Tag: printed ephemera

Welcome Back! Fall 2024 in Special Collections

Rare Books and Special Collections welcomes students, faculty, staff, researchers, and visitors back to campus for Fall ’24! We want to let you know about a variety of things to watch for in the coming semester.

Fall 2024 Exhibition: Notre Dame Football Kills Prejudice: Citizenship and Faith in 1924

“Notre Dame football is a new crusade:
it kills prejudice and stimulates faith.”
— Rev. John F. O’Hara, C.S.C., Prefect of Religion,
Religious Bulletin, November 17, 1924

In the fall of 1924, the University of Notre Dame found great success on the football field and confronted a dangerous and divisive political moment. The undefeated Fighting Irish football team, cemented forever in national memory by Grantland Rice’s legendary “Four Horsemen” column, beat the best opponents from all regions of the country and won the Rose Bowl to claim a consensus national championship. Off the field, Notre Dame battled a reactionary nativist political environment that, in its most extreme manifestation, birthed the second version of the Ku Klux Klan. Sympathizers of this “100% Americanism” movement celebrated white, male, Protestant citizenship and attacked other groups—including Catholics and immigrants—who challenged this restrictive understanding of American identity.

In the national spotlight, Notre Dame leaders unabashedly embraced their Catholic identity. They consciously leveraged the unprecedented visibility and acclaim of the football team to promote—within the very real political constraints of the era—a more inclusive and welcoming standard of citizenship. Attracting a broad and diverse fan base, the 1924 national champion Fighting Irish discredited nativist politics and helped stake the claim of Notre Dame—and Catholics and immigrants—to full citizenship and undisputed Americanness.

Curators will host exhibit open houses on select Friday afternoons before Notre Dame home football games, including on September 6, September 27, and October 11. The drop-in open houses will run from 3:00–4:30 and will feature brief remarks by the curators at 3:30.

Other curator-led tours open to the public will be announced soon. Tours of the exhibit may be arranged for classes and other groups by contacting Greg Bond at gbond2@nd.edu.

This exhibition is curated by Gregory Bond (Curator of the Joyce Sports Research Collection, Rare Books and Special Collections) and Elizabeth Hogan (Senior Archivist for Photographs and Graphic Materials, University Archives).

Stop in regularly to see our Collections Spotlights

Currently on Display: Making Books Count: Early Modern Books in the History of Mathematics

Discover how books shaped science and our understanding of nature. The history of mathematics guides our understanding of astronomy, as revealed in works by Galileo, Copernicus, and others. Through ancient texts tracing the evolution of mathematical thought, visitors can explore the dialogue between mathematics and nature.

The last public spotlight tour is scheduled for August 28 at 1:30 pm.

This dual case spotlight is curated by Caterina Agostini (Indiana University Bloomington, Department of History and Philosophy of Science and Medicine). She previously served as a Postdoctoral Research Associate with the Reilly Center for Science, Technology, and Values and the Navari Family Center for Digital Scholarship. She is Co-PI in the Harriot Papers project.

Opening Soon: September Spotlights

RBSC spotlight exhibits will switch over for the fall during September. Two new exhibits will feature recently acquired editions of books by Mary Wollstonecraft and two manuscript fragments of French poetry. Stay tuned for more information!

These and other exhibits within the Hesburgh Libraries are generously supported by the McBrien Special Collections Endowment.

All exhibits are free and open to the public during business hours.

Special Collections’ Classes & Workshops

Throughout the semester, curators will lead instructional sessions related to our holdings to undergraduate and graduate students from Notre Dame, Saint Mary’s College, and Holy Cross College. Curators may also be available to show special collections materials to visiting classes, from preschool through adults. If you would like to arrange a group visit and class with a curator, please contact Special Collections.

Events

These programs are free and open to the public.

Thursday, October 3 at 5:00pm | The Fall 2024 Italian Research Seminar and Lectures will begin with a lecture by Giovanna Corazza (Università Ca’ Foscari), “Dante’s Chorographies: From the Territory to the Comedy.”

Learn more about Special Collections and other Hesburgh Library events, as well as other events in Italian Studies.

Recent Acquisitions

Special Collections acquires new material throughout the year. Watch this blog for information about recent acquisitions.

National Women’s Football League Collection
A Revised Martyrology for 16th Century German Catholics
Women in Irish Prisons: Autographs of Prisoners in 1923
Influencing Opinion by Mapping the Early American Civil War
Some of the recent acquisitions highlighted on the blog in the past year.

Anticipated Closures

Rare Books and Special Collections is regularly open 9:30am to 4:30pm, Monday through Friday. The department will be closed for the following holidays and events:

September 2, for Labor Day (Monday)
September 13, for Rev. Robert A. Dowd, C.S.C., Presidential Inauguration Events (Friday, afternoon only)
November 28-29, for Thanksgiving (Thursday and Friday)

Our last day open before the campus closure for Christmas Celebration will be December 20 (the Friday of final exams week).

