Podcasts about houghton library

Deep in the hidden archives of Harvard's Houghton Library are the butter stained recipes of Emily Dickinson. Who knew? Emily Dickinson was better known by most as a baker than a poet in her lifetime. In this story a beautiful line up of “Keepers”— dedicated archivists, librarians, historians, poets and more—lead us through the complex labyrinth of Emily Dickinson's hidden kitchen. Black cake, gingerbread, slant rhyme, secret loves, family scandals, poems composed on the back of a coconut cake recipe —we journey into the world of poet Emily Dickinson. Filled with mystery, intrigue and readings by Patti Smith, Thornton Wilder, Jean Harris and an array of passionate poets and experts.

Happy Halloween! And welcome to part two of our true crime series. Sarah's taking the reins on this one and bringing us back to the 1930s, when Fire Captain William Costello was found dead in his Peabody home. His wife Jessie quickly became the prime suspect and the sensational murder trial to follow took place right here in downtown Salem.  Coverage of the Costello trial, The Boston Globe, February - August 1933 McMahon, E. J. (1933). Uncensored testimony of the "cop" who kissed and told : Costello murder trial  Houghton Library, Harvard “The Smiling Widow: Jessie Costello” by Jen Ratcliff, Salem State University “The Murder Trial of the Century” Peabody Historical Society “The Festive Murder Trial of Jessie Costello” New England Historical Society Interested in Salem The Podcast Merch!?  CLICK HERE! Interested in supporting the Podcast? Looking for more Salem content? CLICK HERE! www.salemthepodcast.com NEW INSTAGRAM - @salemthepod Email - hello@salemthepodcast.com   Book a tour with Sarah at Bewitched Historical Tours   www.bewitchedtours.com Book a tour with Jeffrey at Better Than Fiction Tours   www.btftours.com   Intro/Outro Music from Uppbeat: https://uppbeat.io/t/all-good-folks/unfamiliar-faces License code: NGSBY7LA1HTVAUJE

Happy Halloween! And welcome to part two of our true crime series. Sarah's taking the reins on this one and bringing us back to the 1930s, when Fire Captain William Costello was found dead in his Peabody home. His wife Jessie quickly became the prime suspect and the sensational murder trial to follow took place right here in downtown Salem.  Coverage of the Costello trial, The Boston Globe, February - August 1933 McMahon, E. J. (1933). Uncensored testimony of the "cop" who kissed and told : Costello murder trial  Houghton Library, Harvard “The Smiling Widow: Jessie Costello” by Jen Ratcliff, Salem State University “The Murder Trial of the Century” Peabody Historical Society “The Festive Murder Trial of Jessie Costello” New England Historical Society Interested in Salem The Podcast Merch!?  CLICK HERE! Interested in supporting the Podcast? Looking for more Salem content? CLICK HERE! www.salemthepodcast.com NEW INSTAGRAM - @salemthepod Email - hello@salemthepodcast.com   Book a tour with Sarah at Bewitched Historical Tours   www.bewitchedtours.com Book a tour with Jeffrey at Better Than Fiction Tours   www.btftours.com   Intro/Outro Music from Uppbeat: https://uppbeat.io/t/all-good-folks/unfamiliar-faces License code: NGSBY7LA1HTVAUJE

As a child in Los Angeles, Wong Liu Tsong knew she wanted to be an actress. Adopting the screen name Anna May Wong and dropping out of school to pursue her passion, Wong landed her first lead role at age 17. Despite Hollywood racism that would limit the types of roles she would receive, Wong's impressive career spanned over 60 films, in addition to stage and television work, and she was the first Asian American woman to be awarded a star on the Hollywood Walk of Fame.  Joining me in this episode is Dr. Yunte Huang, Professor of English at the University of California, Santa Barbara, and author of Daughter of the Dragon: Anna May Wong's Rendezvous with American History. Our theme song is Frogs Legs Rag, composed by James Scott and performed by Kevin MacLeod, licensed under Creative Commons. The mid-episode music is “Anna May Wong singing in three languages -Rudy Vallee Radio Show from July 11, 1935,” posted on YouTube by Robert Fells, who attributes the original discs to Jerry Haendiges. The episode image is a press photograph of Anna May Wong, from: Press photographs of Anna May Wong, 1930s, Postcards and Press Photographs of Anna May Wong, circa 1930-1981, MS Thr 2095 Case 1, Folder 4. Houghton Library, Harvard University, Cambridge, Mass. Additional Sources: “Anna May Wong, 1905-1961,” by Kerri Lee Alexander, National Women's History Museum. “Life Story: Anna May Wong (1905–1961): The First Asian American Movie Star,” Women and the American Story, New York Historical Society. “Anna May Wong: Trendsetting Movie Star and Fashion Icon / 1905-1961 [video],” UNLADYLIKE2020. “Actress Anna May Wong Championed Asian American Representation in More than 60 Films,” by Chelsea Cozad, Smithsonian, October 24, 2022. “Anna May Wong: the legacy of a groundbreaking Asian American star,” by Pamela Hutchinson, The Guardian, October 19, 2022. “The True Story of Anna May Wong and The Good Earth,” by Yohana Desta, Vanity Fair, May 1, 2020. “Lucy Liu Speaks Out for More Diversity at Hollywood Walk of Fame,” by Jordan Moreau, Variety, May 1, 2019. “Anna May Wong Will Be the First Asian American on U.S. Currency,” by Soumya Karlamangla, New York Times, October 18, 2022. Learn more about your ad choices. Visit megaphone.fm/adchoices

