WVU Libraries

Written by Devon Lewars

In today’s standards, it is frowned upon to tear signatures from their page, however, this used to be a common practice amongst collectors. Signatures were often torn from pages of correspondence, deeds, or even wills. The West Virginia and Regional History Center (WVRHC) currently owns multiple archives and manuscripts (A&M) collections that include items of this nature. A collection of signatures was donated to the WVRHC and a few of those pieces are currently on display in the rare book room.

Similarly, in the past, it was common for individuals to loot sites of archeological significance. An artifact is most valuable when it is found in relation to the age of the soil it rests in. If an object is taken from its historical context, it loses value.

In the 1970s, five cultural shields of the Acoma Pueblo (Uh-Ko-Muh Pweh-Blo) village of New Mexico vanished from the home of one family. Although under the protection of one caretaker, the shields were collectively owned by every member of the tribe. The shields, when not used in ceremony, were kept in a cold, dark room. They were part of the tribe’s identity, never to leave the Acoma or be destroyed.

In 2016, after nearly 50 years, the Bureau of Indian Affairs and the FBI brought photos of one shield to Acoma. The shield was pictured under fluorescent lights and to be sold at EVE, a Paris auction house. Elena Saavedra Buckley, an editor of the HighCountryNews perfectly describes the shield as “round and rawhide, it showed a face in its center, with black, low-scooped horns, like a water buffalos, and a red-lipped, jagged smile. The rich colors of the paint — emerald green, with red, blue and yellow radiating from the face’s edges — seemed to have survived the years unfaded, even as they flaked and mottled the surface. Two feathers with rusted tips, like an eagle’s, hung at each side, pierced through the leather and strung by their quills.”[i] It wasn’t until the evening of November 15, 2019, that the shield was seen by members of the tribe. Acoma leaders prayed alongside the shield past midnight that day, never leaving its side.

Between 2016 and 2019 the Acoma Pueblo fought desperately against the convoluted systems of Paris’s government and the Native American Graves Protection and Repatriation Act (NAGPRA). Instances of looting and/or stealing artifacts from native reservations have been occurring for centuries. The repatriation of these artifacts is a slow and often grueling process for the tribes and those that see the loss of the items rarely get to see its return.

Although the donated signatures in our care have lost their context, they provide an opportunity for current generations to reflect on practices of the past. The WVRHC and other institutions that make research accessible do not condone the tearing or cutting of historical documents.

Courtesy of West Virginia & Regional History Center – Sir Arthur Conan Doyle

For further discussion of this collection, refer to Stewart Plein, Curator of Rare Books at the history center and frankly, a wonderful person to chat with. To learn more about current processing standards speak to Jane LaBarbara, Head of Archives and Manuscripts and a strong advocate for the protection and accessibility of archival collections.

---

[i] Buckley, Elena Saavedra. “Unraveling the Mystery of a Stolen Ceremonial Shield.” HighCountryNews, August 1, 2020. https://www.hcn.org/issues/52.8/indigenous-affairs-unraveling-the-mystery-of-a-stolen-ceremonial-shield.

Written by Colleen Benison, Rare Book Room Intern

Just a few months ago, I had never so much as heard the name Asimov.

While I wouldn’t call myself an aficionado, I’ve always liked science fiction. I grew up on classics like Star Wars and The X-Files and have more recently explored modern takes on the genre like Black Mirror and Everything Everywhere All At Once. I spent a couple of months in high school reading science fiction short stories, impressed by the way they made my mind run laps trying to figure out whatever speculation of alternate life or future technology they proposed. I still sprinkle in science fiction to my regular reading diet here and there with novels like Never Let Me Go by Kazuo Ishiguro.

Now, after processing a collection of science fiction works as an intern with the Rare Book Room, I finally know what I’ve been missing.

What I had never known while I was consuming all these stories was that, during the boom of the science fiction genre in the 20^th century, one man led the way.

According to Isaac Asimov, “Science fiction can be defined as that branch of literature which deals with the reaction of human beings to changes in science and technology.” Science fiction peaked in the mid-20^th century thanks to the contributions of writers like Robert A. Heinlein, Arthur C. Clarke, and Ray Bradbury. Asimov, however, was one of the most prominent and the most prolific science fiction authors of this time. From the onset of his writing career in 1939 to the end of his life in 1992, he had written, edited, and published more than 600 titles—most of which relate to science and science fiction. His most famous works include his Galactic Empire series, his Foundation series (the original trilogy of which earned him the Hugo Award for “Best All-Time Series” in 1966), and his Robot series. He not only brought scientific thinking to an audience of millions, but he also challenged people to expand their conception of the human experience to include the consequences of scientific and technological advancement.

Asimov’s work laid the groundwork for modern science fiction storytelling and pervades scientific thinking to this day. The concepts he developed, such as robotics and psychohistory, have inspired innumerable thinkers and creators. For example, his iconic “Three Laws of Robotics,” included in I, Robot in 1950, serve as the basis for discussions about robotics, influence portrayals of robots in media, and shape modern notions of the ethics of artificial intelligence.

My internship with the Rare Book Room during the Fall semester of 2023 introduced me to Isaac Asimov and his massive impact on society. I was tasked with processing a personal collection of books gifted to the Rare Book Room by avid reader and dedicated collector Larry Miller. This collection of 172 books and comics sheds light on the overarching, interconnected themes of readership and authorship. But because it centered around the writing of Isaac Asimov, it also emphasized the influence his writing had on other authors, the genre of science fiction, the literary world, and society as a whole.

I have curated a library exhibit based on the work I’ve done to carry the collection through the library’s gift processing procedure. This exhibit of 5 display cases features a selection of the books, comics, and personal correspondence that best represent the collection. Anyone interested in learning more about Isaac Asimov and the rest of this collection is encouraged to stop by the second-floor atrium of the Downtown Library to view the exhibit.

In addition to allowing me to exercise my rhetorical skills and creativity, this internship experience has inspired me to delve further into science fiction media. With boundless advancements in technology and the recent rise of artificial intelligence, science fiction has never been more relevant. Maybe if we dig deeper into the historical influences of modern science fiction, we can be better prepared for the future.