Hours and other information for all Hesburgh Library locations can be found on the Library Website.

Remembering Louise Stokes and Tidye Pickett, African American Pioneers at the 1932 Olympics

by Greg Bond, Sports Archivist and Curator, Joyce Sports Research Collection

When they qualified for the 1932 Los Angeles games sprinters Louise Stokes and Tidye Pickett were the first African American women to make the United States Olympic team. Based on their strong times at the Olympic trials, Stokes and Pickett were named to the pool of six women that would be chosen for the 4×100 relay team (in those years the final official team was chosen a short time prior to the actual competitions).

The 18-year-old Stokes (from Malden, Massachusetts) and 17-year-old Pickett (from Chicago) were the only African Americans on the U.S. women’s team. But a large contingent of women athletes was, itself, relatively new. Only a few women had appeared in the first several Olympics. Starting with the 1928 games, though, the International Olympic Committee sanctioned women’s competition in a broader range of events, including more strenuous activities like track and field

The Fred L. Steers Papers in the Joyce Sports Research Collection holds manuscript material that documents the 1932 Los Angeles Olympics experience of Stokes, Pickett, and their teammates. Steers, a track athlete and 1911 graduate of Notre Dame, worked as a lawyer in Chicago and was a long-time administrator for the Amateur Athletic Union and the American Olympic Committee, the forerunner of the modern United States Olympic Committee. During the 1928, 1932, and 1936 Olympics, Steers was the Manager of the United States Women’s Track and Field Teams where he was in contact with the two African American women Olympians.

Historians who have written about Stokes and Pickett note that they frequently faced discrimination during their time on the Olympic team. Their own teammates sometime hazed them. They also routinely encountered the color line and were often not allowed to eat with the rest of the team—including in the dining room of the team hotel in Los Angeles.

Nevertheless, due to their fast qualifying times Stokes and Pickett had originally been expected to be members of the final American 4×100 relay team. Before the event, however, athletic administrators reshuffled the lineup and replaced the African Americans with two of their white teammates. The Chicago Defender, one of the country’s most influential African American newspapers blamed “this bit of back room treachery” on “lily-whiteism” and reported that “the injustice of this move is being placarded by track followers out here but to no avail” (“Tydia Pickett May Lose Olympic Spot,” Chicago Defender 30 July 1932, p. 8). 

Unfortunately, the Steers Papers does not contain any additional information about the decision to bench Stokes and Pickett. But the collection does include documentation about their presence with the U.S. Olympic team. One of the most prominent items is a rare photograph of Stokes and Pickett posing together in street clothes (MSSP 5000-56: X Olympiad, Los Angeles. Photographs, 1932). A clipping from the Los Angeles Herald Express includes a large picture titled “American Girls’ Track Team Arrives” showing Stokes (standing, right) and Pickett (kneeling, second from left) with their teammates (MSSP 5000-57: X Olympiad, Los Angeles. Newspaper clippings, 1932).

The Steers Papers does contain an original manuscript item attesting to some of the discriminatory treatment encountered by the two African American women. A passenger list and reservations receipt for the train trip that the U.S. women’s Olympic track and field team took from Chicago to Denver en route to L.A. suggests that Steers racially segregated the athletes while they were on the train. The passenger card shows the lodging arrangements for the team and indicates that Steers placed Louise Stokes and Tidye Pickett in berths 11 and 12 of Pullman Car #341—separate from and two bunks away from the rest of their white teammates (MSSP 5000-54: X Olympiad, Los Angeles. Miscellaneous ephemera, 1932).

Other documents describe the presence of the two Black athletes as members of the U.S. contingent. A July 16, 1932, telegram from Fred Steers to the American Olympic Committee, for instance, lists the full official roster of the women’s track and field team. The handwritten telegram includes Louise Stokes and Tidye Pickett on line 5 as members of the relay team (MSSP 5000-52: X Olympiad, Los Angeles. Fred L. Steers correspondence, 1932). 

The collection contains a multitude of other ephemera related more generally to the 1932 Los Angeles Olympics. Significant items include a referee’s badge from the “Final Olympic Track & Field Tryouts for Women” held at Northwestern University’s Dyche Stadium on July 16, 1932 (MSSP 5000-55: X Olympiad, Los Angeles. Miscellaneous ephemera, 1932), and an unused ticket for events at the “Track and Field Olympic Stadium” on August 6, 1932 (MSSP 5000-54: X Olympiad, Los Angeles. Miscellaneous ephemera, 1932).

Louise Stokes and Tidye Pickett were again members of the U.S. team for the 1936 Berlin Olympics. Their trailblazing athletic careers helped pave the way for future generations of African American women Olympians.

