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.
Check the blog each Friday for a new “That’s Distinctive!” post. I created this series to provide a lighthearted glimpse into the diverse and unique items at Spencer. “That’s Distinctive!” is meant to show that the library has something for everyone regardless of interest. If you have suggested topics for a future item feature or questions about the collections, you can leave a comment at the bottom of this page. All collections, including those highlighted on the blog, are available for members of the public to explore in the Reading Room during regular hours.
This week on That’s Distinctive! I am sharing an item from our Wilcox Collection, which is one of the largest assemblages of U.S. left- and right-wing political literature in the country. Since it was established in 1965, the Wilcox Collection has grown to include coverage of more than 10,000 individuals and organizations. The collection covers a wide array of topics including women’s rights. Most of the materials date from 1960 to the present.
The item shared today is a book titled 101 Wonderful Ways to Celebrate Women’s History. Written by Bonnie Eisenberg and Mary Ruthsdotter, the book (which is also referred to as a guide) was published in 1986 by the National Women’s History Project. It offers many different ideas on ways to celebrate women’s history. Shown today are some of the ideas presented for potential school programs. The guide notes that the activities within the section were “developed and recommended by classroom teachers around the country.” Other sections within the guide include school-community programs, as well as community programs. Some program ideas include designing women’s history posters, writing short public service announcements, and exhibiting books and works written by women at libraries. The book also has a slew of appendices that offer a wealth of information surrounding women’s history.
One of the guide’s authors, Mary Ruthsdotter, was actually a founder of the National Women’s History Project in 1980. A couple of years earlier, several of the group’s founders organized a local Women’s History Week in Sonoma County, California. Inspired by their success, women’s groups around the country lobbied for the week of March 8th to be National Women’s History Week. Congress later voted to make the entire month of March National Women’s History Month. Mary Ruthsdotter worked as the National Women’s History Project director for twenty years. The organization, now known as the National Women’s History Alliance, is still around today. National Women’s History Month continues to be celebrated today to ensure important women who fought for our rights are not forgotten.
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The front cover and selected pages from 101 Wonderful Ways to Celebrate Women’s History by Bonnie Eisenberg and Mary Ruthsdotter, 1986. Call Number: RH WL D9150. Click images to enlarge.
Check the blog each Friday for a new “That’s Distinctive!” post. I created this series to provide a lighthearted glimpse into the diverse and unique items at Spencer. “That’s Distinctive!” is meant to show that the library has something for everyone regardless of interest. If you have suggested topics for a future item feature or questions about the collections, you can leave a comment at the bottom of this page. All collections, including those highlighted on the blog, are available for members of the public to explore in the Reading Room during regular hours.
This week on That’s Distinctive! I am sharing a book from our Kansas Collection. The book, titled Poems of the Plains, and Songs of the Solitudes, Together With “The Rhyme of the Border War,” was written by Thomas Brower Peacock and published in 1888. The book is a compilation of older revised poems as well as poems Peacock had never published before. The copy of the book housed at the library is signed and dated by the author.
The library houses many other books by Peacock including The Vendetta, and Other Poems (1876), The Rhyme of the Border War (1880), and a later addition of Poems of the Plains, and Songs of the Solitudes, Together With “The Rhyme of the Border War” (1889). As one can see, The Rhyme of the Border War is included in the book shown today and was originally published as a stand-alone book in 1880.
This is one of those books I found while walking through the stacks. It just seemed to jump out to me on one particular day and I took note of the call number to pull it for the blog. It can be frustrating sometimes when I pull a book and cannot find much information on it or the author, but I suppose that should be expected especially the older the books are. Nevertheless, I do still get to enjoy the smell of old books while fumbling through the pages.
KU’s second copy of the book is available to check out from Watson Library, or it can be viewed online through the Library of Congress. The Internet Archive also has an online copy of Peacock’s 1872 work Poems. Finally, Washburn University offers a nice overview of early poems about Kansas that includes a mention of Peacock’s work.
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The front cover, author inscription, and selected poems from Poems of the Plains, and Songs of the Solitudes, Together With “The Rhyme of the Border War by Thomas Brower Peacock, 1888. Call Number: RH B112. Click images to enlarge.
Check the blog each Friday for a new “That’s Distinctive!” post. I created this series to provide a lighthearted glimpse into the diverse and unique items at Spencer. “That’s Distinctive!” is meant to show that the library has something for everyone regardless of interest. If you have suggested topics for a future item feature or questions about the collections, you can leave a comment at the bottom of this page. All collections, including those highlighted on the blog, are available for members of the public to explore in the Reading Room during regular hours.