Resources:

• Photo of Asimov: The Deadline: “Coping With COVID-19 Crisis: The Mysterious Bookshop’s Otto Penzler On Bearing Up In Face Of NYC Shutdown” by Mike Fleming, Jr. Posted on March 20, 2020. https://deadline.com/2020/03/covid-19-crisis-the-mysterious-bookshop-owner-otto-penzler-new-york-city-shutdown-1202888980/ 
• Collection photo by author

Written by Ava Stanski, Rare Books Graduate Assistant

When you ask a bibliophile what their favorite thing about books is, you’re likely to get a variety of answers. Some like the smell of old paper, others like the different designs on the covers, and some enjoy the content of the books more than the books themselves. As a graduate assistant with the West Virginia & Regional History Center’s rare books department, I had the opportunity to indulge my love of books as I sorted and catalogued over 6,000 new acquisitions, courtesy of a recent donation by Jim Presgraves, owner of the bookstore, Bookworm and Silverfish. Throughout the semester, I organized the books based on subject, then figured out what was already in the system. Out of those, I compared the condition of the recently acquired copies to those of the older copies, and decided whether to keep or replace them.

Working so closely with such a wide variety of books – some as much as three hundred years old- allowed me to learn about aspects of books and book-making that I had never considered before. I learned about different binding techniques, the different materials used in the covers, and the different aesthetic choices in cover designs and how they differed from decade to decade. I even learned that many cloth covers were patterned to look like leather, since it was more desirable but less financially sustainable for publishers to use. I also learned that every material, font, and color had a story. For example, green covers from a certain time period had trace amounts of arsenic used in the coloring.

Each book I worked with was unique in its own way, and each one will surely stick with me in the future. Thanks to the assistantship, I’m able to appreciate much more about books than I ever thought possible, as well as contribute to the appreciation of others by sorting them into the History Center’s collection and putting together my own exhibit, made up of several different subjects and categories that I found especially interesting. One shelf contains books on natural history, with detailed gilt designs on the covers and intricate diagrams on the pages. The second shelf holds books in other languages: one mathematics book in French, one book on horse care in German, and one translation and analysis of Herodotus’ work in the original Greek.

The final shelf displays two different decades of books and the differences in the designs that make up the covers. The exhibit, as well as the assistantship itself, was a joy to carry out, and hopefully many others will be able to appreciate everything I love about it.

By Destinee Harper

This summer, I worked as an intern in the Rare Book Room studying manuscript leaves and fragments in antiquarian books. I was terrified. What if I dropped one of the books? Turned a page too fast and ripped it? Committed a major faux pas to the world of rare book study?

I did make a few blunders (note: do not compliment the condition of a book “considering its age”), but I avoided most of the nightmares that worried me most. I did not break anything, rip off any covers, etc. Something unexpected did happen, though—my attitude toward books changed entirely.

I had always appreciated stories and the power of a good book. But it did not occur to me that the most valuable books might not be the signed first editions, but the book bound in manuscript. I had never thought about the value of a book’s binding or the history it might share. Rarely did I think about what happened to the volumes upon volumes of manuscript after the invention of the printing press. Now, though, these are the first things I think of when an old book is placed in front of me.

The Rare Book Room’s collection of manuscript fragments is varied and encourages those that study it to consider the multiple repurposed realities manuscripts faced as technology progressed. This 1566 edition of A Summarie of our Englyſh Chronicles by John Stowe, for example, has manuscript fragments hiding inside its covers. Their intended purpose is unclear. They are too small to be pastedowns or endpapers, and it is not possible to discern if they reinforced the binding in any way. Perhaps they were cut. It is a mystery that we might never uncover. What we are sure of, though, is that these fragments, like many in our collection, were recycled and used as scraps for binding purposes. After the invention of the printing press, manuscript fragments were considered junk—certainly not valued as they are today!

Even further hidden in the binding are the fragments inside this Bible printed in 1493. The fragments are barely visible peeking through the spine. Can you spot them?

This dictionary, rather than having manuscript fragments tucked away inside, is bound in a manuscript leaf. On its back cover is a doodle of a man. The doodling is likely contemporary to the book, which was printed in 1731.

Fragments come in all shapes and sizes. This choir book, commissioned by Andres Camacho in 1450, is huge. There is an elaborate manuscript fragment used as a pastedown inside the rear cover. The decorative initial is gorgeous, but this fragment was cut, repurposed, and meant to be ignored in the back of the book.

Some manuscript fragments survived long enough to be sold as antiques. The library has a small but impressive collection of individual leaves like this Book of Hours fragment. This leaf was printed then hand illuminated, meaning a scribe decorated the capital initials by hand after the text was printed. This single leaf is worth hundreds of dollars!

Collectors often sell individual leaves rather than full manuscript texts because they can increase their profit this way. Some go so far as to cut leaves into smaller pieces, which they then frame and sell.

This process of deconstructing and selling manuscript texts makes Fragmentology—the study of manuscript fragments—quite difficult. The pieces are scattered and oftentimes impossible to reassemble. Still, we are able to learn a lot about early book and manuscript history from each fragment and how they were repurposed!

If you are interested in learning more about West Virginia University’s manuscript collection, you can read this bibliography I created as part of my internship that provides in-depth descriptions and pictures of each fragment in the collection. I also designed this slideshow with pictures and information about the collection that you are welcome to share in a classroom setting.  

You can also schedule a visit to see the library’s collection in person!

Written by Stewart Plein

Most people have heard of Shakespeare’s First Folio, but the subsequent folios don’t seem to get quite as much press as the first one.  What’s so great about a later printing of Shakespeare’s folio?  Turns out – plenty! 

The third folio is particularly interesting.  Basically, it’s the third printing of the first folio, which was the first printing of Shakespeares’ plays.  The first folio gave us eleven plays that were unknown before its’ publication including Macbeth, The Tempest, Measure for Measure and Twelfth Night.  A significant literary achievement.

The third folio, published in 1663, is important because very few copies have survived.  Traditionally, a few hundred copies of a book were published, then stored in a warehouse while waiting for buyers.  Three years after its publication, while many copies of the third folio were still warehoused, the Great Fire of London erupted.  The fire destroyed many booksellers’ warehouses along with their inventories, thus, few copies of the third folio have survived. 