The Fred L. Steers Papers contains plentiful records related to the United States Olympic Teams and other amateur sports from 1916–1967. The collection is open to the public and available for research.

Researching the Negro Leagues and African American Baseball in RBSC

by Greg Bond, Sports Archivist and Curator, Joyce Sports Research Collection

Major League Baseball (MLB) recently announced that it has updated its official record book to include Negro Leagues statistics from the years 1920–1948. MLB has belatedly recognized that the highest levels of African American baseball during the era of segregation constituted “major league” competition. 

The expanded inclusive record book now counts player statistics from the Negro Leagues on an equal basis with those from the National League and the American League. In these years, organized white baseball leagues notoriously excluded Black players from the playing field until Jackie Robinson’s debut with the Brooklyn Dodgers in 1947 (read a recent RBSC blog post about Jackie Robinson). 

MLB’s rewritten record book now officially recognizes the statistical accomplishments of legendary African American baseball players like power-hitting catcher Josh Gibson, MLB’s new all-time leader in batting average and slugging percentage, and pitcher Satchel Paige, who now boasts MLB’s the third-lowest single-season earned run average.

In recognition of this announcement and in honor of the upcoming Juneteenth holiday, Rare Books & Special Collections highlights material from its collections that document the history of African American baseball. These resources will allow researchers to better contextualize and understand the statistics and the history of the Negro Leagues.

The Birmingham Black Barons Records (MSSP 0001) is a unique and important collection that documents the financial operation of the Black Barons, an influential Negro National League team. The collection includes a thick financial ledger book that lists the debits and credits—including salaries, fines, advances, expenses, etc.—for players from the 1926 through the 1930 seasons, a span which includes Leroy “Satchel” Paige’s rookie year. The Black Barons ledger book allows a rare opportunity for researchers to see the day-to-day finances of a major Negro League team. The complete ledge book has been fully digitized and is available to view through Marble.

The Birmingham Black Barons ledger book pages for Leroy “Satchel” Paige in 1928 show monthly salary credits of $80.00 and include debits on April 7th for shoes from Gray’s Sporting Goods ($7.50); unidentified debits on June 21st and June 30th to “Dr. Bradford” ($10.00 and $15.00); and fines on July 30th for “Not appearing in uniform in St. Louis” ($5.00) and “Staying out all night at Chicago” ($10.00).

The Negro Leagues Pennant Collection (MSSP 10079) contains nine vintage (c. 1930s-1940s) felt pennants advertising African American baseball teams. These rare original souvenirs document the fan experience and the iconography of the Negro Leagues.

MSSP 10079-02 and 10079-03: The Negro League Pennant Collection includes two variants of pennants for the Homestead Grays, Josh Gibson’s primary Negro Leagues team.
The Negro League Pennant Collection includes pennants from numerous important teams, including the New York Black Yankees (MSSP 10079-05), the Baltimore Elite Giants (MSSP10079–01), the Newark Eagles (MSSP10079-04), and the Philadelphia Stars (MSSP10079-007).

RBSC holds a scarce original copy of Sol White’s History of Colored Base Ball [Special Coll.Vault • GV 863 .A1 W45 1907], an incredibly important 1908 book by manager and former player Sol White. One of the first comprehensive histories of African Americans in baseball, White’s research documented the early experiences of Black baseball players before the establishment of the formal Negro Leagues. Since it original publication, this book has been an essential source for the historiography of African American baseball. The profusely illustrated 120-page volume has been digitized and is available to be viewed via Marble.

Photograph and biography of Sol White, Baseball Hall of Famer and pioneering historian of African American baseball.
The champion 1902 Philadelphia Giants team picture is one more than 50 photographs printed and preserved in Sol White’s book.

A four-page 1926 advertising pamphlet for the Illinois Giants of Chicago [Rare Books Large • GV 875 .N35 I5 1926] documents the experiences of a lesser-known minor league African American baseball team.

The advertising pamphlet for the Illinois Giants of Chicago declared that “Our team attained almost unbeatable form at that period and bowled over the leading semi-pro teams of Michigan and Wisconsin in rapid succession.” As an indication of the complicated racial politics of the era, the flier emphasized that the Giants were “under WHITE MANAGEMENT” perhaps to make games against the team more palatable to white fans.

The Negro Baseball Yearbook [Rare Books Large • GV 875 .N34 N46], published annually in the mid-1940s, celebrated and recorded the yearly accomplishments of African American baseball players.

This collage of team pictures and individual photographs from the 1945 Negro Leagues season prominently features an image of Homestead Grays third baseman Howard Easterling in his military uniform. The publishers likely hoped to emphasize to readers the service and patriotism of African Americans.

