Collection highlights, news about acquisitions, events and exhibits, and behind-the-scenes looks at the work and services of Rare Books & Special Collections (RBSC) at Notre Dame.
This year’s Halloween tale comes to you from Jeremiah Curtin’s Tales of the Fairies and of the Ghost World (London: D. Nutt, 1895). Curtin, a linguist, translator, and folklorist, was born in Detroit, Michigan, to Irish immigrant parents, and grew up in Milwaukee county, Wisconsin. With the aid of interpreters, he collected folklore in the Irish-speaking regions in the west of Ireland. Recent scholarship demonstrates that Alma Curtin, his wife, was an important partner in this work.1 He also translated Russian and Polish literature, and spent some years working for the Bureau of Ethnology in Washington, D.C., working with Native American peoples. He published three books of Irish folklore, of which this was the third.
“John Reardon and the Sister Ghosts” tells of bravery rewarded and wickedness punished—and of the special properties of “what belongs to a plough”. Enjoy!
Happy Halloween to you and yours from all of us in Notre Dame’s Special Collections!
[1] Bourke, Angela. “The Myth Business: Jeremiah and Alma Curtin in Ireland, 1887–1893.” Éire-Ireland, vol. 44 no. 3, 2009, p. 140-170. Project MUSE, doi:10.1353/eir.0.0043.
We join the Library of Congress, National Archives and Records Administration, National Endowment for the Humanities, National Gallery of Art, National Park Service, Smithsonian Institution, and United States Holocaust Memorial Museum in celebrating National Hispanic Heritage Month.
The United Farm Workers, an organization with deep ties to the Mexican American community, came into existence in 1965, under the leadership of labor leader Cesar Chavez. It merged two existing groups of farm workers, one primarily Mexican and one primarily Filipino. Under Cesar Chavez’s leadership, United Farm Workers became a highly influential, multi-racial labor movement. It orchestrated the most successful consumer boycott in American history, against California grape producers, between 1965 and 1970. By allying with national and local unions and building boycott houses in 10 major cities, the UFW effectively shut down the U.S. market for grapes in protest over treatment of farmworkers. In July of 1970, after a final, failed attempt to offload rotting grapes in Europe, twenty-six grape growers capitulated and signed collective bargaining agreements with the UFW, a major victory for the country’s farm workers.
This post highlights some of Rare Books and Special Collections’ ephemeral material related to the history of the United Farm Workers organization, a beacon of Chicano strength and power.
Andrew Zermeño, a graphic artist who created a number of political cartoons for United Farm Workers, produced this large bilingual poster in 1968. It connects the president-elect, Richard Nixon, to the abusive practices of California grape growers and warns that if “La Raza,” or the Mexican American population, doesn’t stop Nixon, he will stomp, or crush, them.
Portrayed in a grotesque fashion, Nixon waves his characteristic “V” for victory sign and greedily devours grapes. A grape grower is literally in Nixon’s pocket and farmworkers are crushed under his stomping feet. Small signs in Spanish and English refer to the boycott. A man representing La Raza lies inert in a pool of grape juice at the bottom of the poster.
In 1969, the Scholastic, the University of Notre Dame’s student magazine, recognized the grape boycott. Its editors published the striking emblem of the Delano strike on the cover of the November 7 issue. Inside, the first of two articles on the farmworkers’ actions, authored by Steve Novak, describes the formation of the UFW and the history of the grape boycott. Novak observes that, “the Delano strike has done much for the Mexican-American people of the United States,” making them more visible, uniting them, and bringing their struggles to light.
This final item is a modest poster promoting a United Farm Workers benefit held in Madison, Wisconsin, at Freedom House, a small venue. Likely also dating to the era of the grape boycott, the poster features the strike emblem and a group of three protestors, one with arm raised and one wearing a farm worker’s hat.
Together, these items reflect the national impact of the Delano grape strike. It spawned protest posters by Mexican American artists like Zermeño, merited a place on the cover of university student magazine in South Bend, Indiana, and prompted organization of a benefit in Madison, Wisconsin. The impact of this event was widespread and impressive, and it is an important part of the legacy of the U.S.’s Mexican American population.
