Library Blog

The Harleston Family Papers from a Processor's Perspective


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As a literary scholar, I find it refreshing to take on historical projects in my second life as a graduate student archives processor in MARBL. I love getting to know figures I would never otherwise have encountered. But I became unusually drawn into the story of Edwin A. Harleston, and I will remember this collection long after I have left Emory. One of the South’s first African American portrait artists to earn some commercial success, Harleston had a rich personal and professional life that at times bordered on the Southern Gothic.

Harleston is perhaps best remembered for the Harleston Studio, which he and his wife founded in Charleston, South Carolina in 1922 to promote her photography and his portraiture. But researchers will find that Harleston’s place in Charleston went far beyond his renown as an artist. I was delighted to uncover the typescript of a World War I play he wrote, as well as many theatre programs from the 1910s and 1920s that document his activities as an actor, playwright, and director. Fragments of manuscripts for speeches to the Charleston Branch of the NAACP, which he helped to found, also show his proclivity for politics.

Harleston Sketchbook
Page from Edwin Harleston's
sketchbook from his time at school
of the Boston Museum of Fine Arts

Harleston's sketchbooks and drawings will be a big draw for researchers. These show the development of his traditional portraiture aesthetic that often put him at odds with the New Negro Movement. Coming from a literary perspective, I noted that Alain Locke's anthology The New Negro came out in 1925, three years after Harleston began to gain widespread recognition. The principles of the movement do not resonate with Harleston's traditional themes and techniques, and his career struggled accordingly both within and beyond the African American community. Many of the sketches and drawings MARBL now holds were produced during Harleston's time at the school of the Boston Museum of Fine Arts, where he was the only African American in his cohort of over 200 students.

Elise Harleston
Oil Painting of Elise Harleston
by Edwin Harleston

A quieter story that emerged as I processed the collection was that of Harleston's wife, Elise. Her story comes through most strongly in the hundreds of letters the couple exchanged during their seven-year courtship and marriage. The letters reveal Harleston’s vision of a marriage based on artistic collaboration that Elise never fully settled into. At her husband’s urging, Elise attended photography school and became South Carolina's first documented African American woman photographer. Although we cannot be certain of the provenance of some of the photographs we found among Harleston's artwork, it is likely that Elise took several of these photographs, particularly the ones that became models for Harleston's portraits.

One of the most difficult matters from a processing perspective was how to handle the massive amount of research compiled by Edwin and Elise Harleston's niece, Edwina Harleston Whitlock. She assumed the role of family archivist, building massive research files from the 1960s-1990s. She also undertook several unpublished book projects on the life of her uncle. Whitlock's daughter, Mae Whitlock Gentry, continued Harleston’s biography when her mother no longer could.

Companions in Time
Cover of Mae Whitlock Gentry's proposal
for the biography Companions in Time.

While Whitlock and Gentry never managed to produce a biography of Edwin Harleston, dozens of typescripts with radical revisions testify to their decades-long devotion to documenting their family history. The most polished attempt came in the early 2000s with Mae Whitlock Gentry’s Companions in Time: The Art of Edwin and Elise Harleston. The manuscript features Elise Harleston's career alongside her husband's, retelling the Harleston story through the letters the couple sent back and forth during Harleston’s long absences. I found this approach particularly affecting after having dated and arranged many of these personal letters myself.  

The research and writing that did not amount to publications in Whitlock's lifetime will now be widely available to researchers. I was glad to have a place in continuing the preservation and documentation of the little-known lives of Edwin and Elise Harleston.

Authored By: 

Maggie Greaves, Graduate Processing Assistant, MARBL

The Vogue Archive


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The newly acquired Vogue Archive by Proquest contains the entire run of Vogue magazine (US edition) from 1892 to the present, reproduced in high-resolution color page images. Vogue is a unique record of US and international popular culture that extends beyond fashion.