These and other sources are all open to the public and available to researchers who would like to learn more about and to better understand the Negro Leagues and the experiences of African American baseball players during the age of segregation.

“Girls Really Play Baseball”: The National Girls Baseball League Collection

by Greg Bond, Sports Archivist and Curator, Joyce Sports Research Collection

“Girls Really Play Baseball.” So reported the cover of the Official National Girls Baseball League Magazine in August 1950, beneath a picture of power-hitting infielder Freda Savona. The National Girls Baseball League (NGBL), a Chicago-based rival of the better-known All-American Girls Professional Baseball League (AAGPBL), took the field from 1944 to 1954 and provided high-level athletic opportunities for women. The Joyce Sports Collection recently acquired a collection of printed material and ephemera documenting the NGBL. The opening week of the Major League Baseball season seems an appropriate time to revisit the National Girls Baseball League Collection (MSSP 10071).

The National Girls Baseball League has faded into obscurity since its heyday, while the AAGPBL has been popularized by the movie and the Amazon streaming show A League of Their Own. But, at the time, the two women’s leagues were fierce and sometimes bitter rivals, routinely competing for players and fans. Founded by Charles Bidwell, owner of the National Football League’s Chicago Cardinals, and Emery Parichy, a local businessman, the NGBL dominated the lucrative Chicago market and attracted some of the best women athletes in the country. The NGBL emphasized the athletic ability of league players, and as the August 1950 official league magazine explained:

When one thinks of girls baseball they also think of a “powder puff” setup in which the feminine athletes do everything with a sort of “weaker sex” idea—that the ladies wielding bats couldn’t knock your hat off. 

Nothing is farther from the truth, and, if you don’t happen to be a regular patron of National Girls Baseball League games, a trip to one of the parks will convince you that the ladies swing a bat, throw, and field pretty much like your favorite major league baseball player.

Spread from the June 1, 1950 issue of the official league magazine featuring scenes from around the NGBL.

The league was popular in Chicago and often drew thousands of fans to games in the late 1940s and early 1950s. These pages below from the July 1949 issue of the official league magazine show league founder Emery Parichy in the crowded stands and also document a game visit by Chicago mayor Martin Kennelly. The magazine also featured a bold black-and-white advertisement for players, reading: “Wanted Girls From Any Part of the Country to Play in the National Girls Baseball League.”

Parichy owned the Bloomer Girls, league champions in 1947 and 1948, and was a driving force of the league. The owner of a roofing and house remodeling business, Parichy had begun sponsoring women’s baseball and softball teams in the 1930s, and he built Parichy Memorial Stadium in Forest Park, which would eventually become the home of his NGBL Bloomer Girls. As seen in this advertisement from the outside back cover of the July 1953 official league magazine, Parichy used the Bloomer Girls to help promote his roofing business.

Although players frequently jumped back and forth between the two leagues (as documented in this previous blog post about RBSC’s AAGPBL collection), there were some important distinctions between the the two leagues. The National Girls Baseball League only fielded teams in the Chicagoland area, while the All-American Girls Professional Baseball League placed teams in cities and towns across the midwest. The AAGPBL adopted overhand pitching in 1948, while the NGBL only allowed underhand pitching throughout its existence. The NGBL allowed players to wear shorts while on the diamond—as seen in this collection of promotional glossy postcards sold by the league—while AAGPBL uniforms always included skirts.

The postcards feature four players from the Queens, league champions in 1950, 1951, and 1952: second baseman Freda Savona, one of the best players in the league, who was inducted into the ASA National Softball Hall of Fame in 1998; catcher Dorothy Pitts; catcher Alice Kolski (the sister of Ed Kolski, ND ’32, the owner of the Queens); and shortstop Olympia Savona, Freda Savona’s sister.

The NGBL also sanctioned a marginally more diverse cast of players than its rival league. Although AAGPBL rosters included several Latina players over the years, the rest of the players in the league were white. The ranks of the National Girls Baseball League also featured Latina players like Helene Machado and Lillian Lopez. The AAGPBL famously never signed any African American players during its 12 years of existence, but in 1951 African American outfielder Betty Chapman played with the Music Maids of the NGBL. In addition, during the early years of the National Girls Baseball League, one of the best pitchers was Chinese American Gwen Wong. And, in 1953, Japanese American shortstop Nancy Ito starred for the Wilson-Jones Bloomer Girls and made the NGBL all-star team.

The National Girls Baseball League Collection contains printed material—including a nearly complete run of the Official NGBL Magazine from June 1949 through September 1953—ephemera such as postcards and team newsletters, and realia, including a signed official NGBL baseball. The Joyce Sports Collection hopes to better document the history of the NGBL League and seeks donations of material related to the National Girls Baseball League and its players. 

As the Major League Baseball season kicks off this year, let’s remember the boys and the girls of summer!

