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 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.
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 University of Kansas campus map from August 1947. Usually KU related items are housed in University Archives, but this particular map belongs to the Kansas Collection. It was created by Frank A. Russell with contributions by KU’s Department of Engineering Drawing. The map was donated by Clayton Crosier, who has other collections at Spencer Research Library. This includes a collection of photographs and papers in the Kansas Collection and a collection of personal papers related to his time at KU in University Archives. Crosier (1903-1984) received both his bachelor’s and master’s degrees from the University of Kansas. Later, in 1945, he joined KU as a faculty member teaching Applied Mechanics and Civil Engineering. He retired in 1971.
Upon close inspection, one can see that some buildings remain in the same place today while others have moved around quite drastically. Some notable buildings that can still be found in the same location today include the Memorial Union, Spooner Hall (though it is listed as the art museum), and Watson Library. Some buildings that have moved locations include Green Hall and Robinson Gymnasium. Additionally, there are some buildings now on campus that did not yet exist such as Joseph R. Pearson Hall and, most notably, Spencer Research Library. Before the library opened in 1968, several annex buildings occupied the space behind Strong Hall.
Looking at the way campus has changed over time can be interesting given we are so used to the way it is now. As a former religious studies student, I find it interesting that the former religious studies building known as Smith Hall is titled on the map “Bible Chair.” It implies that the building served the same purpose, but the name shifted over time. Smith Hall was slated to be demolished in the 2023 fiscal year, but plans to do so have been postponed. In 2022 the University Daily Kansan (UDK) published an article about initial reactions to the announcement of the potential demolition. Smith Hall has since been added to the University of Kansas East Historic District.
Looking at the map, it is also interesting to think about why buildings moved significantly rather than staying where they were. The ways in which campus has shifted over time tell a story about the needs of the university. Despite all the changes, I hope there is something on the map you find interesting or did not know before.
Map of Campus of the University at Lawrence, Kansas, by Frank A. Russell. Lawrence: KU Department of Engineering Drawing, 1947. Call Number: RH Map R355. Click image to enlarge.
Over the past few years, before Juneteenth became a national holiday, KU Libraries gave employees the day off as a Day of Reflection. We used this time to reflect on what we knew and learn more about African American history, understanding the history of emancipation.
Official souvenir program from the 23rd annual Emancipation Celebration in Dayton, Ohio, 1923. Marcus Hamilton Papers. Call Number: RH MS 667. Click image to enlarge.
I grew up in Battle Creek, Michigan. It wasn’t as big as Detroit or Grand Rapids, but it was a large city with a number of companies that kept the city in business. Battle Creek is where the Kellogg brothers and Charles W. Post invented cereal. Those companies employed the majority of Battle Creek’s population. It is also the place where Sojourner Truth is buried.
Having this connection to the Underground Railroad where I lived, I became more interested in history. However, we learned about emancipation only from one view.
The front cover of Freedom to the Free: Century of Emancipation, 1863-1963, a report to the President by the U.S. Commission on Civil Rights, 1963. Call Number: RH WL C10768. Click image to enlarge.
A flier for the 1963 Emancipation Celebration in Wichita, Kansas. Leonard Garrett Papers. Call Number: RH MS 689. Click image to enlarge.
From junior high to college, many of my classmates were African American. I also had teachers, principals, and a high school counselor who were Black. It was only when I lived in and traveled around the country that I became aware of the lack of diversity in many communities.
A flier for the 1992 Juneteenth Celebration at the Wadsworth Atheneum Museum of Art in Hartford, Connecticut. Personal Papers of Moses Gunn. Call Number: PP 463. Click image to enlarge.
When I began my research on Juneteenth, I could not find much information. A colleague mentioned that I should use “emancipation” as my search term instead. I wanted to learn the importance and history of the Juneteenth holiday. I found that emancipation celebrations were held on different days of the year in different locations.
With Juneteenth becoming a national holiday, I hope it is a catalyst for people understand and learn more about African American history from their perspective. Juneteenth is more than a day off work. It is a day to celebrate African American history and U.S. history to the present.
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A Juneteenth Celebration program, 2008. Records of the Topeka Council of Colored Women’s Clubs. Call Number: RH MS 1289. Click image to enlarge.
Researching our collections, I was able to find many documents on emancipation. This blog post is only a small sample from our holdings.
I encourage you to visit Spencer to see and touch the historical materials housed at the library. Spencer is free and open to the public. A reference librarian can work with you to find resources on emancipation, Juneteenth, and broader African American history in Kansas. See the library’s website for more information.
Bookbinding models are something of a theme for us this spring; in February, we installed our exhibitObject Lessons: Selections from the Conservation Services Historic Bookbinding Models Collection in Spencer Research Library’s main gallery. Creating and studying bookbinding models helps us to hone our hand skills and to better understand how books are made, which in turn improves the level of care we can provide for materials in KU Libraries’ collections
Four finished Even More Simplified bindings created in our workshop with Karen Hanmer.
Then in March, Conservation Services hosted book artist, fine binder, and bookbinding teacher Karen Hanmer for a two-day workshop to learn a new (to us) binding structure. Karen’s “Even More Simplified Binding” offered us – that is, Whitney, Angela, and Kaitlin, the three book and paper conservators here at KU – an opportunity to brush up on techniques and to learn some new approaches to bookbinding that we can apply to our work.
Conservators watch as Karen Hanmer demonstrates backing – shaping the spine of a book – on a job backer.
Checking sewn text blocks to see how well they open.
Karen describes the Even More Simplified Binding as “stripped down to only the essential elements;” it is elegant and minimal in appearance. But because the structure of the binding is easily discernible, great care must be taken at each step to ensure a pleasing result. This structure was a good choice for our group of conservators with a range of bookbinding experience; we all found something to hold our interest, and we all came away with new skills. Karen came prepared with lots of examples of other bindings, so in addition to the fun we had making our books, we also had lots of great discussions and digressions along the way.
Conservators gather around to watch as Karen shows how to mark the spine wrapper before attaching it to the book.
Detail of the Even More Simplified binding with spine wrapper laced on, before attaching boards.
Speaking for myself, I know that my approach to re-binding a book – on the rare occasions that it happens – has become much more conservative over the years. I’m interested in doing the most possible good for a book with the least possible intervention, and studying this binding has got me thinking about how I can apply its bare-bones-yet-structurally-sound engineering to projects that may come my way in the future.
Kaitlin, Karen, Whitney, and Angela with their finished books.
