Kenneth Spencer Research Library

On August 19th, science fiction writer and critic Brian Aldiss died, a day after turning 92. In an obituary for The Guardian, fellow writer Christopher Priest characterized Aldiss as “by a long chalk the premier British science fiction writer.” As fans and scholars of speculative fiction around the world mourn this loss, some will be surprised to discover that part of the British writer’s literary legacy resides in Kansas: the Spencer Research Library a holds significant collection of papers for Aldiss, including materials for his Billion Year Spree and his Helliconia Trilogy. The trilogy, which consists of the novels Helliconia Spring (1982), Helliconia Summer (1983), and Helliconia Winter (1985), is among Aldiss’s most admired works. “This depiction of a world that circles a double star, where an orbital Great Year lasts long enough for cultures to emerge, prosper and fail,” Priest writes in his remembrance of Aldiss, “is a subtle, deeply researched and intellectually rigorous work.”

Brian Aldiss accepting the John W. Campbell Memorial Award for best science fiction novel for Helliconia Spring (1982) in Lawrence, KS in 1983.  Call number: RG 0/19: Aldiss, Brian

The collection of Aldiss’s papers at KU provides a wealth of evidence for the research and rigor that went into his writings. The 25 boxes of materials for the Helliconia Trilogy include, for example, Aldiss’s extensive correspondence with scientists and scholars to determine the scientific basis for the world he was creating. Those consulted include Iain Nicholson of Hatfield Polytechnic Observatory on the subject of astronomy, Peter Cattermole of the University of Sheffield on geology and climate, and Tom Shippey, then at the University of Leeds, on the languages of the novel. The result is a world  striking in its attention to detail.

A selection of research correspondence with Iain Nicholson, Peter Cattermole, and Tom Shippey concerning the creation of Helliconia. Brian Wilson Aldiss Papers. Call #: MS 214: A.

Not only do these letters reveal the extent to which technical and scientific matters underpin the trilogy’s concept, plot, and themes, but they also offer lighter moments of humor between on-going collaborators. Aldiss, for example, begins a June 1981 letter to Cattermole by quipping, “Helliconian scholars have failed to study Helliconia’s sister planets in any depth; they have been too busy drinking the whisky out of their orrerys.” (MS 214:Aa:2:14a).  Writing again to Cattermole in September of 1982, following the publication of Helliconia Spring earlier that February, Aldiss reports,

Vol. 1 has been very well received, especially in the States; over here there were complaints, as you say, about names. Well, it’s no good building up an intense winter atmosphere in Embruddock and then call[ing] the sods Joe and Charlie. There will be more complaints of that nature with Vol II, where I have a vast character list, with over fifty speaking parts, but I see no way of evading the problem and so forge on hopefully.  Wait till you meet Queen MyrdalemInggala….. (MS 214Aa:2:16b)

Spencer Research Library’s collections also include manuscript materials for Aldiss’s groundbreaking Billion Year Spree (1973), subtitled “The True History of Science Fiction,” which he later expanded with David Wingrove into Trillion Year Spree (1986). The volume argues for Mary Shelley’s Frankenstein: or, The Modern Prometheus (1818) as the birth of science fiction.

Aldiss’s ties to the University of Kansas grew out of his relationship with fellow science fiction writer and critic, James Gunn, Professor Emeritus of English and the founder of KU’s Gunn Center for the Study of Science Fiction. “We were long-time friends, although an ocean between us limited our encounters,” Gunn explains.

I was a guest in his Oxford home for a couple of days after the founding of World SF in Ireland [in 1976], and he was a guest in my home during his author’s visit here.  We were competitors only in the writing of science-fiction histories.  We both started in 1971, but circumstances (and maybe the complexities of illustrations) held up Alternate Worlds (1975) [Gunn’s illustrated history of SF] for a couple of years.  When I wrote him for a photograph, he suggested that we exchange blurbs–that I would say his history was the best and he would do the same for mine.

Though the delay in the publication of Gunn’s Alternate Worlds meant that the exchange of blurbs never came to pass, researchers can explore both Aldiss’s and Gunn’s processes in writing their respective histories of science fiction by examining the collections of their papers at Spencer Research Library.