 

In addition to full text searching, you can browse entire issues from cover to cover. The Advanced Search mode allows searching by categories such as "Company/brand," "Fashion item," "Photographer/illustrator," "Person pictured" and "Contributor." You can also limit searches to specific article types such as feature articles, advertisements, fashion shoots, etc.

 

Related Links: 

The Vogue Archive

Databases @ Emory

 

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Authored By: 

James Steffen, jsteffe@emory.edu, November 27, 2012

The Art of Bookbinding

Mearne Binding

Theatre, Maurice Maeterlinck, 1901-1902,
modern morocco binding with delicate color detailing


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Rare Books in
MARBL's Blog



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Today we take for granted that if we purchase a book it will come with a protective paper or cloth binding but this has not always been the case. The concept of the publisher printing and binding a book is a relatively recent phenomenon, dating from the first half of the 18th century. Before the Industrial Revolution books were made entirely by hand, from the paper production to the typesetting to the binding.



Sanctorum Kalendarii Romani, Christophe Plantin, printer, 1580,
fanfare binding, a distinctive style that was the height
of fashion in 1580

Generally each part of the production was performed by a separate business but, in contrast to today, the binding took place after it had been purchased by the consumer. The bookseller sold the books in a crude protective paper cover with the expectation that the consumer would have the volume bound to their taste and budget. This explains why you can take six examples of a 17th century work and find they are all bound in different materials and different styles. Cheaper bindings would have paper covers or use cheap leather such as sheep. The brown leather binding we’re familiar seeing on rare books is calf while the most expensive bindings would use goat skin, commonly known as morocco. Morocco has an attractive grain and takes color well. More expensive bindings could also be extravagantly decorated with gold tooling.

The Art of Contentment, Richard Allestree, 1675,
English binding from the 17th century with
distinctive "drawer handle" tooling

Authored By: 

David Faulds, Rare Book Librarian, dfaulds@emory.edu

Conditions: A Magazine of Writing by Women With an Emphasis on Writing by Lesbians

Conditions: Five Cover
Cover of Conditions: Five
"The Black Women's Issue
"


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LGBT Research Guide

African American Research Guide

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MARBL is honored to add Conditions: a magazine of writing by women with an emphasis on writing by lesbians to our holdings. Conditions comes to MARBL through a generous gift made possible by Professor Cheryl Clarke of Rutgers University and Julie Enszer of the University of Maryland. First published in 1977, the magazine spans multiple genres of writing, with an emphasis on the work of lesbians of color and/or working-class lesbians. The magazine's all lesbian editorial collective established itself in Brooklyn, New York in 1976 and published 17 issues between 1977 and 1990.

 

Conditions: One Cover
Conditions: One Cover

Contributors to Conditions include Dorothy Allison, Gloria Anzaldúa, Ellen Bass, Lorraine Bethel, Cheryl Clarke, Jewelle Gomez, Amber Hollibaugh, Gloria Hull, Audre Lorde, Cherríe Moraga, Joan Nestle, Pat Parker, Minnie Bruce Pratt, Sapphire, Mab Segrest, Barbara Smith, and Adrienne Rich among many others. As a magazine, Conditions ceased publication in 1990 due to funding cuts. Attacks on lesbian women's writing led to the defunding of Conditions by several federal funding agencies (including the National Endowment for the Arts, which characterized Conditions as "more lesbian than literature"). The literary contributions were, for many of the now renowned feminist writers, their first publications. In addition to poetry, fiction and creative non-fiction pieces, Conditions published scholarly essays, interviews, and book reviews. Conditions' commitment to publishing the work of feminist writers and scholars who address issues of social justice and social difference, such as race, class, sexuality, and nationality, provided a platform for feminist work that challenged the predominance of white, middle-class feminist concerns in the women's liberation movement.
    

