Welcome to the Kenneth Spencer Research Library blog! As the special collections and archives library at the University of Kansas, Spencer is home to remarkable and diverse collections of rare and unique items. Explore the blog to learn about the work we do and the materials we collect.
In 1984, the Union Pacific Railroad (UPR) made the decision to abandon its Union Pacific Depot in Lawrence and announced that they would demolish the building due to potential liabilities. The Depot had once been a shining gateway to Lawrence, with a tall steeple and busy railway line, but in the years prior, the passenger service had been discontinued, and the Depot building itself had fallen into disrepair.
Cyanotype photo of the Union Pacific Depot, undated [circa 1889-1930]. Lawrence, Kansas Photographs Collection. Call Number: RH PH 18, Box 1, Folder A6. Click image to enlarge.
Lawrence residents swiftly jumped into action to campaign for the preservation of the building. Citizens from the recently formed Lawrence Preservation Alliance, fresh of the success of their first project to save a historic home at 947 Louisiana St, jumped into action to preserve this Lawrence landmark. Members from the Lawrence Preservation Alliance, University of Kansas Rowing Club, and other concerned citizens banded together to form the “Save the Depot Task Force.” With the original plan to use the Depot as a headquarters for the rowing team, they were able to negotiate with the UPR to stall the demolition and began coordinating and raising funds for potential restoration.
There was one sticking point: the UPR was unwilling to permit the Depot to stay in its current location due to the building’s proximity to the railway line. With no other options, the Save the Depot Task Force began its “Move It or Lose It” campaign. The group hired a contractor to conduct a study to see if it would be possible to move the entire building in either one or two pieces on a hydraulic lift to a nearby lot.
Save the Depot brochure, “Move It or Lose It,” undated [circa 1987]. Call Number: RH P1482. Click image to enlarge.
After years of negotiation and much back and forth, in 1990 the UPR agreed to let the Depot stay where it was, with the provision that the City of Lawrence would provide a protective iron fence protecting the building from the railway tracks. In the end, the UPR sold the Depot to the city for $1.
Renovations began under architect John Lee officially in 1991, with construction happening in three phases & ongoing fundraising assistance from the “Save the Depot” task force. The Union Pacific Depot was officially rededicated as a community center in 1996.
Learn more about the restoration of Lawrence’s Union Pacific Depot at our short-term exhibit in Spencer’s North Gallery! The exhibit is free and open to the public in the North Gallery through March 31, 2026.
American author Henry V. Miller (1891-1980) is a divisive literary figure, one who has amassed a dedicated cult following, and yet, whose presence in scholarly discourse has traditionally been somewhat limited. Miller is most widely known for his years in Paris, which resulted in the notorious Tropic of Cancer (1934), famously banned for obscenity in the United States for nearly three decades. Despite his popular characterization as a writer who magnified the obscene and grotesque, it’s not uncommon to find Miller falling into extended, heartfelt reveries covering a profound range of subjects, a contrast that contributes to his reputation as an eclectic writer.
The front cover of Tropic of Cancer by Henry Miller, 1961. Call Number: B2849. Click image to enlarge.
Spencer Library holds a wide range of Henry Miller’s published works, such as an edition of Plexus (1963) limited to two thousand copies. However, the item that might be of most interest to the Miller enthusiast is a small collection of his papers (Call Number: MS P216). This collection primarily consists of typewritten onionskin manuscripts dating from the 1930s, as well as handwritten letters composed during the 1950s. I found the typewritten pieces particularly intriguing; according to the online finding aid, they mostly originate from Miller’s overflowing attempts to write an essay on English novelist D. H. Lawrence.
The title page of Plexus by Henry Miller, 1953. Call Number: B502, book 2, volume 1. Click image to enlarge.