Special Collections Goes to Hollywood

Fritz von Erich, The Iron Claw, and the Jack Pfefer Wrestling Collection

by Greg Bond, Sports Archivist and Curator, Joyce Sports Research Collection

“I make a much better heel than babyface.”

Thus wrote former Southern Methodist University football player turned professional wrestler Jack Adkisson to Dallas-area wrestling promoter Ed McLemore in a September 1953 letter. Using the inside language of professional wrestling, Adkisson was explaining that he had found success wrestling as a villain—or “heel”—instead of as a fan favorite—or “babyface.”

Adkisson, a Texas native, got his start as a professional wrestler under McLemore and then traveled to New England to get more seasoning under the tutelage of promoter Tony Santos, Sr. Adkisson elaborated on his new “heel” persona to McLemore: “I have been working as Fritz Von Eric, the German Giant from Munich, Germany.”

Less than a decade after the end of World War II, Adkisson gained prominence in the ring by riling up and angering wrestling crowds with his Nazi-infuenced German villain. He explained to McLemore:

“I have gone over exceptionally well with the crowds as a heel, and once or twice I have had to literally fight my way to the dressing room. In Revere [Massachusetts], Santos was trying to hold the crowd back from me, and he was practically trampled. That was one night that my heart was in my throat. I couldn’t have felt more helpless in a cage of wildcats.”

The star-crossed von Erich family, a mainstay of professional wrestling in the second half of the twentieth century, is the subject of a soon-to-be-released motion picture The Iron Claw starring Zac Efron. The origin story of Fritz von Erich, the family’s patriarch, is partially documented in the Jack Pfefer Wrestling Collection—one of the most popular and heavily used manuscript collections in the Joyce Sports Research Collection.

Jack Pfefer was a wrestling manager and promoter whose influential career lasted from the 1920s through the 1960s. Pfefer unapologetically embraced the showmanship and theatrical spectacle of professional wrestling, and he routinely advertised and emphasized the entertainment aspects of his bouts.

Envelope advertising Ed McLemore’s Dallas-based wrestling shows at the famous Sportatorium. Adkisson used this envelope to mail a letter to Jack Pfefer in 1953. (PFE850-12-77)

Pfefer also meticulously saved his records. His papers, which Hesburgh Library acquired in the 1970s, fill more than 200 boxes and include voluminous correspondence, financial records, thousands of programs, and tens of thousands of photographs. The Pfefer Collection is one of the largest publicly accessible wrestling archival or manuscript collections in the country, and it documents nearly all aspects of professional wrestling during the middle years of the twentieth century.

The full five-page letter Jack Adkisson sent to Ed McLemore in 1953 describing his success wrestling as “Fritz von Eric” in New England. (PFE850-12-77)

The 1953 letter from Adkisson to McLemore eventually wound up in Pfefer’s possession, and, along with other material in the Pfefer collection, helps to to chart the rise of Fritz von Erich to legendary wrestling status.

But in 1953, Addkisson was still toiling near the bottom of the industry, and he complained to McLemore:

“I am making a living from this, but that is all. I am not saving anything to speak of. And if a guy can’t save some money in this business, what’s the use in staying? I have got to put away some money…”

Nevertheless, Adkisson remained hopeful: “I am more optimistic about my potential as a bad boy,”

The November 1963 issue of Big Time Wrestling magazine featured an article on Fritz von Erich. The headline claimed that von Erich had insured his right hand, which he used for the Iron Claw, for one million dollars. (PFE780-1-2)

Adkisson was right about his potential. Using his signature maneuver, the “Iron Claw,” von Erich and his German “bad boy” routine, rose up the ranks of the sport to make him one of professional wrestling’s more famous and bankable stars in the 1960s.

Publicity photo of “Fritz von Erich the Worlds Greatest Athlete,” c. 1960. (PFE700-36-6)

von Erich did eventually succeed in saving money, and he became a wrestling promoter in his own right, particularly in his home state of Texas. Fritz von Erich also had six sons, five of whom followed him into the ring. Tragically, five of the von Erich sons died young, leading to talk of a family curse. Fritz von Erich died at the age of 68 in 1997.

The movie Iron Claw, which tells the story of the ill-fated von Erich family, opens widely in theaters on December 22, 2023. The Jack Pfefer Wrestling Collection is open and available to the public for research.

Beat Generation Cookbook: Illustrated

by Rachel Bohlmann, American History Librarian and Curator

As a holiday centered around a meal, Thanksgiving includes some introspection, as we pause to reflect on the past year and give thanks before tucking in. 

This Beat Generation Cookbook, although not a particularly Thanksgiving-themed one, takes an irreverent and somewhat alternative approach to meals and cooking, and by implication, to national holidays like Thanksgiving. The Beats—a loosely comprised, countercultural community of writers, poets, musicians, artists, and free-thinkers—coalesced as a cultural phenomenon during the late 1940s.