“The 30th day of May, 1868 is designated for the purpose of strewing with flowers or otherwise decorating the graves of comrades who died in defense of their country during the late rebellion, and whose bodies now lie in almost every city, village, and hamlet churchyard in the land. …”
What is now known as Memorial Day—a day to remember those U.S. military personnel who died while serving—was originally known as Decoration Day. Below are a selection of images from Harper’s Weekly published during the first decade after General John A. Logan of the Grand Army of the Republic first called for this official day of national mourning in 1868.
“Honoring Our Dead Heroes” from the June 6, 1868, issue of Harper’s Weekly (365).Continued text from “Honoring Our Dead Heroes” (366).“‘In Memorium’—Decoration Day, 1872” from the June 8, 1872, issue of Harper’s Weekly (441).Caption text for “In Memorium” (442).“Decoration Day” article from the June 14, 1873, issue of Harper’s Weekly (498).Illustration from later in the same June 14, 1873, issue (501).
A happy Memorial Day to you and yours from all of us in Notre Dame’s Special Collections!
Rare Books and Special Collections is closed today (May 30th) for Memorial Day and will be closed on July 4th for Independence Day. Otherwise, RBSC will be open regular hours this summer — 9:30am to 4:30pm, Monday through Friday.
During June and July the blog will shift to our summer posting schedule, with posts every other Monday rather than every week. We will resume weekly publication on August 1st.
For St. Patrick’s Day, we feature The Breastplate of Saint Patrick, translated by Thomas Kinsella.
Thomas Kinsella, recently deceased, was one of Ireland’s most highly-regarded poets of recent times. In addition to his poetry, he translated many literary texts from Old Irish and Modern Irish to English. Prominent among these are his translation of the epic Táin Bó Cuailgne, and also his translated poems in An Duanaire: Poems of the Dispossessed. Liam Miller’s The Dolmen Press published many of Kinsella’s works, usually with the close collaboration of poet, printer and artist.
The Breastplate of Saint Patrick (front cover) by Thomas Kinsella, published by Dolmen Press, 1954 (left) and Faeth Fiadha: The Breastplate of Saint Patrick translated by Thomas Kinsella from the Irish (front cover), published by Dolmen Press, 1961.
The 1954 edition of The Breastplate of Saint Patrick is decorated with designs by H. Neville Roberts, based on early Christian art. On the cover is a picture of the Shrine of the Bell of Saint Patrick, an ornate shrine made around 1100 to house the older relic, the Bell of Saint Patrick, which is held in the National Museum of Ireland. The image, and the designs within the book, are appropriate to the text, which is a hymn found in an eleventh-century manuscript, the Liber Hymnorum, thought to date to the eighth century.
On the left is the first page of the hymn in the 1954 edition, and on the right is the first page of the hymn in the 1961 edition.
A note in this Dolmen Press edition states that this text is from the manuscript in the Library of Trinity College, Dublin. This is one of twoLiber Hymnorummanuscripts. The other is part of the Franciscan Manuscripts collection at UCD Archives, also in Dublin. Both manuscripts have been digitized and images of the text may be viewed and studied online.
According to the introduction, Patrick composed the hymn to shield him and his monks from ‘deadly enemies who were ambushing the clerics.’
The manuscript introduction announces that the hymn is called ‘fáeth fiadha’. This is usually translated as the ‘deer’s cry’ and is the title given to a later Dolmen Press edition, also by Thomas Kinsella.
Our other Dolmen Press edition, published in 1961, is also a translation by Thomas Kinsella. There are textual variations, as can be seen from a comparison of the initial lines. ‘I arise today’ and ‘Today I put on’. The Old Irish caused more difficulty for earlier translators. George Petrie, who translated the text in the nineteenth century, decided the word ‘atomriug’ must have been two words, and that ‘tomriug’ was a form of ‘Tara’. Subsequent research in Old Irish language sources show that ‘atomruig’ may be translated as ‘I arise’.
George Petrie, On the History and Antiquities of Tara Hill, Dublin, 1839
We end with an image of the best-known part of the text. The prayer beginning with ‘Christ by me, Christ before me’ is sung in many variant arrangements. this is from the 1954 edition.