In her biography of Miller, Mary Dearborn details how the D. H. Lawrence project, or “the Brochure” as it was initially called, developed as Miller was attempting to publish Tropic of Cancer in 1932. The only publisher whose attention he managed to get was Jack Kahane of Obelisk Press, who had misgivings about publishing the controversial contents of Tropic. Thus, Miller was asked to compose an essay on Lawrence in order to assert himself as an intellectual and gain more credibility. [1] The project was eventually published as The World of Lawrence: A Passionate Appreciation, much later in 1980.
The first page of “Self-Portrait: Installments 1-4” by Henry Miller. Papers of Henry Miller. Call Number: MS P216. Click image to enlarge.
I discovered that very little of the Miller manuscripts at Spencer Library actually appear in any published form. The most perplexing was “Self-Portrait,” a four-part piece that is largely devoid of any connection to the D. H. Lawrence essay, especially in its earlier sections. Within it, Miller mentions the “Universe of Death,” a chapter within The World of Lawrence and The Cosmological Eye (1939). Yet, it bears little resemblance to the section as it appears in the book. Similarly, there is a short description of the 1933 film “Extase,” which was likewise detailed in a chapter of the same name in The Cosmological Eye, yet its appearance within “Self-Portrait” is a different piece altogether. The more I read “Self-Portrait,” the more it appeared as a familiar part of Miller rather than a focused reflection on Lawrence (hence the title). The manuscript, framed around a walk through Paris during springtime, bears many hallmarks of Henry Miller’s original style, such as ornate, unconventional prose, descriptions of sordid and lurid elements lurking underneath the quotidian, a personification of Paris, dubious biographical details and nostalgic reminiscences on his earlier days in Brooklyn, musing on favorite authors (Proust and Dostoevsky), and a meandering, abstract form.
The front cover of Black Spring by Henry Miller, 1938. Call Number: B501. Click image to enlarge.
The fact that “Self-Portrait” presents itself as creative piece, rather than an analytical one, hints towards its eventual fate. Biographer Jay Martin details that, while Miller “originally regarded ‘Self-Portrait’ as a note to the ‘Universe of Death’ or a coda to ‘The World of Lawrence,’ he always planned it as a personal statement … [taking shape] by looking at himself, or portraying his experience, in a variety of ways.” [2] And Dearborn states that “Miller’s new book, tentatively called ‘Self-Portrait,’ … would eventually appear as Black Spring.” [1] This appears to be the definitive answer: “Self-Portrait,” written as a marginal addition to Miller’s project on D. H. Lawrence, became the premise for a new book entirely, and eventually grew into his collection Black Spring (1936). The process of researching Miller’s “Self-Portrait” emphasized one of the most rewarding aspects of my job here at Spencer Library: being able to uncover little-known parts of literary and cultural history.
Nile Russo Public Services Student Assistant
[1] Dearborn, Mary V. The Happiest Man Alive: A Biography of Henry Miller. New York: Simon & Schuster, [1992]: 156-163.
[2] Martin, Jay. Always Merry and Bright: The Life of Henry Miller: An Unauthorized Biography. Santa Barbara, Calif, London: Capra Press ; Sheldon Press, [1979]: 293f.
Special thanks to Special Collections Curator Elspeth Healey for directing me towards the Dearborn and Martin biographies of Henry Miller.
In my ten years working with Spencer collections, it’s been impossible not to notice the name William Stirling Maxwell printed on a wide variety of bookplates in our Special Collections. Maxwell was a Scottish art historian, scholar, art collector, and bibliophile, a portion of whose considerable book collection found its way to Spencer’s stacks in years past.
In a flurry of activity one afternoon last fall, I set out to document as many Stirling Maxwell plates as I could find. I located an impressive 35 unique designs in all, and it’s likely there are others out there, in Spencer’s collection and in the many collections around the world across which Stirling Maxwell’s library is dispersed.
To fit this selection of bookplates into this post, I’ve grouped them together into loose categories and adjusted their sizes. The actual plates range greatly in style and in size, from just a few centimeters long to covering the entire pastedown of a folio volume. I’ve grouped these images based on the more prominently featured design elements, although many of the same motifs are repeated across multiple plates, in particular Stirling Maxwell’s heraldic devices, monograms, and personal or family mottos. Some of the plates bear the name William Stirling, while others include Maxwell, which he added after succeeding the Maxwell Baronetcy in 1865.
