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.
“The Arsenic Waltz. The New Dance of Death. (Dedicated to the Green Wreath and Dress-Mongers.)” Punch, or The London Charivari, February 8, 1862. Call Number: AP 101. P8. Click image to enlarge.
In 1775, the chemist Carl Wilhelm Scheele developed a striking shade of green that proliferated in the Western markets, creating a cultural phenomenon that could be — and in some cases was — deadly. Scheele’s green, a brighter and cheaper pigment to produce than previously popular shades, was one of many arsenical compounds that was used in soap, clothing, wallpaper, and even food for much of the nineteenth century. But the arsenic present in Scheele’s green (and pigments like it) can still be unsafe when handled for extended periods, which means a book that contains this Victorian Era pigment could pose its own risks today.
A book covered in vibrant green, arsenic-positive paper. Die Staatsforstwirthschaftslehre. Berg, Karl. Leipzig, 1850. Call Number: Howey C1895. Click image to enlarge.
Step One: Publication Date
At the beginning of the nineteenth century, bookbinders began constructing their own covers separately from the main textblock of each book. This, along with the introduction of a new cover material called bookcloth, allowed Victorian Era book covers to be elaborately dyed and decorated with an array of pigments; Scheele’s green and Paris green (or emerald green, or copper acetoarsenite) being the most arsenic-rich among them. Tracking these new developments, arsenical bookbindings are most likely to be found between the years 1820 and 1880, when the pigments began to be phased out slowly and irregularly across different regions. Because of this, any green book published in the nineteenth century could be a contender.
Three volumes from various Spencer collections. Books A and C tested positive for arsenic; book B did not. Call Numbers: Book A, Children 1256. Book B, Children 1599. Book C, B12009. Click image to enlarge.
Step Two: Pigment
Arsenical pigmentscan take many forms, but they are most associated with the vibrant, almost neon shade of green that is shown in the first image, of Die Staatsforstwirthschaftslehre. In some cases, arsenical green stands out like a poison dart frog, but in other cases it’s not so clear. Many of the arsenical titles we’ve identified in KU’s collections align with this typical green pigment, but there have also been some surprises, such as the bright blue book in the image above, or greens that appear to be Scheele’s or emerald but chemically are not. This is where X-Ray Fluorescence (XRF) technology comes in.
The conservation lab’s XRF machine set up to test a 19th-century book for the presence of heavy metals. Click image to enlarge.
An arsenic-positive spectrum produced from an XRF test. Click image to enlarge.
Step Three: XRF Technology
Due to all these variables, the only sure way to identify a poison book is to test it. In the Spencer Research Library’s conservation lab, we’ve been using XRF technology to test KU’s 19th-century books as part of a larger effort protecting patrons against potentially toxic heavy metals. This machine produces a spectrum graph that allows us to identify which elements are present in an item. Through this process, we’ve identified a number of “poison books” which can now be properly labeled, contained, and served in the reading room with appropriate precautions assuring that the information in a potentially harmful book remains accessible while the patron handling it remains safe.
By Reece Wohlford, Heavy Metals in Bookbinding Project Student Assistant
What makes a monster, well, monstrous? Monsters carry the fears of the people that create them, tapping into existential dreads and cultural tensions to flay our superficial defenses and expose the weak societal organs and vulnerabilities beneath. Today, our monsters array from the cannibalistic and supernatural vampires of Sinners to Barbarian’s brutal, lonesome and pitiable Mother – and the movie’s true monster, a landlord.
In the later Middle Ages, however, monsters sometimes played a more ambivalent role than violent antagonists. The word “monster” derives from the Latin “monēre” or “to warn, to admonish.” These monsters embodied omens or manifested God’s admonishment of human behavior, inviting conscious and deliberate analysis and contemplation on their meanings. So-called “monstrous races” were born from tales and anecdotes of human and human-like peoples born in far-off lands, repurposing anecdotal entrails from the Bible and classical authors like Pliny the Elder into haruspices of divine interpretation. They were frequent subjects of fascination and debate for their meanings, paired with prodigies and marvels as the myriad ways that God’s will manifested in nature and the real world, as well as theological debates as to whether such races possessed souls and could be converted to Christianity.
