at the center of a display made up of Duke colors (or close to Duke colors – the 3D printers here don’t bleed Duke Blue and white apparently) emphasizes the theme of memes being at the center of Duke University.”
Post contributed by Jessica Janecki, Rare Materials Cataloger
Today’s blog post features a photograph album of 20 gelatin silver prints that depict women loggers at work in England during World War I. This item is from the Lisa Unger Baskin Collection which documents women’s work across the centuries, from the 13th to the 20th. We chose to highlight this photograph album because it unites two of the Rubenstein’s collecting areas, women’s history and documentary photography.The Great War: Glimpses of Women’s Work in the Woods.
Although the title, Glimpses of Women’s Work in the Woods, verges on the whimsical, these photographs show young women hard at work doing the grueling manual labor that, until the Great War, had been done almost exclusively by men.Timber felling near Petworth. A typical feller using her axe on a small fir tree.
The women depicted in the photographs were members of the Timber Corps. During World War I, forestry, like many male-dominated industries, was left critically under-staffed and the British government encouraged women to do their part for the war effort by taking on these vital jobs. The images show women loggers felling trees with hand-axes and saws, trimming and “barking” felled trees, carrying logs, and driving horses. These photographs were taken in the summer of 1918 around the towns of Petworth and Heathfield in Sussex, England.The tree falling. Heathfield. “Barking.” Heathfield. Carrying the poles out of the wood. Timber felling near Petworth. Horse girls bringing logs down to railroad.
These images were captured by Horace Nicholls, a British documentary photographer and photojournalist. He had been a war correspondent during the Second Boer War and later returned to England to work as a photojournalist. Prevented from serving in World War I due to his age, in 1917 he became an official photographer for the Ministry of Information and the Imperial War Museum, documenting life on the home front.
The series was not issued commercially and the album in the Baskin Collection appears to be a unique production. The 20 gelatin silver prints are carefully mounted on cream card stock with gilt edges. The binding is full red leather with the title in gold on the front cover and spine. Each print has a hand lettered caption. Click this link to view the full catalog record.
The post Women’s Work in the Woods: Women Loggers During World War I appeared first on The Devil's Tale.
The David M. Rubenstein Rare Book & Manuscript Library is now accepting applications for our 2019-2020 travel grants. If you are a researcher, artist, or activist who would like to use sources from the Rubenstein Library’s research centers for your work, this means you!
The Sallie Bingham Center for Women’s History and Culture, the John Hope Franklin Research Center for African and African American History and Culture, the John W. Hartman Center for Sales, Advertising & Marketing History, the History of Medicine Collections, the Human Rights Archive, and the Archive of Documentary Arts, will each award up to $1,500 per recipient ($2,000 for international applicants to the Human Rights Archive) to fund travel and other expenses related to visiting the Rubenstein Library. The Rubenstein Library also awards up to $1,500 for individuals who would benefit from access to our gay, lesbian, bisexual and transgender history collections through the Harry H. Harkins, Jr. T’73 Travel Grant.
The grants are open to undergraduate and graduate students, faculty, independent scholars, artists, and activists who live more than 100 miles from Durham, North Carolina, and whose research projects would benefit from access to collections held by one of the centers listed above.
More details—and the grant application—may be found on our grants website. Applications must be submitted no later than 5:00 PM EST on January 31, 2019. Recipients will be announced in March 2019.
The post Applications Now Accepted for the 2019-2020 Travel Grant Program appeared first on The Devil's Tale.
Post Contributed by Michelle Runyon, Sallie Bingham Center for Women’s History and Culture Graduate Intern.
On August 4, 1892, Andrew and Abby Borden were found after being murdered with an ax. Andrew’s daughter Lizzie was immediately suspected and she was subsequently tried for the couple’s murders. The public was entranced with the grisly crime and Lizzie Borden’s trial. Many were unpleasantly surprised when she was acquitted of her father’s and stepmother’s murders. Lizzie Borden continued to live in her hometown of Fall River, Massachusetts, until her death even though she was ostracized by the community.
Even since her death in 1927, Lizzie Borden has continued to catch the public imagination. In the 126 years since Bordens’ murders, there have been books, podcast episodes (for example, Unsolved Murders Episode 23), movies, and even an opera which tells the gruesome story of the the Bordens’ murders. The Duke Libraries holds dozens of works inspired by the story of Lizzie Borden.
Here at the Rubenstein Library, we have a few different items related to Lizzie Borden and her trial, including a two-volume scrapbook that details Lizzie Borden’s trial through contemporary newspaper clippings. Although we are not certain who compiled the scrapbooks, their existence is evidence of the public’s fascination with the Borden murders from the beginning and the attention that was paid to Lizzie’s trial.Clippings in the Lizzie Borden scrapbooks, Rubenstein Library
The Lisa Unger Baskin Collection includes a brief manuscript relaying events in Fall River surrounding the two murders and an autograph album collected by Jennie Nuttall, a resident of Fall River, MA, which includes a verse and signature by Borden from before the murders took place. This volume will be included in 500 Years of Women’s Work: the Lisa Unger Baskin Collection exhibit opening at the Rubenstein on February 27, 2019.