WVU’s rare book room is fortunate to have a copy of the third folio donated by an alumnus, Arthur Dayton.  WVU received five Shakespeare folios in the Dayton donation, the first, second, an additional second printing, the third and the fourth folio.  These comprise the complete set of Shakespeare’s folios. 

The Dayton third folio is interesting for another reason.  Several names, notations and bookplates appear on the first couple of pages.  These notes and bookplates document previous owners.  Evidence of previous ownership is called “provenance.”  Provenance is considered to be a record of an items’ history, or a record of ownership.  If you’re a fan of the PBS series, the Antiques Roadshow, you know that provenance, such as purchase receipts, bookplates, author signatures, and gift presentations, are important tools used to establish the authenticity of an item.     

So, what can we learn from bookplates and notations in books?  What role does ownership play in the life of a book?  Let’s take a look at the bookplates and notations in Shakespeare’s third folio to find out.

First documented owner: Thomas Sharp.

The first thing we see is an ownership stamp for Thomas Sharp, (1693 – 1758).  Sharp was a clergyman.  He was named to the important position of Archdeacon of Northumberland on February 27, 1722.  According to Wikipedia, the Archdeacon of Northumberland is a senior officer responsible for the disciplinary supervision of clergy within his region.  An important position, indeed. 

Below, we see a portrait of Thomas Sharp.  Beneath is the book stamp he used in the third folio. Sharp held a number of positions throughout his lifetime, but the presence of the stamp verifies that Sharp acquired the third folio while serving as Archdeacon. 

Although this attribution is important – there is no record of previous owners.  Since the third folio was printed in 1663, there’s 60 years of ownership unaccounted for.  That is disappointing, but it is great that we can pick up on who may be the second, or third owner.

Second documented owner:  Clare Hall, Cambridge University, England.

The college of Clare Hall, founded in 1326 as University Hall, is the second-oldest college at Cambridge University.  In 1338 the college was renamed Clare Hall, in honor of Elizabeth de Clare (1295 – 1360), the 11^th Lady of Clare, who provided an endowment for the college.

The notation marking Clare Hall’s ownership is on the title page of the third folio.

This brings us to the question – why did the college dispose of the 3rd folio? And when did they dispose of it?  We may never know.

Third documented owner:  Shakespearean actors, Edward Hugh and Julia Marlow Sothern.     

The Sotherns are shown here, photographed in costume as Lord and Lady Macbeth in Shakespeare’s play, Macbeth, in 1911.  Edward Hugh Sothern (1859-1933) was an American actor and author who appeared on the stage in New York and London.  Julia Marlowe (1865-1950) primarily acted in New York. They met in 1904 when they starred in a play together.  They married a few years later in 1911.  Following their marriage, they toured across the United States, mainly in Shakespeare plays, until Julia retired in 1924.  Their bookplate is pasted inside.

Fourth documented owner: Arthur Dayton

A graduate of WVU with a degree from the College of Law, Arthur Dayton’s lifelong dream was to own all four of Shakespeare’s folios.  He accomplished his goal, and after his death, his wife Ruth donated his entire Shakespeare collection, including the 5 Shakespeare folios, to WVU.  The folios now reside in the rare book room, which was founded in 1951 to house his collection.  Dayton purchased his folios at auction in the ‘30’s and ‘40’s, when folios regularly appeared on the market.  Today, most of the surviving Shakespeare folios are owned by institutions like WVU and the Folger Shakespeare Library.

Above is the bookplate added by WVU to document Dayton’s gift to the University.

The letter below, from the previous owner, Julia Marlowe Sothern, discusses Dayton’s purchase of “their” third folio.

Julia Sothern describes how happy she is that Arthur Dayton, a collector of Shakespeare’s works, purchased “her” folio. 

Do you have any books that once belonged to someone else?  Who might that be? How do you know?  Did the previous owner sign their name or add a bookplate?  Let us know!

If you’d like to examine the provenance in Shakespeare’s third folio, please send an email to Stewart Plein at Stewart.Plein@mail.wvu.edu to make an appointment.

Resources:

Third Folio image: https://www.antiquestradegazette.com/news/2021/rare-copy-of-william-shakespeare-s-third-folio-stars-in-our-latest-pick-of-five-auction-highlights/ 

Image of Thomas Sharp:  https://en.wikipedia.org/wiki/Thomas_Sharp_(priest) 

Image of Clare Hall: https://en.wikipedia.org/wiki/Clare_College,_Cambridge#/media/File:Clare_college.jpg 

Information regarding Edward & Julia Marlowe Sothern:  http://archives.nypl.org/mss/2820 

Images of provenance: taken by author.

This fall, I had the opportunity to work with part of one of our incoming collections, an assortment of children’s books that included upwards of 60 volumes either part of, or in direct connection with, L. Frank Baum’s Oz Stories. These books belonged to one Alice Marie Hunt, a name I came across countless times as I examined each volume. The books range from vintage first editions, to vibrant reprints, to glossy reference books and encyclopedic volumes. Part of the collection is what Oz fans have lovingly named the “Famous Forty,” the go-to moniker for the first 40 Oz books, those that are considered an official part of the Oz canon. While L. Frank Baum is certainly the most celebrated and universally acknowledged author of the Oz series, he isn’t the only one. In fact, he wasn’t the author that wrote most of the Famous Forty. That honor goes to Ruth Plumly Thompson, with a total of 19, who picked up from where Baum left off. Her first book, “The Royal Book of Oz,” was published under Baum’s name.

The most immediately striking and noticeable part of this collection are the beautiful covers and interior illustrations, the majority of which were drawn by John R. Neill. Neill’s illustrations have become an integral part of the Oz works, and many reference books and newer editions include prints of his color plates and black and white drawings. The colors are at once lively and soft, and the linework is simple but creates instantly recognizable characters that match well with their personalities on the page. It’s easy to see why so many readers, both young and old, were enamored with the world of Oz. In my opinion, it has just as much to do with the covers and illustrations as it does with the writing.