Konrad Lykosthenes was one such interpreter, a humanist and encyclopedist who sought to sew together a comprehensive history of signs, prodigies, and portents from biblical times into his own modernity with his Prodigiorum ac ostentorvm chronicon [Chronicle of Prodigies and Signs]. He built a body of text from the limbs of other historical and contemporary sources onto which he sutured his own interpretations. These portents included everything from natural disasters like earthquakes to the appearance of mythical and monstrous creatures, as well as so-called “wonders,” “marvels,” and “monstrous” births. His work proved sensationalist and popular, a theological treatise that leaned lurid and sometimes traded on the grisly and gruesome to appeal to a wider audience.
An image of monstrous races from Lykosthenes’ Prodigiorum, including a “scioped” or “monopod” – a mythological one-footed race of people drawn from Greek classical literature. Lykosthenes, Konrad. Prodigiorvm ac ostentorvm chronicon. Basil: Henricvm Petri, 1557. Call Number: Summerfield E392. Click image to enlarge.
By the end of the sixteenth century, science and medicine had pierced their talons into the tender underbelly of the study of monstrosities, clawing it away from the sole purview of priests, philosophers, and theologians. With that shift, natural historians like Ulisse Aldrovandi and physicians like Fortunio Liceti dissected the meanings of monstrosities not as reflections of divine will or intent, but as natural phenomena that could be classified and analyzed under the newly invented microscope.
Ulisse Aldrovandi sought to document all forms of nature, collecting a cabinet of curiosity with over 7,000 specimens – including an alleged and infamous dragon, likely fabricated by grafting together the stuffed carcasses of other animals. From those studies and collections he wrote over 400 volumes on everything from mollusks to metals. Monsters were a natural inclusion, and thus was wrought his Monstrorum Historia, the eleventh of a fourteen-volume encyclopedia. It bled together what we today treat as unequivocally monstrous creatures – centaurs and satyrs – with concepts that today we might conceive as mere medical conditions, such as neurofibromatosis or hypertrichosis, transplanting alien viscera of exotic monstrosity into the hollow body cavity of the reader’s imagination and understanding of nature. Aldrovandi’s amalgamation of monstrous creatures, humans, and hybrids reflected an ambition to reflect a complete and total natural history of monsters in parallel to birds, fish, and all of the natural world, rather than flensing the impossible from the plausible like extraneous fat from muscle and meat.
A “monstrous marine horse,” and a “demon-formed marine monster.” Aldrovandi, Ulisse. [Works] Monstrorum Historia [Histories of Monsters]. Bologna: Nicolaus Tebaldinus and others, 1637. Call Number: Ellis Aves E70. Click image to enlarge.
In De Monstrorum causibus [On the Causes of Monsters], Fortunio Liceti, meanwhile, purported to analyze monsters not only as a phenomena born from nature – or “nature’s mistakes” or even its jokes and pranks – rather than divine will, but also sought their causes and their taxonomic classifications a landmark in teratology – the study of monsters which today has come to mean the study of congenital birth defects. The modern conflation is no accident, as Liceti’s work treats them as one and the same: monsters were born, not made, and his work discusses everything from dog-headed humans to conjoined twins, framed in antithesis to the ideal or perfect human body that was increasingly the focus of medical study.
Liceti described monsters not as warnings or admonishments but as “showings,” claiming that the term derived from “monstrare,” or “to demonstrate or show.” His examination of “monsters” demystified them and challenged the portentous interpretations of monstrosities that deemed them a reflection of the wrath of God upon the parent or their community writ large. This metamorphosed monstrosities into something not inherently ominous or harrowing but still oozing with interpretations.