This week on That’s Distinctive! I am sharing a Civil War-era item from the Kansas Collection. My research for this post sent me down a rabbit hole of sorts finding new and interesting information at every turn. It has been a while since I have found an item that has piqued my interest as much as this one has and I am truly excited to be able to share it on the blog for others to see. At face value, the item itself might seem quite boring, but it is the story the item tells that truly resonates with the viewer. That’s the thing with housing rare materials: much of it might seem “useless,” but you never know what that one newsletter, postcard, banknote, diary, etc. might mean to someone and their research. Much of what the library houses is about preserving history for future generations to access.
The item I am highlighting is a daily journal (diary) that belonged to Aaron Pugh. From the finding aid, Aaron Pugh was born in Carrol County, Ohio, on January 21, 1833. Aaron enlisted in the U.S. Army on July 4, 1863, at the age of 30. The 1860 federal census says that, prior to joining the Army, Pugh was a (married?) farmer in Marcy, Iowa. Preliminary research indicates that the diary follows Pugh’s life from approximately July 4, 1863 to March 25, 1984. As a side note, I actually stumbled upon this item by looking for Fourth of July items. That’s the fun of finding aids; sometimes search terms bring up somewhat unrelated but still quite interesting results. Once enlisted in the Army, Pugh was a soldier in Company M of the 8th Regiment of Iowa Cavalry. IAGenWeb, a side project of the free genealogical website USGenWeb, lists a roster of the members of the 8th, which includes an entry for Pugh. The roster says that Pugh entered the Army as a Fourth Corporal and was promoted to Second Corporal March 26, 1864. March 26th is where the diary entries come to an end.
Much of the diary contains basic daily entries commenting on the weather or stating that the unit had stayed at camp or moved camp. Some entries are more in-depth about trips Pugh went on or letters he wrote. The diary is slightly larger than my palm with three days per page, which leaves little room for entries. When first looking over the diary, I thought it was cool but didn’t feel it was worth sharing. I wasn’t sure there was much to write about or anything that would draw users in. However, through a basic search of Aaron’s name and the dates of the diary I found that the University of Iowa houses a collection of letters that he wrote during his time in the Army. A few of those letters coincide with entries in Pugh’s diary. I one letter, from December 8, 1863, he writes to his friends about where his unit had been camping and how things were going. He notes that they had taken some thirty prisoners in recent times. He also states that in the last few days “we chased some forty [,] five or six miles and captured several there.” This is where it gets interesting because looking back in the diary, there is an entry on December 4, 1863, that says “chased Bushwhackers caught four or five.” The combination of the letter and the diary really gives you a glimpse into what Pugh was experiencing at the time. The next few days in the diary go back to mentioning being at camp all day as if nothing ever happened. Another letter on January 16,1864, also coincides with the diary. While the letter seems to just be a general update to his friends, Pugh notes in his diary that he “wrote a letter home.” Making the connection between the letters and the diary adds a layer of excitement to the journey the items take the reader on.
Between the diary, letters, and online resources one can follow the journey of Aaron Pugh and his regiment through the Civil War. On July 30, 1864, Pugh was captured as a prisoner-of-war during McCook’s raid on the Atlanta and West Point Railroad near Newnan, Georgia. Pugh died a prisoner-of-war at Andersonville, Georgia, on October 4, 1864. Records from the time list his cause of death as “scorbutus,” i.e. scurvy. Pugh is buried in Andersonville National Cemetery, plot 10297. There is also a memorial to Pugh in Hill Cemetery in Boone, Iowa. Historic photos of Andersonville prison – taken when Pugh was there – are available online through the National Park Service.
It took a lot of digging to find some information on Pugh and the events he may have endured but in the end, I feel it was worth it. Until I stumbled upon it, the item had no past transactions of being used. I feel like now it has a new level of meaning and might someday be of use to a researcher.
Aaron Pugh’s diary, 1863-1864. Call Number: RH MS P926. Click image to enlarge.
Aaron Pugh’s first entry in his diary, July 4, 1863. “This is the Day that I am Dated to of Enlisted on the Enrollment papers,” he wrote. Call Number: RH MS P926. Click image to enlarge.
Aaron Pugh’s diary entry for December 4, 1863. “Chased Bushwhackers, he notes, “caught four or five.” Call Number: RH MS P926. Click image to enlarge.