Barbara Smith Essay "Toward a Black Feminist Criticism"
"Toward a Black Feminist
Criticism," by Barbara Smith
from Conditions: Two

In Conditions' second issue, Barbara Smith's essay, "Toward a Black Feminist Criticism," forged new language for theorizing Black feminist literature. As a member of the Combahee River Collective, Smith grappled with the difficulties of confronting multiple forms of social oppression in her scholarship. She writes, "I was attempting something unprecedented, something dangerous merely by writing about Black women writers from any perspective at all. These things have not been done. Not by white male critics, expectedly. Not by Black male critics. Not by white women critics who think of themselves as feminists. And most crucially not by Black women critics who, although they pay the most attention to Black women writers as a group, seldom use a consistent feminist analysis or write about Black lesbian literature." Smith's essay garnered much support and provoked much discussion. Along with Lorraine Bethel, Barbara Smith was invited to guest edit issue five, titled "The Black Women's Issue." This issue sold over 3,000 copies in less than four weeks, making history among feminist presses. The overwhelming interest in "The Black Women's Issue" led Smith to anthologize those works, along with additional essays, in Home Girls: A Black Feminist Anthology, published by Kitchen Table: Women of Color Press in 1983. A second edition of the anthology was published by Rutgers University Press in 2000. Home Girls continues to be recognized as a watershed text in the history of feminist thought in the United States.

Conditions enhances MARBL's extensive collections in African American history and culture, MARBL's development of LGBT collections, and MARBL's collecting areas in American literature, social justice, and civil rights movements. In addition to preserving Conditions for future generations of readers, MARBL is committed to democratic access to all of our holdings. Any person, regardless of institutional affiliation or reason of study, may request to view materials.

Authored By: 

Kelly Ball, Emory PhD Candidate in Women's, Gender and Sexuality Studies. Ball works with Randy Gue, Curator of Modern Political and Historical Collections, on the development of LGBT collections at MARBL.

Download popular E-Books and Audio Books for the Holidays

Overdrive call out

Download popular eBooks & audio books


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Related Links: 

Emory's Overdrive

Overdrive Help pages

 

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Traveling for the holidays?  Staying here, but tired of course work? What could be better than to download a POPULAR READING e-books or audio books free from the library?

You can browse the selection of almost 200 electronic books from the Emory Libraries site (http://overdrive.emory.edu)

or

find individual titles via our library search tool, discoverE.

The library offers access to a variety of fiction and non-fiction titles in many different formats (137 ebooks and 56 audio books). We are using the OverDrive distribution platform through which users of our library can download titles to Mac, Windows, or a variety of mobile devices (Kindle, ipad, iphone, MP3 player, etc.) In addition, many audio titles can be burned to CD.

You will need…

  • A valid Emory NetID
  • Internet access
  • A computer or device that meets the system requirements for the type(s) of digital materials you wish to check out
  • Free software for the computer or device on which you wish to use the materials available at this site

The site offers extensive HELP screens with screen by screen shots of how to install titles on all types of devices.  Some people have reported difficulties, so please check-out the help videos, like how to install the Overdrive mobile app to your iphone and get content.

Step 1 - Download and install free software

To download Adobe eBooks, you need Adobe® Digital Editions 

To download OverDrive titles, you need OverDrive Media Console™

OverDrive Media Console is available for…

    Android v1.5 (or newer)

    BlackBerry v4.5 (or newer)

    iPhone® OS v3.1.3 (or newer)

     Mac OS® v10.4.9 (or newer)

    Windows® 98 SE (or newer)

    Windows Mobile® 5 and 6

Step 2 - Activate the software.  After you have installed the software that you downloaded, you need to take steps to activate the software before downloading digital materials.

Step 3 - Check out, download, and enjoy!   You can check out up to 2 titles at a time for 2 weeks each.  Your Cart will hold up to 4 titles at a time, but if no action occurs they will be automatically removed from your Cart after 30 minutes so that other users can have the chance to check them out.

Finally, you can place holds on 4 check-out titles at one time.  An email will alert you when a HOLD becomes available, and you will have 3 days to check out it out after the notification is sent.