A pig with the face of a human, and a cat with a pair of human legs, in which Liceti explains the causes of monsters born with the limbs or body parts of multiple species. Liceti, Fortunio. De monstrorum caussis, natura, et differentiis libri duo… 2. ed. [On the Causes, Nature, and Differences of Monsters]. Patavii [Padua]: Apud Paulum Frambottum, 1634. Call Number: Summerfield C802. Click image to enlarge.
As we examine historical horrors, it invites a vivisection of our own insecurities and fears, to peel back the flesh of our society and examine the sinews beneath that tie together our own identities: What do we think of as monstrous, and why? When does humanity itself become monstrous? And when something goes bump in the night, what are we really afraid of?
All of above books will be on display at this year’s Haunting Humanities event this Wednesday, October 29th, 5:30 to 9pm at Abe and Jake’s Landing (800 E. 6th Street), together with an array of horrifying, prodigious, and compelling activities, including a monstrously-themed escape room in a box, coloring pages, Rare Book Bingo, monster reviews, and more. Come contemplate the meanings of monstrosity with us and walk away with your own nightmares to divine.
I started working on this exhibit as part of an effort to tie Spencer materials in with this year’s KU Reads Common Book, John Green’s Anthropocene Reviewed. When I first started thinking about this exhibit, my idea was to collect things I thought people might be interested in reviewing themselves. I looked at the library’s first-edition copy of I Am Legend by Richard Matheson (Call Number: ASF B643). I looked at a gorgeous bound volume from Special Collections with binding I’d never seen before (Call Number: B10546). I even pulled and contemplated items from the Kansas State Seals collection (Call Number: RH MS Q428), wondering if there was a way I could somehow work a seal into the display.
The process of creating a display is by necessity dialectical. You might pull items with a particular theme in mind, only to discover that another theme might be more appropriate. In some ways, having the exterior guide of Green’s essays helped to eliminate some of that back and forth.
I thought that I knew what I would end up writing about with each of the items by the time I finalized my selection. With the KU Monopoly game, I thought I would write about my childhood experiences (or lack thereof) playing Monopoly. But as I was looking through the box, trying to decide how I would want to have it set up in the display, I discovered a little sticky note describing the item as a gift to the archive.
The inside lid of KU Monopoly with an attached sticky note that reads “Christmas gift from Sandy Mason to the Archives Dec 20, 2004.” Alexandra “Sandy” Mason was Spencer’s first librarian; she worked at KU from 1957 until she retired in 1999. Call Number: RG 0/Artifacts. Click image to enlarge.
“Wild Geese Flying” (Call Number: MS P650) was sent as a Christmas card by poet Barbara Howes, and I initially thought that I would write primarily about the idea of sending a poem as a card. As I sat with the item, however, I became captivated by the poem itself. It’s more about the idea of geese than about an encounter with an individual member of goose-dom. It’s about the transience of migratory birds. It made me think about how so much of what we strive for here is permanence, or something like it, and how almost everything we keep here is vulnerable to time.
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“Wild Geese Flying,” a poem that Barbara Howes sent as a Christmas card in 1966. Correspondence, Poems, and Reviews By and About Barbara Howes. Call Number: MS P650. Click image to enlarge.
Green says in The Anthropocene Reviewed that “there are no disinterested observers, only participants” (p. 5). I initially read this as a commentary on how the act of observing something – what we choose to give our attention to – is inherently an expression of our agency. But I think that it also speaks to the fact that it’s hard to be really, truly disinterested if you pay enough attention. Nothing is ever quite as straightforward as it seems, as this display has so aptly shown me.
The Uncommon Books exhibit will be open in Spencer’s North Gallery through December 1. The display is accompanied by a page on the Lawrence Reviews website. Feel free to stop by and write your own review!
This week week, October 5-11, is Banned Books Week, an advocacy initiative started by the American Library Association’s Intellectual Freedom Committee in 1982 at the suggestion of the Association of American Publishers, who were facing many censorship efforts by the religious right at the time. Libraries across the country celebrate this week with banned book displays and events that bring attention to the fact that our freedom to read is still under attack. KU’s Watson Library currently has a display of banned books, and KU students can check the Libby app for a list of e-books and audiobooks that are commonly challenged.