In the process of taking an inventory of this collection, I felt I really got to know these books. On a basic level, I learned more about the Oz series than I ever thought I would know. By the time I had made my way through a third of the collection, I had memorized the names of authors, publishing companies, and illustrators. I found myself getting distracted researching the fantastical and fun world of the series, both from a narrative perspective, and a behind-the-scenes one, as I traced which author wrote which book, how many they contributed, and if they had other involvement in the series as a whole—John R. Neill actually wrote three of the 35 books he illustrated! I came across a multitude of databases and sites dedicated to sharing information about the Oz series. There are books specifically written for the purpose of guiding Oz book collectors, and ones that celebrate the world of Oz in its entirety, including the many film and television adaptations.

Something else struck me, the deeper I got into the cataloguing process. As the technicalities of where they were worn, what parts were delicate or damaged and what condition they were in faded away, becoming second nature after writing them repeatedly for so many books, I started to notice other patterns. Alice’s name written inside the front cover of almost 40 of the volumes. Books that were in shockingly pristine condition. Inscriptions written in neat cursive: “To Alice,” they said, “from Mother, Easter 1950,” “from Uncle Jim,” “from Grandpa, Mimi, and Mommy,” “from Papa, Mama, Unkie and me,” “Love & Merry Christmas 1954 from Uncle Jim.” I realized how much Alice must have cared for these books, how her family clearly knew of her interest in them and wanted to get her a gift that would bring her joy and contribute to her collection.

There were books where Alice’s name was written twice on the bookplate—once in pencil in a child’s handwriting, and another in pen, in a neat, small cursive. Others where some of the illustrations were traced, like the owner was trying to learn to draw the scenes. There is no way of knowing which of the books’ owners practiced their art this way, but it called to mind such a universal childhood experience—consuming a story and realizing that the characters have stuck with you, that something in the plot or the essence of the work felt good, even after you had finished reading. So, you practice drawing the characters, tracing over the lines to “get it right” so that one day you can draw them on your own. It’s such a specific—and yet still relatable—display of interest and joy.

When we collect objects like these, it is not just preservation of a piece of literary history, but preservation of a personal history, written onto the pages and into the fabric just as easily as the story itself was printed there. This collection is a testament to that history, to the love and determination Alice had to have possessed in order to acquire such a complete collection of books. To the attentiveness and love Alice’s family had for her, knowing that these books were something she cared about. These books are a particularly good example of this because they are considered children’s literature, and you can clearly see that a child adored these books. Between the traced illustrations, the carefully removed color plates, and the proof of ownership inside each cover, evidence of use is abundant. And with objects like books, evidence of use is evidence of love.

Long before zombies lumbered through 11 seasons of the popular television series “The Walking Dead,” there was an infamous night when corpses first crawled from their graves to haunt the living. The annual West Virginia University Isaac Asimov Sci-Fi Symposium will celebrate the classic horror film “Night of the Living Dead” on October 28 at the Mountainlair’s Gluck Theater.

Make your way to the student union while it is still light outside. The event, co-sponsored by the President’s Office and WVU Libraries, begins at 4 p.m. with a panel discussion with “Night of the Living Dead” co-writer and actor John Russo, BS ‘61, who will talk about the impact of his iconic movie in taking the horror film genre to a new level.

Read the rest of this entry »

Blog post by Christina White, undergraduate researcher at WVU

This is the sixteenth and final post in White’s series on race, justice, and social change through cookbooks, featuring the following books from the Ebersole collection: Mammy Pleasant’s Cookbook, A Date with a Dish, A Good Heart and a Light Hand, and The Jemima Code.

Writing a series of posts on cunning, determined Black women was an honor and a challenge. Half passion project and half professional goal, this blog is my mode of self-education and sharing lessons from cookbooks that you don’t have time to read.

Real talk: I grew up thinking it was rude to talk about race. Reflecting on this, I realize my good-intentioned parents probably felt uncomfortable or unprepared to educate their child about the oppression of Black Americans, or what my role would be when I grew up. My dad is from a small town in Appalachia where nearly everyone was white, and my mom hails from a different country where race issues appeared differently from those in the US. Either way, I needed to spark a discussion, beginning with myself, or else my comfortable silence might solidify into an illusion that I see too often: race isn’t that big of a problem today.

Not true!

Each cookbook I wrote about in this blog introduced me to historical forms of marginalization, from mammy stereotypes to restricted access to culinary school. These methods roll into modern times under new names and symbols including Aunt Jemima syrup, a lack of representation in the cookbook scene, and the myth that Black food is unhealthy and greasy.

Writing these posts, I felt uncomfortable at times. I admit it — I walked into the Rare Book Room at the Downtown Library expecting a familiar lesson on slavery and Jim Crow laws, except focused on cooking. That’s not what I got! I was smacked in the face with racist tendencies that linger. Like I said, it wasn’t until 2020 that Aunt Jemima was rebranded and the mammy character was removed from syrup bottles at convenience stores and “socially-conscious” chains like Whole Foods.

I reached into the Ebersole Collection with a goal to learn and share, and I left room for you to jump in. With hundreds of cookbooks, there are a million topics to tear apart. From race to mental health, single parenthood, international holiday traditions, indigenous peoples, environmentalism, and comedy, you’ll find something tasty and stimulating for a research project or class presentation.

The librarians are eager to help you! I wouldn’t have found my starting place without the hard work and generosity of Stewart Plein, the Rare Book Curator at the West Virginia & Regional History Center.

Some ideas: complete an Honors project using these primary sources, make a presentation, or revitalize hundred-year-old recipes. When you read something that moves or angers you, pursue that theme to its fullest. Chances are you’ll help yourself and others dissolve a stigma, myth, or prejudice that holds our society back.

Thank you, from the bottom of my stomach, for accompanying me on this journey. And if you have no idea what I’m talking about, start by going back to post 1! I hope I’ve inspired you to view food as a vehicle for social change, to get to the root of discomfort, and to give something new a try, whether it’s food or a different way of thinking.

Blog post by Christina White, undergraduate researcher at WVU

This is the fifteenth post in White’s series on race, justice, and social change through cookbooks, featuring the following books from the Ebersole collection: Mammy Pleasant’s Cookbook, A Date with a Dish, A Good Heart and a Light Hand, and The Jemima Code.

In the first post of this blog, I mentioned this TikTok video. It’s long overdue to say goodbye to a racist, oversimplified stereotype that Black women throughout history endured. The women I wrote about in this blog, Mary, Freda, and Ruth, helped hammer away at the myth of the jolly, ignorant mammy.