Published in 1961, this booklet appeared at a time when some Beat counterculturalism had crossed over into mainstream American culture. The recipes—of intentionally dubious origins and quality—are named for (and in some culinary way) connect to Beats who had achieved widespread notice, if not mainstream celebrity. The first recipe, naturally, is named for Jack Kerouac, author of On the Road (1957) and a core Beat figure. He was also one of the best known Beats by the early 1960s; and he loved milk. The “Kerouac Kocktail” a vile-sounding concoction of milk, yeast, sugar, and water, was fermented then refrigerated. The recipe promises that “[i]t beats instant coffee, and it’s effervescent!” 

A dessert recipe, “Billy’s Graham Cracker Pie in the Sky,” spoofed Protestant Evangelist Billy Graham’s successful New York City crusade at Madison Square Garden during the summer of 1957. A chocolate pie, the dish’s “appeal has spread to the barbarians and cannibals, partly for its austere simplicity and partly for its religious flavor” the Beat cooks claim. The recipe called for “¼ cup melted margarine (Protestant)” as well as “2 tablespoons water (Holy)” and “2 disengaged eggs.” It further directed the cook to “chill for Seven Days. Go directly to Hell. Do not pass Purgatory. Do not collect Novenas.” This silliness is paired with an illustration of a Pilgrim eating a slice. 

Hesburgh Library’s copy is missing its outer cover, which was bright yellow with the title in large, red lettering. Our copy also looks well-used–with food (and perhaps paint) stains on the cover as well as more food stains inside, particularly on the pages with recipes for Streetcar Pie and Dharma Buns (a play on Kerouac’s novel, The Dharma Bums). 

The Beat Generation Cookbook: Illustrated also includes recipes for a number of artists and writers the Beats considered important influences. Pablo Piccaso is included as is Kenneth Rexroth, a San Francisco-based poet who supported and helped launch the literary careers of a number of young Beats, including Allen Ginsberg. The Beat Generation Cookbook recognized Rexroth with Rex Broth: a very large, one-pot meal of meat (“beef, mutton, goat, or goose”), beans, barley, root vegetables, spices, and “1 cup Mr. Clean,” with which “to scrub the whole pot (& everything that’s in it).” 

Rare Books and Special Collections holds the Kenneth Rexroth Collection: a grouping of works by and about the artist, of which this tongue-in-cheek, cultural, and culinary masterpiece is a light-hearted example. The Rexroth Collection is part of a substantial RBSC collection of post-World War II small press and avant-garde literature published in the United States. 

Happy Thanksgiving!

Special Collections will be closed during Notre Dame’s Thanksgiving Break (November 23-24, 2023). We wish you and yours a Happy Thanksgiving!

Thanksgiving 2022: Turkey for the People
Thanksgiving 2021: The Thanksgiving that Gave Us a Song, a Movie … and a Cookbook!
Thanksgiving 2020: Happy Thanksgiving to All Our Readers
Thanksgiving 2019: “Thanksgiving Greetings” from the Strunsky-Walling Collection
Thanksgiving 2018: Thanksgiving from the Margins
Thanksgiving 2017: Playing Indian, Playing White
Thanksgiving 2016: Thanksgiving Humor by Mark Twain
Thanksgiving 2015: Thanksgiving and football

National Women’s Football League Collection

by Greg Bond, Sports Archivist and Curator, Joyce Sports Research Collection

The 1972 Official Program for the Toledo Troopers football team introduced the squad to readers by reprinting a local newspaper story about two reporters watching a typical practice:

What seemed so incomprehensible about it all was what they were hearing and seeing was no ordinary football team. There were some telltale signs, such as a pigtail here and there, a high-pitched shout or two, maybe a trace of lipstick on a jersey sleeve; and once the helmets came off, there was no mistaking… these were girls, women who at first glance seemed so removed from the kitchen, so totally removed from all the things that the so-called “weaker sex” usually does.

The 1972 Troopers program is part of a small recently acquired National Women’s Football League (NWFL) Collection that documents the history of the NWFL and the history of women’s professional football. The Troopers, one of the earliest—and the most successful—professional women’s tackle football teams in the country, first took the field in 1971 and were a founding member of the National Women’s Football League in 1974.

Women’s football was part of the larger women’s sports revolution of the 1960s and 1970s that both came before and was fueled by Title IX legislation in 1972. Despite the changing social mores, women football players still frequently encountered discrimination, stereotypes, and skepticism—even from sympathetic observers like the reporters in Toledo. Nevertheless, women’s football carved out a following. During the heyday of the National Women’s Football League in the mid-1970s, games attracted thousands of fans.