Left: Brian Aldiss’s Billion Year Spree (1973). Schocken paperback edition, second printing. New York: Schocken Books, 1975. Call #: ASF B1245. Right: James Gunn’s Alternate Worlds. First edition. Englewood Cliffs, N.J : Prentice-Hall, 1975. Call #: E2598.

In his introduction to Billion Year Spree, Aldiss mused, “Possibly this book will help further the day when writers who invent whole worlds are as highly valued as those who re-create the rise and fall of a movie magnate or the breaking of two hearts in a bedsitter. The invented universe, the invented time, are often so much closer to us than Hollywood or Kensington.” Thank you for those invented universes, Brian Aldiss.

Elspeth Healey
Special Collections Librarian

One of the most interesting items in our collection, from my point of view, is the full-length portrait of Shirley Tholen, KU’s Jubilee Queen. Spencer Research Library doesn’t actively collect oil paintings, so the fact that we have this painting is unusual in itself. Its size and its history make it even more so. We’ve been spending a lot of time with this portrait lately, and it’s a great example of how collections, experts, and supporters come together in the work of Spencer Library.

The portrait depicts Shirley Tholen, whose naming as Queen was part of the celebration of KU’s 75th anniversary, in 1940-1941. Painted by Raymond Eastwood, a KU professor of drawing and painting from 1922 to 1968, the portrait depicts Ms. Tholen in a dress inspired from the mid-1800s. The jubilee celebrations referenced the early history of the university, with touches like the installation of hitching posts on campus, a song contest, and many reunions.

The Shirley Tholen portrait in the KU Alumni Association office,
as shown in the June 1945 Jayhawker. University Archives.
Call Number: LD 2697 .J3 1945. Click image to enlarge.

For years, the portrait appears to have hung in the office of the KU Alumni Association, as shown in the above photograph from the 1945 Jayhawker yearbook. It eventually made its way to University Archives, where it was stored in the fourth floor stacks of Spencer, surrounded by boxes of university records. Its size made it difficult to find appropriate storage, and it was obvious, even to those of us more accustomed to working with paper and photographs than canvas, that the painting and its supporting structure were in need of repair.

In 2015, Ms. Tholen’s son Tom Jasper and his wife Alexis planned to visit Kansas and inquired about the painting. To make it possible to view it, our Conservation Services staff hung the portrait in our North Gallery and created a temporary label. During their visit, the Jaspers gave us a copy of Ms. Tholen’s memoirs, which we added to our collections. The Jaspers also offered to help financially support the work needed to restore the painting. Conservation Services staff attempted to locate a professional paintings conservator who could work onsite, since the painting is too large to easily ship or move. In late 2016, we welcomed Kenneth Bé of the Gerald R. Ford Conservation Center to Lawrence.

Kenneth Bé working on the portrait. Click images to enlarge.

Mr. Bé began with a thorough examination of the painting, photographing it in its existing frame and the wooden stretcher to which the canvas was attached. He then removed the painting from the frame, and carefully repaired dented areas, removed the painting from the stretcher, and vacuumed and brushed away decades of residue. Mindful of the need to get just the right amount of tautness, he attached the canvas to the new stretcher. He used cotton batting and an enzymatic cleaning solution to clean the surface, and the background and especially the bottom of the dress appeared noticeably brighter after the cleaning. He performed a second cleaning of the background using a soft brush and a scooping motion to lift away any remaining dust and residue. He then treated areas of color loss on the surface, using just a minimal amount of paint that somehow managed to make the scuffs seem to vanish. The process was documented throughout with notes and photographs, in accordance with best practices for conservation treatment. After his departure, we moved the painting to a secure area where it was stored under a Tyvek sheet awaiting framing.

Then came the task of choosing a frame for the painting. On the recommendation of colleagues, we chose a local framer, again hoping to minimize the need for the portrait to travel any more than necessary. The choices at the frame shop were overwhelming, but the experts advised us to balance the width of the frame with the size of the painting and the height at which we intended to hang it. A decision was made, the portrait was packaged carefully, and loaded into a rented truck for the short trip across town. When the framing was complete, the results were impressive.