The Wilcox collection was started by Laird Wilcox, a student at KU in the 1960s who was interested in politics and concerned about free speech. He started collecting flyers, newsletters, and books from organizations on the political margins, including communist groups and right-wing leaders. As the chair of KU’s Student Union Activities Minority Opinions Forum, he brought several controversial speakers to campus, including neo-Nazi activist George Lincoln Rockwell. The 1964 event caused heated debate among students and faculty about free speech and what was appropriate on college campuses. (The Wilcox Collection includes photographs and cassette tapes from this event and Wilcox’s interview with Rockwell.) Wilcox’s experiences at KU as a student activist led him to collecting political material he feared would be banned or otherwise unavailable. He continued collecting until his death in 2023.
Winners of the KU Libraries’ Taylor (now Snyder) Book Collecting Contest, 1964. Laird Wilcox is on the far left, next to Elizabeth M. Taylor (the sponsor of the contest). Laird’s winning collection later became part of Spencer’s Wilcox Collection. University Archives Photos. Call Number: RG 32/40 photographs. Click image to enlarge (redirect to Spencer’s digital collections).
To find these kind of publications, Wilcox used directories like the Guide to Subversive Organizations and Publications, which was issued by the U.S. House of Representatives’ Committee on Un-American Activities (known as HUAC) and revised several times throughout the 1950s and early ‘60s. This directory included summaries of organizations with citations to HUAC’s own committee reports and records. Although this directory and others like were often used by librarians to censor their own collections, Wilcox used it essentially as a catalog. He also purchased books published by right-wing organizations and individuals on their beliefs that schools, government bodies, or other organizations were brainwashing Americans, especially children, with left-wing propaganda like Communist-Socialist Propaganda in American Schools by Verne P. Kaub. These were also useful for tracking down material, as they often included lists of titles and directions on how to (ironically) acquire them to review for censorship efforts in local communities. Wilcox also collected books, periodicals, and ephemera by organizations devoted to free speech that tracked censorship like Censorship News to help make collecting decisions and acquire material that is now available at Spencer.
The front cover of the Guide to Subversive Organizations and Publications (and Appendixes), 1961. Call Number: RH WL C601. Click image to enlarge.
The front cover of Communist-Socialist Propaganda in American Schools, 1967. Call Number: RH WL B3573. Click image to enlarge.
By corresponding and meeting with booksellers and people who belonged to these groups, Wilcox expanded his circle of contacts to acquire more “subversive” books and material. He was able to facilitate acquisitions of unpublished manuscript materials from key figures in both left-wing and right-wing movements like Willis Carto (founder of the Liberty Lobby) and other collectors such as Albert and Angela Feldstein (who specialized in left-wing buttons, stickers, and posters). The Wilcox Collection now includes many formats beyond books such as photographs, audiovisual material, and more.
In his later life, after developing a reputation as an expert on propaganda and free speech, Wilcox wrote his own books on political extremism and compiled bibliographies of propaganda and books of quotations on censorship, propaganda, and freedom of speech. These publications are also available at Spencer in the Wilcox Collection.
The former Curator of the Wilcox Collection, Becky Schulte, wrote about Laird Wilcox, the history of the collection, and her efforts to expand it in a presentation to the Society of American Archivists in 2016, titled “Curating the Controversial: The Wilcox Collection of Contemporary Political Movements, University of Kansas.” She details the acquisition of the collection of James Mason, a key figure in white supremacist movements, and both the difficulties and professional satisfaction involved in curating such a collection.
The librarian Mary Jo Godwin said that “a truly great library contains something in it to offend everyone,” a quote that is now widely circulated on social media during Banned Books Week and in other discussions of censorship. Due to the decades of tireless effort by both Laird Wilcox and Becky Schulte, we can say that the Spencer Research Library is among the best of truly great libraries.
Kate Stewart Curator of the Wilcox Collection of Contemporary Political Movements
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 Kate Stewart, who joined Spencer Research Library in August 2025 as the Curator of the Wilcox Collection of Contemporary Political Movements.