The new collection documents both the NWFL and an earlier barnstorming period when the best women’s football teams played irregular schedules with few formal league structures. A 1972 New York Fillies vs. Midwest Cowgirls scorecard is representative of the pre-NWFL material.

In 1974, the National Women’s Football League regularized competition between the top women’s football teams and stretched from Ohio to Texas to California. The new league attracted increased attention and provided stability to the sport for several seasons. The NWFL collection contains several game programs and yearbooks from teams like the Toledo Troopers and the Detroit Demons.

Some representations of women’s football players in these publications, like the cartoon below from the 1972 New York Fillies scorecard, relied on stereotypes and sex appeal. But most images in NWFL publications showcased the athletes’ football skills as seen in these pictures of Troopers and Demons players in game action and in practice .

Financial difficulties, long travel distances, and declining attendance, however, forced several of the NWFL’s best teams, including the Toledo Troopers, to go out of business after the 1979 season. By the early 1980s, the National Women’s Football League only had franchises in the states of Michigan and Ohio. The league ceased operations in 1988. 

To read more about the history of women’s football, see: Hail Mary: The Rise and Fall of the National Women’s Football League by Britni De La Cretaz and Lyndsey D’Arcangelo; and We Are the Troopers: The Women of the Winningest Team in Pro Football History, by Stephen Guinan. Both of these titles are available at Hesburgh Libraries.

The National Women’s Football League Collection is open and available to researchers. We also welcome additional donations of material that document the history of women’s professional football.

Upcoming Events: August 2023

There are no public events currently scheduled for August. Please check back for events being hosted in Rare Books and Special Collections during September.

The exhibition Making and Unmaking Emancipation in Cuba and the United States will open mid-August and run through the fall semester.

The August spotlight exhibits are Football and Community at Historically Black Colleges and Universities (August – December 2023) and Centering African American Writing in American Literature (August – September 2023).

RBSC will be closed Monday, September 4th,
for Labor Day.

Early Positive Portrayals of African Americans in Graphic Novels

Jackie Robinson and Comic Book Baseball Heroes, 1949-1952

by Greg Bond, Sports Archivist and Curator, Joyce Sports Research Collection

“And now…. Jackie Robinson’s life in a comics magazine!!!” 

The Atlanta Daily World, a leading national African American newspaper, excitedly informed readers of its September 23, 1949, issue about a new Jackie Robinson comic book. “So great is the aura of stardom surrounding this greatest of Negro athletes,” the World explained, “that a special magazine bearing his name is being released.”  Published by Fawcett Publications, the 32-page comic book titled, Jackie Robinson: Baseball Hero, related the life story of the Brooklyn Dodgers star.

Fawcett, best known for creating the character Captain Marvel in the 1930s, published popular comic books for a national audience and teamed on the project with Robinson, the first acknowledged African American to play major league baseball in the twentieth century. Jackie Robinson: Baseball Hero proved to be a hit, and Fawcett followed up with five more titles about Robinson over the next three years and also collaborated with other early African American major leaguers like Larry Doby, Roy Campanella, and Don Newcombe on comic books about their lives.

These Fawcett publications, recently acquired by the Joyce Sports Research Collection, are among the earliest American comic books to feature positive, non-stereotypical, and non-demeaning portrayals of African American characters. They were also some of the earliest comic books from a mainstream publisher targeted to a national audience that featured African Americans as main characters.

Jackie Robinson: Baseball Hero told Robinson’s biography from his youth in Pasadena to his career as a multi-sport athlete at UCLA to his early years in organized baseball—first at Triple A Montreal and then with the Brooklyn Dodgers. In its opening pages, the comic book proclaimed that “Jackie has overcome all handicaps to become a symbol of the fighting spirit of the American boy!”

The comic book did not shy away from depicting the troubles Robinson faced in breaking major league baseball’s color line. The book illustrated, for example, the threats he received from the Klu Klux Klan, the opposition to integration from some major league owners, and the harassment he experienced on the field from other teams.

The book graphically detailed Robinson’s many successes on the ballfield, but it also highlighted Robinson’s awareness of his importance as a role model, particularly for African American children.

In one scene, for example, after he was scouted by the Dodgers, Robinson witnessed a group of African American boys playing in an alley and thought  to himself, “If I ever play in the Majors, I’ll give kids like this some hope of making good.” The book also illustrated his work coaching children at a gym in Harlem. 

Jackie Robinson: Baseball Hero was such as success that Robinson—who was seeking ways to capitalize on his fame and to earn money outside of baseball—collaborated with Fawcett on a recurring series of five more editions through 1952. The subsequent issues continued to tell stories about Robinson’s baseball and athletic career and also featured fictional vignettes that showed Robinson mentoring children and rescuing them from a life of crime or disreputable behavior.