We join with The Library of Congress, National Archives and Records Administration, National Endowment for the Humanities, National Gallery of Art, National Park Service, Smithsonian Institution and United States Holocaust Memorial Museum in paying tribute to the generations of African Americans who struggled with adversity to achieve full citizenship in American society.
Searching for Claude Monroe Paris, Unheralded African American Basketball Pioneer: Documenting Black History Using Notre Dame’s Joyce Sports Research Collection
For several years, I’ve been on the hunt for Claude Monroe Paris, a largely unheralded African American basketball pioneer from the early twentieth century whose name does not appear in the standard books about the history of African Americans in basketball. A native of Waupaca, Wisconsin, Paris excelled on the court and was one of the few African Americans to compete on high-level integrated basketball teams in the early 1900s. Usually playing at forward or center, he received wide praise for his abilities, and his teams competed in national amateur basketball tournaments in Chicago.
Basketball was in its infancy and—compared to sports like baseball or college football—often received less coverage. So, it has sometimes been difficult to uncover information about early basketball players like Claude Paris. Fortunately, in my new position as the Sports Archivist at Notre Dame’s Hesburgh Library, I can use the incomparable resources of the Joyce Sports Research Collection to better document Claude Paris’s trailblazing athletic career.
After starring at Waupaca High School, Paris joined the region’s top amateur team sponsored by the nearby Stevens Point Athletic Club in 1901. He quickly gained local fame, with one reporter describing him as “a well known colored basket ball player.” The state press routinely praised him as a “crack forward,” and one sportswriter said simply that Paris “is said by players of experience to have been the best forward in the state.”
The Stevens Point Athletics were one of the top teams in Wisconsin, and in 1901, they were invited to Chicago to compete in an eight-team basketball tournament billed as the “National Amateur Championship.” Other teams in the field included Kenton, Ohio; Chicago’s West Side YMCA; the University of Nebraska, and the Silent Five of Brooklyn, New York, a team composed of deaf players.
Before the tournament, the Chicago Chronicle, wrote that Stevens Point “has this year made a very enviable reputation and has an undisputed right to be classed among the best teams in the country.” The Chronicle singled out Paris for “the star playing of the team” and noted that “Paris, who is an unusually small man for the position he fills, is an excellent player and is looked upon as one of the strongest of the team.”
Paris played well in Chicago, but the tournament ended without a clear champion as Stevens Point and Kenton, Ohio, both finished with records of 3-1.
1901-02 Spalding’s Official Basket Ball Guide 1905-06 Spalding’s Official Basket Ball Guide
Over the years, I have tracked Claude Paris and the Stevens Point Athletics “championship” team through newspaper stories, but the Joyce Sports Research Collection—namely, its nearly complete run of Spalding’s Official Basket Ball Guide—has now let me put a picture to these words. Spalding Guides routinely featured hundreds of team photographs from every level of competition, and these images are a fantastic resource for researchers to study and to document the development of sports.
The Joyce Collection’s 1901–02 Spalding’s Official Basket Ball Guide includes on page 60 a team photograph of the “Stevens Point A.C. Basket Ball Team.” Claude Paris (identified as number 7) sits on the left side of the first row, providing a visual record—seen around the country in the popular Spalding Guide—of this early integrated basketball team and graphically documenting Claude Paris’s participation at the highest levels of amateur basketball.
After Stevens Point, Paris attended and continued his basketball career at Lawrence University in Appleton, Wisconsin, for two years. But his career after Lawrence is not well documented. Further investigation in the Joyce Collection, though, has led to more information. I discovered that the 1905–06 Spalding’s Official Basket Ball Guide pictured Claude Paris (identified as number 6) with the 1905 Menasha (Wisconsin) Young Men’s Social Club Basketball team—providing additional evidence of Paris’s trailblazing career as an African American basketball player on predominantly white teams.
Unfortunately, little information has survived about the specifics of Claude Paris’s experiences against white competitors, but visual evidence of his participation on integrated teams is an important addition to our knowledge about the history of African American athletes in this era.
Some contemporary observers also noticed the significance of Claude Paris. In April 1903, the Milwaukee Sentinel published a lengthy article about Paris, then a student at Lawrence. The Sentinel described him as “studious and industrious” and “of quiet manner and engaging personality.”