Assistant Conservator Roberta Woodrick
with the portrait. Click image to enlarge.

The portrait of Shirley Tholen is now hanging again in the North Gallery, awaiting new signage that explains who she was and why we have this painting. She will no doubt draw attention as visitors begin to appear in our recently renovated Gallery, and her story helps to tell the history of the University in a different way than the rest of our new permanent exhibits.

The portrait of Shirley Tholen in the recently-renovated North Gallery.
Click image to enlarge.

This was truly a team effort. Whitney Baker and Roberta Woodrick of Conservation Services, Becky Schulte and Letha Johnson from University Archives, and staff from across KU Libraries researched, planned, and made the work happen. But it would not have happened without the support of the Jaspers as well. Not everyone can be responsible for helping conserve a historic portrait of their mother, but they can assist us to do extraordinary things that would not otherwise be possible with our limited resources.

Please come visit the North Gallery and see Shirley soon.

Beth M. Whittaker
Assistant Dean for Distinctive Collections
Director of Spencer Research Library

In December 1917, the University of Kansas Alumni Association’s Graduate Magazine began publishing letters from Jayhawks serving in various capacities overseas. The letters became a regular part of the publication in 1918 and 1919. While some of the letters were from former students to faculty at KU or to The Graduate Magazine itself, most were sent to their families and later shared with the Alumni Association’s publication – giving those back home a glimpse into the lives of brave Jayhawks overseas.

For example, Herbert Laslett was a psychology major in the College of Liberal Arts and Sciences who graduated from KU in 1918. During his final year at KU, he was a student officer in the KU Cadet Regiment. While in Europe as a member of the 353rd Infantry, A.E.F., Laslett wrote to one of his former instructors describing his experience and sharing some news of other former students as well. His letter appeared in the December 1918 issue of The Graduate Magazine.

The KU Cadet Regiment in the Jayhawker yearbook, 1918.
Herbert Laslett is in the back row on the far left.
University Archives. Call Number: LD 2697 .J3 1918.
Click image to enlarge.

Herbert Laslett’s letters in The Graduate Magazine, December 1918.
University Archives. Call Number: LH 1 .K3 G73 1918. Click images to enlarge.

Evadne Laptad was a student in the College of Liberal Arts and Science who graduated from KU in 1908. Evadne worked as a hospital searcher with the American Red Cross’s Hospital and Home Communication Service during the war. A new initiative during World War I, the Hospital and Home Communication Service sent American women to military hospitals in Europe during and after the war. These women relayed information about injured soldiers to their family and friends back home. Her letter appeared in the April 1919 issue of The Graduate Magazine alongside letters from two other female graduates who were serving the war effort overseas.

Evadne Laptad’s senior picture in the Jayhawker yearbook, 1908.
University Archives. Call Number: LD 2697 .J3 1908.

Evadne Laptad’s letters in The Graduate Magazine, April 1919.
University Archives. Call Number: LH 1 .K3 G73 1918. Click images to enlarge.

Emily Beran
Public Services

Pulitzer Prize and Academy Award-winning playwright and screenwriter William Inge (1913-1973) was born on this day in Independence, Kansas, 104 years ago.

William Inge, circa 1960. University Archives Photos.
Call Number: P/ Inge, William (Photos). Click image to enlarge.

Inge attended the University of Kansas from 1930 to 1935, getting his degree in speech and dramatic arts. While a student, Inge pursued his interest in acting as a member of the KU Dramatics Club. In the fall of 1934 he was in a KU production of Eva the Fifth, the story of a traveling theater troupe.

William Inge and Virginia Hecker in a scene from Eva the Fifth, Fall 1934.
This photograph appeared in the Topeka Capital Journal, October 19, 1963.
William Inge biographical file. University Archives. Click image to enlarge.

Inge was a also member of Sigma Nu while at KU.
This picture of him is from the fraternity’s
group photo in the 1935 Jayhawker yearbook.
University Archives. Call Number: LD 2697 .J3 1935.
Click image to enlarge.

Inge turned his attention to playwriting after leaving KU and was quite successful. His most well-known works are Come Back Little Sheba, Picnic, Bus Stop, Splendor in the Grass, and The Dark at the Top of the Stairs.