Kate Stewart, Curator the Wilcox Collection of Contemporary Political Movements. Click image to enlarge.
Where are you from?
I was born in Stillwater, Oklahoma, and when I was five, we moved to Merriam, Kansas, where I spent the rest of my childhood. Since I left at 18 for Vassar College, I have moved around a lot all over the country. Most recently, I was living in Tucson and before that, Washington, D.C. It is really great to be back in the area that I think of as home! My older brother and a lot of my high school friends went to KU, so I have many fond memories of hanging out in Lawrence in the ‘90s. Fun fact: I went to Day on the Hill for the first time in 1993 when I was in 8th grade! Unfortunately, that was the year after the infamous Pearl Jam show, but I did get to see MU330 and many other bands in Lawrence.
How did you come to work at Spencer Research Library?
I have been working in archives for almost twenty years, mostly in temporary positions that focused on political and oral history collections. When I saw this job posting, I knew it was my dream job. Not only is it exactly the kind of work I want to do, but I also have been wanting to move back to the area for the past few years. I feel incredibly lucky to be here every day.
What does your job at Spencer entail?
I’m the Curator of the Wilcox Collection of Contemporary Political Movements, which has a large number of books, ephemera, and manuscript collections related to left- and right-wing movements in the United States. In particular, it is the premier archive for researchers studying right-wing extremism and one of the only ones in the U.S. that collects that kind of material. My primary job duty is to acquire new items and collections in this area, which means I get to shop online for rare books and ephemera and work with people interested in donating their personal and organizational collections to the Spencer Library. I will also be teaching instruction sessions related to the Wilcox collection for KU classes and researching stories about how politics and libraries are interconnected.
How did you come to work in libraries/archives/special collections?
My mom, aunt, and grandfather were all librarians, so I grew up hanging out in libraries quite a bit, especially when I was in college. After getting a master’s in history at the University of Iowa, I decided to get my master’s degree in library and information science there too and join the family business. As a student, I got to work at the Iowa Women’s Archives, which was a terrific first job for me in this field. From there, I have had many different jobs (including five temporary ones) in archives or libraries, including the American Folklife Center at the Library of Congress, the U.S. Senate, and the Arizona State Museum at the University of Arizona. I have also worked as a freelance writer, ghostwriter, and editor for many years as well, which has been a great joy.
What part of your job do you like best?
Walking through the building, especially the stacks, when I’m alone and it’s dark. I always feel like I’m in the suspenseful part of a horror movie, and it’s quite an adrenaline rush. But when it comes to my actual job duties, I really love working with students. It’s so much fun to blow their minds about what we have at the library and that it’s all here for them.
What do you have on your desk?
I have some duplicate zines from the collection Spencer acquired from the Solidarity Library, including one titled Winning Office Politics Quickly that has been making me laugh. I have a lot of books from Watson Library about the FBI for an article I’m working on about the scandalous publication of Max Lowenthal’s book on the FBI in 1950, which I have been wanting to write for many years. I have also started bringing in ephemera from my own past to decorate my office, and I am glad to get some of it out of my moving boxes and into a good home.
What is one of the most interesting items you’ve come across in Spencer’s collections?
While looking at zines for classes that are coming in this semester, I came across a famous one called Sniffin’ Glue. It was created in 1977 in London by Mark Perry, a punk fan and musician. It has some really great illustrations and photos from that time of bands like the Ramones and the Clash.
The front cover of Sniffin’ Glue, July 1977. Call Number: RH WL D9321. Click image to enlarge.
What are some of your favorite pastimes outside of work?
A lot of my life outside of work is consumed by reading about politics and participating in political organizations, although I don’t know if I should call that a pastime since it isn’t exactly enjoyable a lot of the time, especially these days. When I really want to relax, I take a long hike or go to a baseball game (I am a Royals and Nationals fan). I am also an obsessive music fan (and musician) and love to play card games.
Kate Stewart Curator of the Wilcox Collection of Contemporary Political Movements