The article also noted that “Paris finds time to devote considerable attention to athletics… [and] he has an excellent record. Before he came to Lawrence he played on the Stevens Point basket ball team which tied the team of Kenton, O., for the national championship in 1901.”
The Milwaukee Sentinel ultimately used Claude Paris to make an overtly political point. In an era that witnessed increasing legal segregation and racial violence and growing restrictions on African American rights, the Sentinel held up Paris’s example as a direct refutation of the racist philosophy of segregationists exemplified by notorious South Carolina Senator “Pitchfork” Ben Tillman:
“Claude M. Paris of Waupaca… in every detail of his personality and every incident of his career gives the lie to Senator Ben Tillman’s dictum that the negro is and must always remain… inferior.”
I am grateful that the Joyce Sports Research Collection has helped me to further document and honor the life of Claude Monroe Paris, an unsung African American athletic pioneer.
Rare Books and Special Collections is open through this Wednesday (December 22, 2021). After that, we will be closed for the Christmas and New Year’s Break (December 23, 2021 through January 4, 2022). Special Collections will reopen on Tuesday, January 5, 2022.
This is the last blog post for 2021. Happy holidays to you and yours from Notre Dame’s Rare Books and Special Collections!
To celebrate Thanksgiving this year, Special Collections highlights Alice’s Restaurant Cookbook by Alice Brock (the Alice of Arlo Guthrie’s “Alice’s Restaurant” song) and the 1965 Thanksgiving that occasioned it. This is not a cookbook for Thanksgiving. It is a book that exists because of Thanksgiving. It is also a commercial, even nostalgic, artifact (produced by a mainstream publisher—Random House) about a countercultural moment already in the past when the book appeared in 1969.
Alice Brock had opened a restaurant—The Back Room—in Stockbridge, Massachusetts in 1965. That Thanksgiving she hosted a gathering of friends that included Arlo Guthrie, the son of folk singer Woody Guthrie. The day after the festivities, Guthrie and a friend helpfully removed a large load of garbage from Brock’s house. The city dump was closed so the young men threw the trash down a nearby ravine. The owner of the property had the two arrested and criminally charged with littering. Brock bailed them out of jail and Guthrie was inspired to write a song, which became “Alice’s Restaurant Massacree,” released in 1967.
In the song, Guthrie relates his Stockbridge Thanksgiving, detention, and subsequent conviction. Then the song changes and Guthrie describes how he used his criminal record to secure a rejection from the New York City Draft Board and avoid military service during the Vietnam War. The song, which is 18 and a half minutes long, unexpectedly became an anthem of anti-Vietnam protests and an expression of countercultural rebellion. Since the 1970s it has also become a cultural icon around Thanksgiving. Today, many radio stations around the country play the song on this holiday.
Guthrie’s story/song also caught the attention of film director Arthur Penn, who adapted it into a film, Alice’s Restaurant. It was released in 1969 with leading roles by Guthrie and a small cameo by Brock (Patricia Quinn played Alice Brock in the film).
Brock published Alice’s Restaurant Cookbook on the song and the film’s commercial coattails. It contains image stills from the movie as well as a small, vinyl record tucked into a pouch attached to the back inside cover. The recording doesn’t include “Alice’s Restaurant Massacree,” but the disk underscores the book’s connection with Guthrie’s famous song with a short introduction by Guthrie and Brock followed by two songs by Guthrie. In “Italian-Type Meatballs” and “My Granma’s Beet Jam,” he puts the words of two of Brock’s recipes to music.
Brock’s cookbook captures her playfulness and openness along with the countercultural ethos of both her Thanksgiving gathering and her cooking. In her introduction, Brock riffs on the chorus of Guthrie’s song (“you can get anything you want at Alice’s restaurant”). “There is no one way to get what you want unless it is to remain open,” she writes. “Keep guessing. . . . No one has ever fried an egg without turning on the gas, but maybe this time if you look that egg straight in the eye and say ‘FRY,’ it will.” (p. 3). And no Betty Crocker cookbook had index entries for “Blowing Your Own Horn” and “Doctor, Get the” as well as “Used Chicken.