The Jemima Code by Toni Tipton-Martin was the last book I investigated, and uh-oh, it’s not a cookbook! It’s a synthesis of culinary wisdom from Black chefs in America over the years, focusing on how racist stereotypes created an accepted code of racism: the Jemima Code.

Published in 2015, this timeline guided me through the conception, propagation, and ongoing termination of the “mammy” trope. It’s about repeated images and ideas linked to Black women to keep them in a subordinate position. Chubby, uneducated, jolly, and unattractive were trademarked through mainstream ads and social influencers, all to restrain a group that desired greater freedoms and respect.

Aunt Jemima came to be in the 1880’s. The promotional character was based on blackface skits by white vaudeville actors. Why? Because industries and white elites wanted to depict Black women as less than, other, and in desperate need of white guidance (control).

Aunt Jemima Pancake Flour ad from 1915 (above). The Aunt Jemima character was removed by Quaker Oats in 2020, after 130 years of public use.

“She has to be humorous, stout, lighthearted, illiterately magical- stern enough to control the children without threatening them, dependable and loyal enough to assure mothers that the kitchen was in good hands, asexual enough to foreclose any wayward thoughts among the men of the house.”

Unfortunately, these demeaning opinions aren’t gone. They persist by cycling throughout the decades in new forms meant to be more subtle, acceptable, and undetected. Heard of tokenism? Microaggressions? Colorblindness? These are the updated forms of racism that fly under the radar of many well-meaning people. I didn’t personally learn about them or how to combat them until college! I often asked myself, what else am I missing? How can I stop being complicit to racism?

It’s a tough question. Self-education is a good place to start, and as a white person, I want to hear and project the wishes of people who are hurt by racism. Celebrating the contributions of Black chefs through writing is exciting for me on two levels: I can embrace my passion for cooking and begin informing myself of the realities that affected Black cooks and social justice advocates.

“A cookbook author tells stories that… advocate for social causes, such as education, suffrage, child welfare, abolition of slavery, eradication or poverty, or improved social welfare; that use highlights of her own life to memorialize her work…”

-Toni Tipton-Martin

Blog post by Christina White, undergraduate researcher at WVU

This is the fourteenth post in White’s series on race, justice, and social change through cookbooks, featuring the following books from the Ebersole collection: Mammy Pleasant’s Cookbook, A Date with a Dish, A Good Heart and a Light Hand, and The Jemima Code.

My family didn’t have many guests over for dinner. And when we did, it was one of my close friends who felt comfortable enough to sprawl out on the living room floor and chow down on Pizza Hut stuffed crust pizza. So, reading about a stuffy, formal, and extremely important dinner in the life of Ruth L. Gaskins, the author of A Good Heart and A Light Hand, was a foreign experience for me. Her family’s esteemed guest is in the name of this post; it’s the Preacher’s dinner.

“No one had to remind us about our manners because it was understood that if you ever wanted desserts again, you’d be extra careful that day.”

Before digging in, the Preacher would say grace for literally everyone. Winston Churchill, random white men, and widows made the list of blessings. I’m serious. The evidence is here:

Apart from dinner at Ruth’s house, the Church held community dinners where they served favorites like chitterlings (hog entrails), greens, potato salad, and trays of dessert. The food was a big operation, and the income was too. Ruth said, “Most churches are big business, but I’ve never known anyone who has ever complained about giving them money. They do so much for us, that we’re more than willing to keep them going.”

Just by reading the elaborate menus for Church events, I understand that it is a social hub and treasured piece of life’s fabric. I did a bit of research on why the Church took such an important role and learned that enslaved people had no choice but to hold secret meetings for worship. Before emancipation, practicing one’s religion and enjoying a sense of community were strictly prohibited. These freedoms are some of the greatest joys of being human, and necessary for happiness. I understand why freedom from slavery coincided with fierce and public dedication to a social institution that was cruelly withheld for so long. This cookbook told me more about family life, religion, and what mattered than I remember from most history textbooks. Although my memory is somewhat fried, I know these relics of history offer something tasty and special.

Blog post by Christina White, undergraduate researcher at WVU

This is the thirteenth post in White’s series on race, justice, and social change through cookbooks, featuring the following books from the Ebersole collection: Mammy Pleasant’s Cookbook, A Date with a Dish, A Good Heart and a Light Hand, and The Jemima Code.

Given the scraps of the plantation, enslaved people did their best to tast-ify undesirable and spoiled food. I knew very little about how they transformed leftovers into something edible, or how they creatively discovered natural supplements.

Tell me if this sounds familiar: a few lessons on slavery in high school that focused on important rebellions, brutality and punishment, and maybe the Underground Railroad. Or, it could be that my education didn’t hit the minimum. Either way, I was intrigued and impressed by Ruth L. Gaskins’ description of adapted food from times of slavery in her cookbook, A Good Heart and A Light Hand. I’d kill to taste the slow-moving molasses and creamy buttermilk she writes about.

The right side of this chart shows recipes that Ruth makes from ingredients that were staples in the diets of enslaved people in Virginia.

Common foods eaten by enslaved people (according to Ruth)	Selected cookbook recipe(s) using this food
Corn	Hoe Cakes – Corn Meal Method Raised Cornbread
Pork	Chitterlings (Hog entrails) Pork Cake
Wild Game	Muskrat, Squirrel, Rabbit – Caught and Skinned Casserole of Possum
Fish	Fish Baked in the Ground

Why focus on the metamorphosis of plantation food to Ruth’s cookbook?

Understanding the historical processes that shape dietary habits, especially those as profound and cruel as slavery, helps you grasp today’s patterns, customs, and even health outcomes.

I traveled to Baltimore, Maryland a few summers ago to a food festival dedicated to Black culinary traditions. I heard people shout, “Soul food is not plantation food!” I was confused for a while, then a speaker at the event explained that the dietary habits of Black Americans are heavily stereotyped. Fried, greasy, and barbequed are words that stick to society’s vision of “Black food,” and the root of the issue dates back to slavery. With nothing but leftovers, enslaved people did what they could to make scrape palatable, whether that meant frying undesirable meat or adding fat to supplement calories.