Authored By: 

Kim Collins

Nov 14, 2012

Software Training Series: Lynda.com Working Group

We covered Microsoft Excel during our firsy Lynda.com Working Group Series


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Software Training with Lynda.com

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5:00pm usually signifies the end of the workday, but for dozens of Emory faculty, staff, and students, the early evening has become an opportunity to squeeze in some much-needed supplemental software training.

During the month of October, 40 people from across the university gathered in DiSC weekly for the first ever Lynda.com working group.

Lynda.com is a video learning site stocked with tutorials on hundreds of websites, software applications, and computing functions. Emory has maintained a paid subscription to Lynda.com for some time, but only a handful of people have become regular users.

For the inaugural goup, we chose to focus on Microsoft Excel, an application useful in areas ranging from humanities and social science research to human resources and administration. Though dozens of hours worth of Excel training are available on Lynda.com, the sessions focused on broadly applicable functions like sorting, filtering, pivot tables, and database management.

"I've known that Lynda is availabe since I started working at Emory," notes one attendee, "but I never got around to using it until I signed up for the scheduled sessions. It's easier to stick to a training schedule this way."

Emory is currently transisioning to a workstation-based subscription to Lynda.com. Beginning later this month, anyone with an Emory ID will be able to access the site through designated workstations in the Woodruff Library (in ECIT and the Research Commons) and at the Health Sciences Library.

We're currently accepting suggestions for our next training series. If you'd like focused training on a particular piece of software, let us know.

Authored By: 

Sarita Alami is a Graduate Fellow at DiSC.

Lynda.com is a video learning service that provides tutorials for a wide range of software.

Researching William Levi Dawson in MARBL

Telegram to Dawsom from Stokowsky


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Periodically, the MARBL blog will feature updates and insights from visiting researchers working within MARBL's collections. Gwynne Brown, Assistant Professor of Music History and Music Theory at the University of Puget Sound, spent a month with us in MARBL this summer delving into the papers of composer William Levi Dawson.

When I first visited MARBL in 2010, I wanted to learn how William Levi Dawson's approach to the arrangement and performance of African American folk songs differed from that of his composer-arranger-conductor contemporaries such as Hall Johnson, Eva Jessye, and Jester Hairston.
 
The Dawson Collection at MARBL proved so rich, and its subject so remarkable, that by the end of my week of research I envisioned writing a book solely on Dawson. This past summer, with support from my home institution, the University of Puget Sound, I returned for four weeks of research at MARBL. My findings enabled me to complete an article that will appear in the November 2012 issue of the Journal of the Society for American Music, as well as a book proposal on Dawson now under review by a major university press.

Newspaper Clipping of Dawson's Symphony
Newspaper Clipping of
Audience Applause
Halting Dawson Symphony,
Philadelphia, PA

The Dawson Collection's abundant materials are organized in such a way that they are not only easy to use, but almost novelistic in the stories they tell. The story that first gripped my attention in 2010 was that of Dawson's splendidly effective Negro Folk Symphony, which debuted in 1934 in four performances by the Philadelphia Orchestra under the baton of Leopold Stokowsky. The materials in the Collection vividly convey the excitement generated by the performances, one of which reached a nationwide audience via radio broadcast.
 
Given the current obscurity of Dawson's magnum opus, I was amazed to read accounts of the tumultuous applause that interrupted the symphony after its second movement (a concert hall faux pas then as now) at each of the four performances, the telegrams and letters that Dawson received from around the country after the concerts, and the approbation of critics ranging from Alain Locke to Olin Downes. The question that all of this raised in my mind provides the title of my forthcoming article in JSAM: "Whatever Happened to William Dawson's Negro Folk Symphony?"

I would like to express my gratitude to the staff at MARBL, to the MARBL fellowship committee for supporting me with a Cannon Research Fellowship in 2010, and to Mr. and Mrs. Randolph L. Milton, Jr. for donating the materials that comprise the William Levi Dawson Collection.

Authored By: 

Gwynne Kuhner Brown, Assistant Professor of Music History and Music Theory, University of Puget Sound

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