It’s clear that Stirling Maxwell took pride in his book collection and derived enjoyment from them; in addition to their personalized bookplates, many of the Stirling Maxwell volumes in Spencer are in fine custom bindings bearing his coat of arms and extensive decoration (another blog post for another day!). I hope you will enjoy perusing this selection (A bevy of bookplates! An excess of ex libris!) as much as I did. Remember that these and all of Spencer’s collections can be viewed in person in our reading room!
Angels and cherubs figure in the designs in this grouping. Call numbers clockwise from left to right: Summerfield C850; A1517; Summerfield D254. Click image to enlarge.
The barred, sideways-facing knight’s helmet on these bookplates represents the high rank of Stirling Maxwell’s families. Call numbers from left to right: Call numbers from left to right: C1113; Summerfield A668; Summerfield A601. Click image to enlarge.
These bold, graphic images stand out from the florid, fine-lined designs of many of Stirling Maxwell’s other bookplates. Call numbers left to right: Call numbers left to right: Cervantes Y9; Summerfield A533; C1111; Summerfield B915. Click image to enlarge.
This is the latest installment in a recurring series of posts introducing readers to the staff of Kenneth Spencer Research Library. Today’s profile features Rebekah Ramos, who joined Spencer Research Library in August 2025 as the Curator of Latina/o Collections.
Rebekah Ramos, Curator of Latina/o Collections. Click image to enlarge.
Where are you from?
I was born and raised in Puerto Vallarta, Jalisco, Mexico but I moved to Texas when I was sixteen. I jumped around the state quite a bit for school, living in cities like Frisco, Lubbock, Sherman, and most recently Austin.
What does your job at Spencer entail?
As curator of Latina/o Collections I’m in charge of collecting materials that document and preserve the history of Latina/o individuals, families, and organizations in Kansas. Latinos have been part of this state’s history for more than a hundred years, and I’m working to build a collection that reflects the many experiences and stories that exist within this community.
How did you come to work in libraries/archives/special collections?
During undergrad, in the midst of a new semester and trying to stay sane during Zoom classes, I applied for and was hired as a student assistant at the Vietnam Center and Sam Johnson Vietnam Archive’s Oral History Project. During my time there, I reviewed and cleaned up transcriptions of oral history interviews that were conducted with Vietnam War veterans. Then, while I was completing my degree in Information Studies at the University of Texas at Austin, I worked as a graduate student technician at the LLILAS Benson’s Digital Scholarship Lab, where I had the opportunity to work with Latin American and U.S. Latina/o archival materials.
What part of your job do you like best?
I love getting to meet new people! As someone who is not originally from here, it’s been interesting getting to learn about the variety of nationalities, backgrounds, and stories that make up the Latino community in Kansas.
What do you have on your desk?
I have a bunch of sticky notes with reminders of things I need to look up or do, and a huge pile of books I’m trying to read, like What Kansas Means to Me, Who Owns Native Culture?, and Catching Stories: A Practical Guide to Oral History. There are also a couple of trinkets to remind me of home, like a Mexican rag doll I keep under my monitor.
What is one of the most interesting items you’ve come across in Spencer’s collections?
Some of the most interesting items I’ve come across were two photographs I found in the Bourquin Family Collection. Photographs in this collection were taken by a Swiss family that moved to Horton, Kansas, in the late 1800s. The collection’s finding aid showed that there are a couple of photographs that include the name “Little Mexico” in their title.
I was really surprised to find these photographs, since I hadn’t seen any record or evidence of Mexican immigrants in Horton in any of our other collections or online sources. Digitized newspaper clippings confirmed that during the 1920s there was an area of the town that housed many of the Mexican immigrants that had come to work at the local railroad center.