Inge came back to KU several times as a guest lecturer, and in 1955 he directed a KU production of what would become Picnic, using an early draft version of the play entitled Summer Brave.

Cover page of Inge’s “Summer Brave,” 1961.
Call Number: RH MS D70. Click image to enlarge.

Spencer Research Library has a small Inge Collection, and the William Inge Memorial Theatre, housed in Murphy Hall on the KU campus, is named in his honor. The largest collection of Inge materials is housed at Independence Community College, where there is also the William Inge Center for the Arts and an annual William Inge Theater Festival.

Kathy Lafferty
Public Services

Finding aids are documents created by a repository’s staff members as a point of access for an archival or manuscript collection. To understand more about how finding aids helps researchers navigate collections of manuscripts, organizational records, personal papers, letters, diaries, and photographs, check out our Finding Aids 101 blog post. Here’s a list of some of Kenneth Spencer Research Library’s newest finding aids, so see which collections interest you!

A photograph of members belonging to the Alpha Phi Alpha Fraternity at a banquet
from the Dorothy McField collection of sorority and fraternity papers.
African American Experience Collection. Call number: RH MS P944.3. Click image to enlarge.

The first page of a listing of titles for Éigse Eireann [“Poetry Ireland”]
from the Catholic Bulletin collection. Special Collections.
Call number: MS 329, Box 2, Folder 45. Click image to enlarge.

A photograph of two cowboys on horseback from the Wallace, Kansas photographs collection.
Kansas Collection. Call number: RH PH 60, Folder 1. Click image to enlarge.

The title page from Eugène Farcot’s Literary Manuscript Un Voyage Aérien; Dans Cinquante Ans.
Special Collections. Call number: MS K32. Click image to enlarge.

May 7th and 8th from the five year Diary of Maude Egbert, note her entry on May 8, 1945
or Victory in Europe Day (V-E Day). Kansas Collection.
Call number: RH MS B77. Click image to enlarge.

Other new finding aids:

• Blachly, Nora E. Crawford, 1907-2003. Nora Crawford Blachly personal papers. (PP 575)
• Cuthbert & Suehrk, Architects. Cuthbert & Suehrk architectural drawings. (RH AD 2, RH PH P62)
• Diary of an unknown young man. (RH MS P938)
• Flint, Homer Eon, 1889-1924. Homer Eon Flint papers. (MS 328)
• Harrison and Gladys Hollie family photograph collection. (RH PH 112)
• Hersh, Sally Six, 1933-2001. Sally Six Hersh collection. (RH MS 573, RH MS Q97, RH MS R89, RH MS R90, RH MS R91, RH MS S10, RH MS-P 573)
• Kansas Authors’ Club. Kansas Authors Club records & memorabilia. (RH MS 1397)
• Kaw Valley Hemp Pickers photograph collection. (RH PH P2811)
• Keystone View Company. Native American stereocards collection. (RH PH 521)
• Pemberton, Murdock, 1888-1982; Pemberton, Sally. Murdock Pemberton. (MS 327, MS Q67, MS Qa16)
• Proctor, Frank, 1908-1972. Frank Proctor family papers. (RH MS P943)
• Smith, Gary Mark. Gary Mark Smith collection. (RH MS 1380, RH MS Q409, RH MS R386, RH CD 42, RH MS-P1380, RH MS-P1380 (f), RH MS-P1380 (ff))
• Stephen J. Parker personal papers. (PP 574)
• Sturgeon, Christine Hamilton Dicker, 1897-1963. Christine “Felix” Sturgeon papers. (MS 330, MS Qa17)
• Swan, Robert Austin, 1942-. Citizen Diplomacy Archives of Bob Swan. (RH MS 1393, RH MS R394, RH MS R395, RH MS S44)
• United Spanish War Veterans. Frank C. Armstrong Camp No. 3 (Topeka, Kan.) Portrait collection of past commanders of Frank C. Armstrong Camp No. 3, United Spanish War Veterans. (RH PH 53)
• Wight, Lucy A., 1864-. Lucy A. Wight photograph collection. (RH PH 132)

Mindy Babarskis
Reference Specialist
Public Services