This article by Christina Regelski says that “Slaves depended on salty, fatty foods to survive demanding work.” It also discusses what enslaved people were provided during transit from Africa or elsewhere: “Rations were scientifically calculated to provide the cheapest, minimal nutrition to keep enslaved people alive.”

Even so, I learned that small plantations permitted higher quality food to be eaten by enslaved people, sometimes the same meals as the owners. Chef Thérèse Nelson, the founder of Black Culinary History, said “It’s not always the slop leftover narrative,” she added. “We saw value in these parts, and made them delicious.”

With a simple Google search, I found that African food is full of vitamins and minerals, a plant-based diet that supports longevity and health. If you look around at trendy Black-owned restaurants, you’ll notice a resurgence of traditional “Black food” in a way that is directed by Black cooks themselves.

As an aspiring doctor, I care about health inequities. I want to understand why certain groups suffer more than others from diet-linked diseases like obesity or diabetes. Taking time to read about the history and subjugation of not just bodies, but diets, unveils current health issues in a new light. It’s not so much “Black food” as “Forced-on-enslaved-people-by-white-people food.”

“These basic ingredients- corn, pork, chicken, greens, seafood, sour or buttermilk and molasses have stayed with us for 300 years, and still form the heart of Negro cooking.”

Not to say that things haven’t changed. Innovations and regional adaptations took place. However, noticing the ingredients and where they came from fosters awareness of why Black food is often misunderstood and misrepresented.

Blog post by Christina White, undergraduate researcher at WVU

This is the twelfth post in White’s series on race, justice, and social change through cookbooks, featuring the following books from the Ebersole collection: Mammy Pleasant’s Cookbook, A Date with a Dish, A Good Heart and a Light Hand, and The Jemima Code.

If my parents started acting like social butterflies, they’re either sick or about to win a lot of money. Unlike me, Ruth L. Gaskins, the author of A Good Heart and A Light Hand, had the most social parents under the sun. They belonged to more clubs than I did freshman year of college (when I signed up for EVERYTHING at club fairs). I’d never heard of these organizations: the American Legion and the United Order of Tents. A bit morbidly, the Order of Tents paid for your funeral if you sent them fifty cents a month, like an insurance company for funerals. If you want a fancier funeral, you’d pay a dollar a month.

“My Grandmother was a Tent, Mama is a Tent, and so am I. I was signed up for the Junior Division when I was nine…” Ruth was not an active member, but she was required to attend every club supper in the winter and summer with her family.

This cookbook was the most detailed description of daily life I found during my dive into the Ebersole Collection. Ruth didn’t focus on an extensive ingredient list, but rather to immerse the reader in a day in her life. I learned something special: what matters to her.

When Ruth mentioned the Luncheon Club, her tone lurched downwards. In this club, her mother and friends would dress up, set an extravagant table, and cook intricate meals that “would really get away from the traditional foods.”

“Playing White” meant diverging from tradition. I understood it as behaving in a ridiculous and impractical manner. At the same time, I was served a tray of “check your privilege.” I don’t have to justify having a fancy dinner with friends, but I suspect that some disadvantaged groups still do not share that privilege.

Published in the transformative and rough years of the Civil Rights Movement, A Good Heart and A Light Hand reiterates that many Black women had a double responsibility to the family and to further social progress. All things considered, I don’t blame Ruth for rolling her eyes at the extravagance of Luncheon Club activities.

Making these opinions even more magical, Ruth’s bombs of truth are innocently tucked away in a spiral-bound notebook, only a few pages away from a hot cocoa recipe.

Resources:

American Legion

United Order of Tents

Blog post by Christina White, undergraduate researcher at WVU

This is the eleventh post in White’s series on race, justice, and social change through cookbooks, featuring the following books from the Ebersole collection: Mammy Pleasant’s Cookbook, A Date with a Dish, A Good Heart and a Light Hand, and The Jemima Code.

After a busy day at North Elementary School, I used to knock on all my friends’ doors to see who was home and ready to play. One of them would pull me inside and say, “My mom says we can play after dinner. Eat with us!”

I’d always get nervous and say, “Are you sure? I don’t wanna invite myself!”

To young me, inviting oneself over was rude and invasive. My family told me not to be a burden, to respect privacy. Reading another cookbook at the West Virginia & Regional History Center, I learned that my upbringing differs from that of a community-oriented woman named Ruth L. Gaskins. She taught me to embrace any opportunity, maybe just more than before, to invite myself over and share a meal with a friend.

A Good Heart and A Light Hand by Ruth L. Gaskins was published in 1968 in a world where family extended beyond the nuclear definition of mother, father, siblings, etc. Ruth describes a tradition of welcoming guests as “the Negro Welcome.”

Here it is:

Ruth contextualized this Welcome through slavery: “For over 200 years we were told where to live and where to work… The only real comfort came at the end of the day, when we took either the food that we were given, or the food that we raised… and we sat down with our own kind and talked and sang and ate.”

Restaurant food isn’t a big deal when you cook all day for a family reunion in your own home. However, the Welcome can travel, and does so mostly to the Church.

We’ll talk more about the significant role of the Church later; I’ll wrap up this post with a reflection on inviting yourself to another’s home.

Boundaries and etiquette should always be considered, but this spiral-bound cookbook introduced me to a different way of life. “Tight friends” understand their automatic invitation to come over and share a meal. My childhood buddies didn’t hesitate to pull me inside. It took years of social conditioning in middle and high school to make me believe that I should mind my business or avoid being a bother. If someone is bothering me, I’d probably let them know! For too long, I incorrectly assumed that I was a nuisance or that an invitation wasn’t genuine.

When I extend my home and kitchen to you, I mean it. Ruth and her community meant it. Traveling abroad during college revealed a multitude of cultures and families that love having new guests over for dinner. Food takes on a new role: a way to welcome, display affection, and become part of a community.

“A Negro kitchen belongs to any woman who wants to use it.”

Blog post by Christina White, undergraduate researcher at WVU

This is the tenth post in White’s series on race, justice, and social change through cookbooks, featuring the following books from the Ebersole collection: Mammy Pleasant’s Cookbook, A Date with a Dish, A Good Heart and a Light Hand, and The Jemima Code.

What women were expected to do, how to do it, and why they should do it is spelled out word for word in Freda de Knight’s cookbook. I felt like I was studying a women’s manual for proper household management, subscribing to a cooking tips blog, and learning a history lesson all at once.