If you hope to find special recipes for cooking a Thanksgiving feast in Brock’s book, however, you’ll be disappointed. The section on “Turkey” takes up just a part of one page and the only reference to Thanksgiving appears in a chapter on “Stuffings And Forcemeat.” But as Alice Brock wrote in her author’s bio, she “[c]ooked good good food with a smile and other expressions . . . Bought a crummy diner . . . Turned it into a crazy-yummy-cozy restaurant . . . Thru it all Alice is a real live human bean—Still foolin’ around and still cookin’ . . .”
Happy Thanksgiving!
RBSC will be closed during Notre Dame’s Thanksgiving Break (November 25-26, 2021). We wish you and yours a Happy Thanksgiving!
“There is hardly any Traveller in Wales, who has not heard, at least, of the titles of some of those ancient traditionary tales, which every grandmother, on a cold winter evening, repeats to her grandchildren, sitting round the blazing hearth.”
Thus does the anonymous author or editor of Welsh Legends: a Collection of Popular Oral Tales (London: printed by J.D. Dewick … for J. Badcock, 1802) preface the five pieces found in this book. For this year’s Halloween post, we share with you the full text of the second piece, a poem titled “The Weird Witch of the Wood”.
Part the First, wherein we meet our hero, Sir Eldred the Bold, on a dark and stormy night.Part the Second, wherein our hero meets the evil Witch. Things don’t go well.Part the Third, wherein the Witch makes a proposition to Sir Eldred. He declines, with help from his faith.
Happy Halloween to you and yours from all of us in Notre Dame’s Special Collections!
In honor of Memorial Day, we offer a new acquisition that is part of RBSC’s extensive American Civil War collection.
In the early months of the Civil War (1861-1865) an artist from Pennsylvania caricatured Jefferson Davis, the new president of the Confederate States of America. The cartoon, which was published and distributed as a poster, was titled “Jeff. Davis Going to War.” and “Jeff. Returning from War.”
Hesburgh Libraries recently acquired a variation on this cartoon, which includes visual and textual embellishments the original design lacked. It was created and published by E. B. and E. C. Kellogg of Harford, Connecticut and George Witing of New York City, probably not later than 1862.
The two cartoons’ common element is their topsy-turvy metamorphic style. Metamorphic portraits are images composed from other, sometimes unexpected, items, which produces an optical illusion effect. Viewed one way Davis appears as an impossibly mustachioed man in fancy military dress. Rotating the print 180 degrees reveals a new message and image. The original 1861 cartoon’s caption, “Jeff. returning from War,” is accompanied by an image of a donkey. Davis’ mustache is transformed into the animal’s long ears.
In the version held by Hesburgh Libraries, Davis is not identified by name in the print; instead, his name was stenciled (not printed) outside the print’s margin, indicating that it might have been added later. Other extant copies of this print differ from our copy by having captions printed just below the central image: “Jeff. Rampant” and “Jeff. Subdued,” or have Davis’ name printed (rather than stenciled) in the margin. Hesburgh Libraries’ copy, like other surviving copies, is hand-colored and includes poetry verses and illustrations, both of which elaborate on the central metamorphic image of Davis as a warrior / Davis as an ass. The verses read:
War. With lion heart and frantic mien, The warrior seeks the battle scene. To risk his precious blood and fight For glory and his vaunted right.
Peace. But when he hears the cannon roar, And views the dying in his gore, His courage fails and then alas! He homeward travels like an ass.
E.B. and E.C. Kellogg of Hartford, Connecticut and their New York agent, George Whiting (also spelled Witing), published this print in 1861 or 1862. The Kellogg brothers Edmund Burke and Elijah Chapman headed an important lithographic printing company during the middle decades of the nineteenth century. Lithography was, in the 1840s when the Kellogg’s established their business, still a relatively new method in the United States for making prints. Artists drew their work onto soft stone which then could be inked and impressed onto paper. The relative ease of drawing on stone and the durability of the lithographs in the printing process made such prints more cost-effective than steel or copperplate engravings. The Kelloggs were artists as well as printers and their shop produced hundreds of beautifully worked images that were affordable and popular for many decades during the nineteenth century.
This rare, possibly unique Civil War print documents public opinion about the incapacity of the leader of the new Confederate States of America early in the war.
During June and July the blog will shift to a summer posting schedule, with posts every other Monday in June and Julyrather than every week. We will resume weekly publication August 2nd.