Aaron Pugh notes that he “wrote a Letter home” in his diary entry for January 16, 1864. Call Number: RH MS P926. Click image to enlarge.
Aaron Pugh ended his diary on March 25, 1864, with the note “in camp and Raining.” Call Number: RH MS P926. Click image to enlarge.
Check the blog each Friday for a new “That’s Distinctive!” post. I created this series to provide a lighthearted glimpse into the diverse and unique items at Spencer. “That’s Distinctive!” is meant to show that the library has something for everyone regardless of interest. If you have suggested topics for a future item feature or questions about the collections, you can leave a comment at the bottom of this page. All collections, including those highlighted on the blog, are available for members of the public to explore in the Reading Room during regular hours.
This week on That’s Distinctive! I am sharing some items out of the Herd Family Papers. I have used the Herd Family Papers a couple of times in the past to highlight baseball trading cards and Thanksgiving postcards, and I plan to continue to use them more in the future. It is one of those collections that just keeps on giving. Consisting of over 37 boxes and 47 volumes, the collection contains plenty to be explored. The collection spans the dates of 1817-2013 and documents many events from throughout the family’s lives. The finding aid notes that “materials were processed in the order they were found, which means that bound bundles of letters, often from the same source, can be found in sequence, while other correspondence of the same time period may turn up several boxes away.” Much like exploring an old house, the collection has many nooks and crannies hiding little gems between the hustle and bustle of everyday life.
The items shown today are two Confederate bank notes from the 1860s. One is from 1862, and the other is from 1864. The Confederate States of America was established when seven Southern states seceded from the Union in 1860 following the election of President Abraham Lincoln. Four more states followed after the April 1861 attack on Fort Sumter, which prompted the Civil War. Feeling that their slavery-based economy was threatened, the southern states adopted their own constitution establishing a government of “sovereign and independent states.” Though the Confederacy struggled with legitimacy, it existed from 1861 to 1865.
The Confederate government first began printing banknotes in March 1861. The first notes were printed in New York and smuggled across Union lines. Subsequent notes were then printed in the South. The first circulation of banknotes had a total sum of $1 million. With limited engravers and printers on hand, early designs were often unrelated to their purpose. Some designs were abstract depictions of mythical gods and goddesses while others included naval ships and historical figures. Of the 72 designs put out, five included depictions of enslaved people; one of them can be seen on the note shared today from 1862. Confederate notes were not backed by hard assets. According to Wikipedia, the banknotes were backed by the “promise to pay the bearer after the war, on the prospect of Southern victory and independence.” However, as the war progressed and the road to victory diminished, so did the value of the currency. Once the Confederacy accepted defeat, the money had no value and individuals and banks alike were left with nothing. Today, Confederate banknotes (also known as “greybacks”) are prized collector items.
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The front and back of a $100 Confederate banknote, 1862. Herd Family Papers. Call Number: RH MS 1374. Click images to enlarge.
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The front and back of a $100 Confederate banknote, 1864. Herd Family Papers. Call Number: RH MS 1374. Click images to enlarge.
Spencer Research Library and the Gordon Parks Center have collaborated to create a pop-up display and small exhibition on the life, journey, and friendship of Gordon Parks and Langston Hughes.
The Gordon Parks Center in Fort Scott, with support from Humanities Kansas, curated an exhibition in 2023 exploring the connections between these two Kansas artistic luminaries and their local connections to the state.
Two pages from A Poet and His Camera by Gordon Parks, 1968. Call Number: RH C9010. Click image to enlarge.
Oftentimes, when we think of Black artistic movements, we often think of the Harlem Renaissance of the 1920s or the Black Arts Movement of the 1960s and 1970s. What is easy to overlook is the strong Kansas connection to both movements. Likewise, when we think of Kansas art and artists, it is easy to think of pastoral landscapes that capture the natural beauty of the prairie landscape and poetic descriptions of wildflowers and controlled burns. The linking of Kansas artists to these larger artistic movements that give rise to underrepresented voices in the world of arts and letters is not always so apparent. One of the most famous artists of the state is John Steuart Curry, the hand behind the Tragic Prelude mural painted in the rotunda of the capitol building in Topeka. But, did you know that another work by Curry, The Fugitive, was featured in an exhibition titled An Art Commentary on Lynching in 1935? Of the 38 artists whose work was included in the New York exhibition, Curry’s work was used on the cover of the exhibition catalog, designed to bring attention to the need for a nationwide anti-lynching law.