A Date with a Dish is packed with “women’s advice and tips.” Written for women by a woman, I felt an intimacy created by mutual understanding of strictly female responsibilities at the time. Here’s a few of her strong suggestions for women:

Freda’s recommendations jumped out at me for different reasons. I resonated with some and went pffffft at others. I was not expecting a cookbook to instruct me on color schemes, silverware placement, calorie counting, or how to raise children.

Some of the most interesting tips from Freda: 

• “If your room is dark, make your table bright; add your sunshine”
• “Create a picture when you set a table… give your table personality”
• “And if you want to keep your weight down along with your doctor’s advice, eat regularly, wisely, and well. Eat sparingly of starches, sugars and fats.”

When I read about the correct method for candle placement, I had to take a break and close the book. I thought, why does this matter? Is it getting ridiculous?

It did matter to Freda and the women who purchased the book. I realized that cookbooks share values and lifestyles. As ridiculous it sounds to a college student in 2021, Freda believed these tips would uplift and refine her readers’ household.

My favorite bit of advice from Freda:

“Don’t save the best for company, continually be your own guest.”

Resources:

Black Southern Belle: 10 Favorite Vintage Images in the Kitchen

Blog post by Christina White, undergraduate researcher at WVU

This is the ninth post in White’s series on race, justice, and social change through cookbooks, featuring the following books from the Ebersole collection: Mammy Pleasant’s Cookbook, A Date with a Dish, A Good Heart and a Light Hand, and The Jemima Code.

How ridiculous and insulting! My happiness does not depend on feeding my future husband good, “manly” food!

Calm down, Christina. This was written 80 years ago…

There were some elements of Freda’s book, A Date with a Dish, that disgruntled me, even though the cookbook is overwhelmingly supportive of Black women and their liberties.

Entries like this took a minute of reflection to come to terms with:

In no attempt to justify this philosophy, I engaged in a practice of empathy building after reading sections that labeled women as dependent. My college friends and I would all benefit from this sort of mental gymnastics. Yes, it’s uncomfortable to read about keeping your husband happy by cooking great meals, but how did this reality shape women’s status? How does it still influence parts of the world and our region of Appalachia? Answering these questions help us understand the context and roots of modern sexism.

With that in mind, there is an entire section dedicated to men’s recipes:

Freda playfully mentions the reward for a manly meal: a diamond bracelet or kiss. In one minute, Freda is a champion of Black representation. The next, she echoes traditional gender roles that hurt my feminist heart. Freda was a powerful female icon, the editor of Ebony magazine, and at the same time, telling readers to avoid making “dainty” sandwiches for their husbands.

I had to remind myself that her steps forward are not erased by values I don’t agree with. It’s possible and important to appreciate her work and bravery in other areas, as she broke ground in terms of Black culinary representation. If you open a page of a book like this and immediately feel attacked, maybe see what else it has to offer. Absorb its message as a whole.

Resources:

Dainty sandwiches

Hamburgers

Blog post by Stewart Plein, Associate Curator for WV Books & Printed Resources & Rare Book Librarian

International Kelmscott Press Day will be held this year on Saturday, June 26, 2021.  This day celebrates the 130^th anniversary of the Kelmscott Press, founded by the British artist and printer, William Morris, in 1891. It also marks the 125th anniversary of the publication of the Kelmscott Press edition of The Works of Geoffrey Chaucer.  This edition, published in 1896, is considered to be one of the most beautiful books ever printed.  Morris, along with his friend and colleague, Sir Edward Burne-Jones, labored over every detail for a period of four years.  Both were members of the group of artists known as the Pre-Raphaelite Brotherhood, along with fellow artists Dante Gabriel Rossetti, William Holman Hunt and others.

 While WVU does not own the Kelmscott Press edition of The Works of Geoffrey Chaucer, the rare book room holds an earlier copy of the book printed in 1561.  This edition is titled The Woorkes of Geffrey Chaucer: Newly Printed, with Diuers Addicions, Whiche Were Neuer in Printe Before.  Note the Old English spellings of the words in the title.  This is a later edition of Chaucer’s Works with the addition of new material never printed in earlier editions. Chaucer may be best known for his work The Canterbury Tales.  This volume contains the collected works of Chaucer, including the Canterbury Tales and other writings.

While WVU owns a facsimile edition of Chaucer’s Works, the rare book room also owns one of William Morris’s Kelmscott Press publications, The Wood Beyond the World, published in 1894, two years before he published The Works of Geoffrey Chaucer.  This novel, written by Morris, is considered one of the first works of fantasy every published.  According to Wikipedia, Morris can be considered the first modern fantasy writer to bring together the twin themes of an imaginary world with the supernatural.   Long before Tolkien published The Lord of the Rings or the Hobbit, Morris wrote and published The Wood Beyond the World. 

Morris developed a fascination with medieval printing and he strived to recreate the lettering and illustrations of the medieval period in the works he published at the Kelmscott Press.  Books printed by Morris at his press were designed to replicate the medieval fonts and printing styles he loved and are heralded to this day as beautiful examples of the printing art.

Fellow artist and member of the Pre-Raphaelite Brotherhood, Sir Edward Burne-Jones, created illustrations from wood cuts to decorate the book.  The printing was set deeply into the hand made paper.  If you were to run your finger across the page you could feel how deeply the illustrations and text are printed into the page.  The book is bound in vellum, the finely processed skin of calves, and bound with ribbon ties.  Vellum is sensitive to humidity, which causes the binding to swell and flare.  Silk ties, in pink or green, were used to gently hold the book closed when not in use in order to maintain its shape.

Morris also used another medieval device to mark his press.  During medieval times, the printers’ information was often found on the last page of the book, rather than on the title page, like books today. This device or press emblem is called a colophon.  Morris designed a colophon for the Kelmscott Press and printed it on the last page of every book. 

The colophon for The Wood Beyond the World reads:

“Here ends the tale of the Wood beyond the World, made by William Morris, and printed by him at the Kelmscott Press, Upper Mall, Hammersmith, finished the 30th day of May, 1894.  Below the device, or colophon, are the words, “Sold by William Morris, at the Kelmscott Press.”  By including the address, people interested in purchasing the book would know where to buy it.