We also have an album in the Bobbye S. Ortiz Papers featuring a song about Lizzie Borden, as sung by the Chad Mitchell Trio!Front and back cover “The Best of Chad Mitchell Trio,” from the Bobbye Ortiz collection
As evidenced by the release this year of film entitled Lizzie inspired by her story, Lizzie Borden continues to be a figure of macabre fascination to many. Her story and the stories of the murders are retold time and time again.
Post contributed by Molly Brookfield, a Ph.D. candidate in the departments of History and Women’s Studies at the University of Michigan. She is writing a dissertation about the history of sexual harassment in public places in the United States. Her research at the Sallie Bingham Center was generously funded with a Mary Lily Research Grant.
Imagine you are a young woman walking down the street on a sunny summer day in New York City. The sidewalk is crowded with people and you are thinking about the day ahead. You’re so absorbed in your thoughts that the shouted remark from a fellow passer-by jolts you unpleasantly back to your surroundings. The remark comes from a man who is also hurrying down the sidewalk. Maybe he shouts, “Looking good, honey!” or “How’s it going, sweetheart?” The specifics of the remark aren’t what’s important; it’s enough to know that he’s tried to grab your attention in a loud and public way that has startled you and forced you to acknowledge his presence. Annoyed, you turn to face the man, reach into your bag, and grab hold of a stack of cards you’ve had made for this occasion. You hand a card to the catcaller, and his eyebrows arch as he reads the first lines: “Brother, I feel insulted and oppressed by your comment. You and men like you make it unpleasant and difficult for all of us women, including your mothers, sisters and daughters, to leave our houses alone. Why are you constantly harassing us on the street?”
This was the tactic taken by New York feminist Marigold Arnold in 1971. That summer, Arnold handed mimeographed cards to men who harassed her in the street and the Women’s Health and Abortion Project published the full text in their newsletter—which is where I found it, while visiting the Sallie Bingham Center on a Mary Lily Research Grant. According to her mimeographed card, Arnold wanted men who catcalled to know that they “interrupt … [women’s] train of thought when we are walking alone, acting as though simply because you are a male we will be honored by your talking to us.” But Arnold was adamant, “We don’t feel honored.” In distinctly 1970s-flavored rhetoric, Arnold’s card declares, “The road of true liberation for all people is for each of us to struggle against oppressing our brothers and sisters. No more oppressive comments to women on the street.”
Arnold’s mimeographed statement was just one way that New York women resisted sexual harassment on the street in the 1970s. The New York Radical Feminists (NYRF) had a Street Harassment Committee that held self-defense workshops. Women raised awareness of street harassment with poems, stories, and cartoons in the group’s newsletter (see image). In 1976, members organized a Women’s Walk Against Rape, similar to the more recent Take Back the Night marches. When one of their members was harassed in Zabar’s, a deli on Broadway, the NYRF even started a blacklist of New York businesses where male employees harassed women.
These documents illustrate that women have experienced sexual harassment in public places since at least the 1970s (and my dissertation will show it has been a problem for much longer). While the New York Radical Feminists did not completely succeed in eradicating street harassment, their work can be viewed as a precursor and inspiration to groups like Hollaback! or Stop Street Harassment, work that is increasingly relevant as we continue to grapple with the pervasiveness of sexual harassment in American society.
All materials cited here can be found in the New York Radical Feminists Records, Box 1 at the Sallie Bingham Center for Women’s History and Culture.
The post “Why Are You Constantly Harassing Us on the Street?” appeared first on The Devil's Tale.
Post contributed by Laura Micham, Merle Hoffman Director of the Sallie Bingham Center for Women’s History and Culture
Join the staff of the Bingham Center as we celebrate the newly acquired Sarah Westphal Collection and the opening of an exhibition of works from the collection.
The attention to recovering traces of women’s voices and women’s agency that motivates all of Sarah’s research and work in the field of medieval gender studies also underwrites her approach to building her collection.
—Ann Marie Rasmussen, Professor and Diefenbaker Memorial Chair in German Literary Studies, University of Waterloo
Date: Wednesday, July 25, 2018
Time: 2:00pm to 3:00pm
Location: Holsti-Anderson Family Assembly Room, Rubenstein Library 153
RSVP on Facebook (optional)
- Jean Fox O’Barr, Duke University Distinguished Service Professor
- Ann Marie Rasmussen, Professor and Diefenbaker Memorial Chair in German Literary Studies, University of Waterloo
- Thomas Robisheaux, Duke University History Department
The exhibit will be on display in the Michael and Karen Stone Family Gallery from July until December, 2018
Sarah Westphal, who received her PhD from Yale in 1983, was a member of the Department of Germanic Languages and Literature and an affiliate of the Program in Women’s Studies at Duke from 1983-1986. In addition to her long academic career as a scholar of medieval German literature, Westphal has spent thirty-five years amassing a collection of over six hundred books written, printed, illustrated, or published by women from the seventeenth to the twentieth century. Westphal’s particular interest is women in Britain and continental Europe in the eighteenth century. The collection includes monumental works such as a beautifully-bound first edition of Mary Wollstonecraft’s A Vindication of the Rights of Women (1792) as well as previously unrecorded works and unique manuscript collections.
In Sarah Westphal’s own words the collection is “anything and all things that women published or were interested in, especially in the eighteenth century.” The collection ranges from literature for children and adults to science, cookery, travel writing, prescriptive literature, political and philosophical treatises, biographies of women by women, and works by women printers and artists. This exhibition presents eighteen items selected by Westphal, each with its own complex story.
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