Two of the most recognized artists of the Harlem Renaissance and Black Arts Movement have roots in Kansas. This is no coincidence. Kansas in the early 20th century fostered a certain creative intelligence in these young men that would translate to and be understood by a large audience. Both Hughes and Parks grew up in working class families. Langston Hughes was born in Joplin, Missouri, just across the state line from Baxter Springs, Kansas. Before his first birthday, he was living between Topeka and Lawrence. Locally, he attended Pinckney School and lived on Alabama Street in West Lawrence (now referred to as Old West Lawrence). He worked for a time as a newsie, selling the Saturday Evening Post and briefly the Appeal to Reason, a socialist newspaper published out of Girard, Kansas. He stopped delivering the Appeal after being told by the local editor of the former that the latter would get him into trouble. His introduction to the social issues discussed in the Appeal would shape a sense of solidarity with working class folks. Fifty miles away from Hughes’ birthplace is the childhood home of Gordon Parks, born in Fort Scott, Kansas, where his father was a tenant farmer. While Hughes was an only child, Parks was the youngest of fifteen.
Both Parks’ and Hughes’ earliest writings were inspired by memories of their Kansas childhoods and drew upon stories about people they knew. Hughes’ first novel, Not Without Laughter, is based on his upbringing in Lawrence. In his first autobiography, The Big Sea, he reflected on the ideas that would become Not Without Laughter. He wanted to write about a typical Black family in the Midwest and about people he had known in Kansas. Yet, he felt like his family and upbringing was not typical. “I gave myself aunts that I didn’t have, modeled after other children’s aunts whom I had known,” Hughes wrote. “But I put in a real cyclone that had blown my grandmother’s front porch away.”
Langston Hughes opens Not Without Laughter with a storm. He styled Aunt Hager after aunts of his childhood friends in Lawrence, but the storm was very real. Call Number: RH B1855. Click image to enlarge.
Parks drew on his own childhood while writing his first novel, The Learning Tree. Though set in the fictional town of Cherokee Flats with fictional characters, it closely resembled Fort Scott. When Parks later directed a film based on the story, he shot it on location in Fort Scott.
Kansas was not without racial bigotry. Both Hughes and Parks talked openly about being the subject of ridicule and name-calling and feeling fearful of violence. Despite the unpleasant realities faced during their childhoods, Kansas remained an important part of their lives. In Half Past Autumn, a retrospective of Parks’ work, he calls the state his touchstone:
“I looked back to the heaven and hell of Kansas and asked some questions…My memories gave me some straight talk. The important thing is not so much what you suffered or didn’t suffer, but how you put that learning to use.”
“There had been infinitely beautiful things to celebrate – golden twilights, dawns, rivers aglow in sunlight, moons climbing over Poppa’s barns, orange autumns, trees bending under storms and silent snow. But marring the beauty was the graveyard where, even in death, whites lay rigidly from Blacks. Twenty-odd years had passed when, with these things lying in my memory, I returned to Kansas and went by horseback to lock them firmly with my camera. Spring was wrapped around the prairies. Nothing much has changed – certainly not the graveyard.”
A photo contact sheet of Gordon Parks visiting the Tallgrass Prairie with Patricia DuBose Duncan in 1979. Some photos also show Patricia’s son Don. Patricia DuBose Duncan Papers. Call Number: RH MS-P 535, Box 8, Folder 47. Click image to enlarge.
Langston Hughes returned to visit Lawrence after many years as well. Later in life, he was invited to speak at the University of Kansas, which he had visited as a small child. During one of his return visits, Hughes donated a collection of personal books and manuscripts to KU Libraries.
On page 22 of his first autobiography The Big Sea, Langston Hughes talks about selling the Appeal to Reason. He also talks about attending KU football games, only blocks from his house. Call Number: RH C7423. Click image to enlarge.
Throughout this summer, Spencer Library will feature a panel-display exhibit from the Gordon Parks Center accompanied with archival materials from the Kansas Collection to tell the stories of Langston Hughes and Gordon Parks and show the impact of their time growing up in Kansas on their life and careers. Their cultural expression through visual art, performing arts, literature, films, and music preserves our history, retells our stories for the next generation, and inspires our futures.
The exhibition will be on display through August 17, 2024, in the reception area of Spencer Research Library. The library and exhibit are free and open to everyone. You can visit our website to plan your visit.