Jackie Robinson #4, for example, included a seven-page story titled, “Jackie Robinson and the Human Cat,” in which Robinson worked to redeem a star white teenage baseball player who had turned to criminal activities. The story’s tagline read, “Jackie has always claimed that youthful errors do not necessarily mean a boy has criminal tendencies. Yet he found his creed put to the acid test when he sought to reclaim Mickey Ryan from society’s scrap heap!”

In addition to the Jackie Robinson series, Fawcett also took advantage of major league baseball’s fading color line by publishing similar single issue comic books in 1950 about other African American stars: Larry Doby: Baseball Hero (Cleveland Indians), Roy Campanella: Baseball Hero (Brooklyn Dodgers), and Don Newcombe: Baseball Hero (Brooklyn Dodgers).

The Lary Doby, Roy Campanella, and Don Newcombe comic books broadly followed the same model as the earlier Jackie Robinson: Baseball Hero issue, telling the inspirational stories of the players’ rise to the major league. The graphics illustrated their early years as athletes, the difficulties they faced due to their race, and their successful ascent to the big leagues. 

The comics also tended to emphasize the good community work the players did, and the books continued to hold up these accomplished athletes as role models for children. The Fawcett “Baseball Hero” comic books provided all young readers—both Black and white—with otherwise hard to find positive and largely realistic portrayals of talented African American men.

Larry Doby: Baseball Hero, for example ended with a scene highlighting this message. The final page of the comic recounted Doby’s triumphant return to his hometown of Paterson, New Jersey, after his first season in the major leagues. Although he was greeted by the Mayor, Doby was most excited to return to his alma mater of Eastside High School. 

The comic’s final panel pictured Doby counseling and providing advice to the Black and white members of the Eastside High School basketball team. The eight players all listened intently to the major league star, and the final caption read: “Larry Doby… is loved by all, not only for his prowess on the field of play, but for his character and warm human understanding!”

For further reading:

“Jackie Robinson’s Life in Comics on Newstands Today [sic],” Atlanta Daily World 23 September 1949, p. 3.

Tom Hawthorn, “Jackie Robinson: Comic Book Superhero,” in Not An Easy Tale to Tell: Jackie Robinson on the Page, Stage, and Screen ed. Ralph Carhart (Cleveland: Society for American Baseball Research, 2022).

Brian Cremins, “‘This Business of White and Black’: Captain Marvel’s Steamboat, the Youthbuilders, and Fawcett’s Roy Campanella, Baseball Hero,” in Desegregating Comics: Debating Blackness in the Golden Age of American Comics ed. Qiana Whitted (New Brunswick, NJ: Rutgers University Press, 2023).

Special Collections in the Classroom: Notre Dame Students’ Online Exhibition Hidden Depths

by Rachel Bohlmann, Curator of North Americana and American History Librarian and Erika Hosselkus, Curator of Latin Americana and Strategic Implementation Project Manager

This week Special Collections highlights an online exhibition created by Notre Dame students in their fall 2022 class, Stories of Power and Diversity: Inside Museums, Archives and Collecting. The exhibition, Hidden Depths: Resurfacing the Overlooked and Underrepresented, brings together materials from  the University of Notre Dame’s campus repositories–Rare Books and Special Collections, the Snite Museum of Art, and University Archives–selected and interpreted by the students.

Screen shot of the homepage of the digital exhibition "Hidden Depths", showing the header banner at top (a collage of detail images of the items explored in the digital exhibit) and below that the first few tiles of the exhibit showcases.

The items displayed here vary in format, time period, medium, style, and content–abstract painting, sculpture, installation art, photographs, and collections of historic documents–and are created by people of diverse backgrounds and experiences. Their selection reflects the themes of the class, which were to explore the history of collecting in Europe and North America and some of the field’s major questions, including, what has been left out? Where are there gaps and silences in collections and archives?

Eight students applied a curatorial gaze to these materials, to examine how they do and do not intersect with themes of diversity. While these curators recognize the diverse identities of the creators of these objects, the showcases comprising this exhibition point viewers to hidden depths. They ask that we consider how identities are nuanced through regional conditions, educational background, economic forces, and personal trauma. And just as importantly, the curators of the show consider how identity and diversity are not always directly linked in one’s art or expression. They also demand that consumers of these pieces of art and historical sources work to apprehend the complexities behind their creation. By extension, they suggest that we take a careful second look in other contexts, beyond the online gallery or the museum.

This exhibition offers interpretation, but it also asks questions, and challenges viewers even as it invites them to connect with holdings in the University of Notre Dame’s campus repositories. Information about the student curators and their experiences in this course can be found in the personal statements at the end of each showcase.

Hidden Depths showcases ways in which students engaged with special collections materials over a semester-long project. The result is a display that uncovers, refocuses and takes an imperative second look.