While the West Virginia and Regional History Center and the Rare Book Room remain closed to the public, WVU faculty and students can make an appointment to view Morris’s Wood Beyond the World by contacting Stewart Plein at Stewart.Plein@mail.wvu.edu 

The William Morris Society in the United States has organized a series of national and international events to commemorate the founding of the Kelmscott Press.

Resources: 

Sir Edward Burne Jones wood cuts for the Wood Beyond the World two page spread

First page of text: Dominic Winter Auctioneers

Colophon

The Wood Beyond the World by William Morris digital text

William Morris photograph

Sir Edward Burne-Jones photograph

Wood Beyond the World: Wikipedia

Pre-Raphaelite Brotherhood: Wikipedia

Blog post by Christina White, undergraduate researcher at WVU

This is the eighth post in White’s series on race, justice, and social change through cookbooks, featuring the following books from the Ebersole collection: Mammy Pleasant’s Cookbook, A Date with a Dish, A Good Heart and a Light Hand, and The Jemima Code.

The author of A Date with a Dish, Freda de Knight discusses women’s roles in an unintentional, matter of fact way. It’s clear that this 1948 cookbook was written for and by another generation. Today’s college women might not relate to these assumptions; I admit some of them made me cringe.

What is a business-wife? Does she mean microwave meals? Why does reading a cookbook sound like a grueling homework assignment?

To start, the microwave was invented in 1946. This was the dawn of ready-to-eat foods. While homemade meals are still prioritized, Freda recognized the convenience culture that was born with the microwave and shrewdly incorporated it into her book.

Moving on to women’s roles, I was overwhelmed by Freda’s suggestions and tips. I can’t imagine the pressure and societal expectations that Freda and her readers faced. Furthermore, it’s one thing to read about sexist gender roles in a textbook. It’s much more personal and triggering to read them in a cookbook, even though I understand the context was different.

This work allows modern women to better understand the stressors on Black women of Freda’s time. You can read about how they managed the home, meal prepped, and went about teaching dietary habits to kids. First hand records like cookbooks are indispensable pieces of evidence to appreciate the daily existences of Black women in America. I urge you to use one in your next history project!

Blog post by Christina White, undergraduate researcher at WVU

This is the seventh post in White’s series on race, justice, and social change through cookbooks, featuring the following books from the Ebersole collection: Mammy Pleasant’s Cookbook, A Date with a Dish, A Good Heart and a Light Hand, and The Jemima Code.

A Date with a Dish slices through fallacies and vegetables alike. Freda de Knight writes like she’s chatting on the phone with a girlfriend, whisking readers away on interviews with America’s Black chefs. As I’ve said in earlier posts, the angle found within a cookbook is unfiltered and raw in comparison to accounts written by dominant groups, or those unaffected by Black America’s challenges.

Struggle isn’t an ingredient, but a tangible influence on the composition of a recipe. Freda emphasized “food that stretches” for times of financial hardship. All-in-one recipes like “Mama Scott’s Inexpensive Dinner” document ways that people adapted and problem-solved.

“When sugar was scarce and pennies low, maple syrup and even molasses made delightful eating, added to apples which were topped with a crunchy, flaky crust.”

How to “budget slash” and reuse ham:

Freda agreed with the saying, “Necessity is the mother of invention.” She understood the needs of her readers and published a tool to help them save money. What a boss!

Resources:

Cookbook image: Between the Covers Rare Books, Inc.

Blog post by Christina White, undergraduate researcher at WVU

This is the sixth post in White’s series on race, justice, and social change through cookbooks, featuring the following books from the Ebersole collection: Mammy Pleasant’s Cookbook, A Date with a Dish, A Good Heart and a Light Hand, and The Jemima Code.

Each recipe is a date! The author, Freda de Knight, introduces recipes with tidbits of history or personal advice. In the modern cookbook world, I get overwhelmed quickly. Each online recipe begins with paragraphs of extra tips on how exactly to roast this or marinate that, followed by bulleted lists of ingredients and instructions. A Date with a Dish slows down and eases you into the upcoming recipe, much like a girlfriend would sit me down to describe the guy she was setting me up with for a blind date.

A snippet of the preamble for “Smithfield Ham:”

Freda respects her contributors, radiating pride for Black chefs like Jimmy Daniels:

See what I mean?

More than a list of ingredients, the reader hears about Black Americans that invented the dish, festivities when it is served, and a vivid depiction of how to simmer, chop, or prepare for the main event.

Note that each “date” ends with an underlying message: Black cooks are diverse, skilled, and worthy of society’s praise and recognition.

Resources:

Image of Jimmie Daniels Restaurant:  Harlem World Magazine

Freda de Knight, “A Date With a Dish: A Cook Book of American Negro Recipes,” 1948.  

Blog post by Christina White, undergraduate researcher at WVU

This is the fifth post in White’s series on race, justice, and social change through cookbooks, featuring the following books from the Ebersole collection: Mammy Pleasant’s Cookbook, A Date with a Dish, A Good Heart and a Light Hand, and The Jemima Code.

“It is a fallacy, long disproved, that Negro cooks, chefs, caterers and housewives can adapt themselves only to the standard Southern dishes, such as fried chicken, greens, corn pone, hot breads, and so forth.” The preface was probably quite inflammatory to prejudiced whites that came across it. To get a sense of the author’s courage, glance over the first page here:

The author, Freda de Knight, in her book, A Date With a Dish: A Cook Book of American Negro Recipes, acknowledges stereotypes. She knows that Black individuals had to improvise, cooking without measurement or modern equipment. How could they formally publish cookbooks when they couldn’t read or write?

Hannah Giorgis in Bon Appetit describes how Freda’s cookbook transformed the future of Black cooks. She recognized that “cultural archiving and culinary research are both pursuits for which few black people have received compensation.” It’s a great read for home chefs, history buffs, or anyone interested in how one woman stood for justice.

*It’s nearly impossible to find a print copy of Freda de Knight’s book, as numerous Amazon and Google searches proved. However, WVU students and staff can visit the Ebersole Collection on the 6th floor of the library to read our copy for free! Make an appointment. (They’re open during the COVID-19 pandemic by appointment.)

**I also found this online version of A Date with a Dish digitized by Cornell University.