“High water at railroad dam and Little Mexico, May 8, 1921.” Bourquin Family Collection. Call Number: RH PH 30, Box 14, Folder 623. Click images to enlarge.
What are some of your favorite pastimes outside of work?
I am an avid reader and proud bookworm! But I also love going to the movie theater, getting food or coffee with friends, baking, and watching TV.
Zines are self-published writing and art, often made by collage with illustration, photos, and clippings from other publications, and printed like a pamphlet or small book. Zine production began the 1930s with sci-fi fanzines, but in the 1980s and ‘90s, the widespread availability of the copy machine and Kinko’s 24-hour stores spurred many disaffected young people to express their personal and political opinions, often anonymously, in zines that were distributed locally and nationally via word of mouth and the postal service. Although the internet later replaced much of the ways young people previously communicated with each other, zine production has continued and has been made easier with new digital tools and home printers.
Front cover of Let’s Not Chase Our Tails: Workers, Get Organized! by Tricia Robinson, circa 2025. Call Number: Uncataloged. Click image to enlarge.
Front cover of I Strongly Recommend the Library, circa 2025. Call Number: Uncataloged. Click image to enlarge.
Front cover of Palestine, Mon Amour by Alfredo M. Bonnano, circa 2025. Call Number: Uncataloged. Click image to enlarge.
Since adding the Solidarity Library zines to the Wilcox Collection of Contemporary Political Movements in 2016, interest in the collection has grown among KU students, KU faculty, and community members. Several classes come to Spencer each semester to learn about the collection, view a selection of zines, and complete a primary source analysis activity with one zine. These class visits help prepare students to tackle a creative, unique assignment to make their own zines. Students also tour the Makerspace at Anschutz Library, where they can utilize the tools and materials needed to write, illustrate, assemble, and print copies of their zines for classes and/or for fun. Additionally, Spencer also hosted attendees of Lawrence’s annual Paper Plains Zine Festival last September for a tour of the library and to view some of our zines up close. Library staff were thrilled to see this group of zine creators and collectors show so much excitement and joy for our zine collection.
Front cover of How to Be a Happy Nihilist by Wendy Syfret, circa 2025. Call Number: Uncataloged. Click image to enlarge.
Front cover of Unmediated Reality: An Invitation Towards Intensity, circa 2025. Call Number: Uncataloged. Click image to enlarge.
Front cover of None of This is Normal, circa 2025. Call Number: Uncataloged. Click image to enlarge.
Due to the popularity of the zine collection, it seemed like a good idea to acquire more recently published zines that address current topics students might be interested in. Last fall, we purchased about a hundred new zines (many of them created in 2025 and purchased on Etsy). While some of the zines are reprints of older publications, the more recent ones address topics such as political attacks on transgender people, resistance to fascism and state violence, the labor movement, the war in Gaza, the American tech oligarchy, artificial intelligence, the COVID-19 pandemic, and mutual aid. The zines are in the process of being cataloged; when that work is completed, information about them will be available via the KU Libraries online catalog, and the zines themselves will be available for classes and for research in our Reading Room.
Throughout this post is a sample of ten covers from our most recent purchase of zines. If you have suggestions for further purchases or donations of zines for the Wilcox Collection or if you would like to view these in our reading room, get in touch with Spencer staff!
Front cover of Maneater: The Monstrous Feminine, circa 2025. Call Number: Uncataloged. Click image to enlarge.
Front cover of the zine Anarchist Survival Guide for Understanding Gestapo Swine Interrogation Mind Games by Harold H. Thompson, circa 2025. Call Number: Uncataloged. Click image to enlarge.
Front cover of How to Survive the Fall of Democracy with Joy and Whimsy in Your Heart, circa 2025. Call Number: Uncataloged. Click image to enlarge.
Front cover of the zine Fight Fascism: How to Recognize It and Take Action, circa 2025. Call Number: Uncataloged. Click image to enlarge.
Kate Stewart Curator of the Wilcox Collection of Contemporary Political Movements
Maureen Tuohey and Theo McKay Public Services Student Assistants