City Lights in conjunction with the Middle Eastern Children's Alliance and The Markaz Review present Mosab Abu Toha in conversation with Mary Karr, celebrating the publication of "Things You May Find Hidden in My Ear: Poems from Gaza," published by City Lights Books. This event was originally broadcast live via Zoom and hosted by Peter Maravelis. You can purchase copies of "Things You May Find in My Ear" directly from City Lights at a 30% discount here: https://citylights.com/general-poetry/things-you-may-find-hidden-in-my-ear/ Mosab Abu Toha is a Palestinian poet, scholar, and librarian who was born in Gaza and has spent his life there. A graduate in English language teaching and literature, he taught English at the United Nations Relief and Works Agency (UNRWA) schools in Gaza from 2016 until 2019, and is the founder of the Edward Said Library, Gaza's first English-language library. In 2019-2020, Abu Toha was a Visiting Poet in the Department of Comparative Literature at Harvard University; a Visiting Librarian at Harvard's Houghton Library; and a Religion, Conflict, and Peace Initiative Fellow in the Harvard Divinity School. In 2020, Abu Toha gave talks and readings at the University of Pennsylvania, Temple University, and the University of Arizona. He also spoke at the American Library Association (ALA) Midwinter Meeting held in Philadelphia in January 2020. In October 2021, University of Notre Dame's Literatures, Annihilation, Exile, and Resistance lecture series hosted Abu Toha to speak about his poetry and work in Gaza. Abu Toha is a columnist for Arrowsmith Press, and his writings from Gaza have appeared in The Nation, Arrowsmith Press, and Literary Hub. His poems have been published on the Poetry Foundation's website, in Poetry Magazine, Banipal, Solstice, The Markaz Review, The New Arab, Peripheries, and other journals. Mary Karr is an award-winning poet and best-selling memoirist. She is the author of the critically-acclaimed and New York Times best-selling memoirs "The Liars' Club," "Cherry," and "Lit," as well as "The Art of Memoir," and five poetry collections, most recently "Tropic of Squalor." Karr is also a songwriter, having collaborated with Rodney Crowell, Norah Jones, Lucinda Williams and others on a country album called KIN. The Middle East Children's Alliance (MECA) works to protect the rights and improve the lives of children in the Middle East through aid, empowerment and education. In the Middle East, MECA provides humanitarian aid, partners with community organizations to run projects for children, and supports income-generation projects. In the US and internationally, MECA raises awareness about the lives of children in the region and encourages meaningful action. Since 1988, MECA has delivered $29 million in aid to Palestine, Iraq and Lebanon. The Markaz Review is a literary arts publication and cultural institution that curates content and programs on the greater Middle East and our communities in diaspora. The Markaz signifies “the center” in Arabic, as well as Persian, Turkish, Hebrew and Urdu. Visit https://themarkaz.org/ This event was made possible by support from the City Lights Foundation: citylights.com/foundation

Robert Frost defines modern poetry in an excerpt from his Art of Poetry interview; the Italian poet Antonella Anedda discusses her poem “Historiae 2” with her translator Susan Stewart before the American vocal ensemble Tenores de Aterúe re-imagines the poem as a song in the folk tradition of Anedda's native Sardinia; and Yohanca Delgado reads her story “The Little Widow from the Capital,” a tale of mystery, heartbreak, and embroidery set in a New York apartment building.   Robert Frost's December 16, 1959, interview with Richard Poirier appears courtesy of the Woodberry Poetry Room at Harvard University's Houghton Library. PS3511.R94 Z467 1959x. HOLLIS Permalink: 990023780790203941.   To learn more about Tenores de Aterúe, check out their documentary feature at www.aterue.com. Visit Bandcamp to hear more of their music. This episode was sound designed and mixed by John DeLore, and mastered by Justin Shturtz. See omnystudio.com/listener for privacy information.

This is Carrie Lynn, welcoming you back to New Books in Literary Studies, a podcast channel on the New Books Network. Today I’m looking forward to sharing with you Time and Antiquity in American Empire: Roma Redux (Oxford UP, 2021) by Dr. Mark Storey, a book about two empires—America and Rome—and, as Storey puts it, the forms of time we create when we think about these empires together. Ranging from the eighteenth century to the present day, through novels, journalism, film, and photography, Time and Antiquity in American Empire reconfigures our understanding of how cultural and political life has generated an analogy between Roman antiquity and the imperial US state—both to justify and perpetuate it, and to resist and critique it. The book takes in a wide scope, from theories of historical time and imperial culture, through the twin political pillars of American empire—republicanism and slavery—to the popular literary genres that have reimagined America's and Rome's sometimes strange orbit, specifically Christian fiction, travel writing, and science fiction. Through this conjunction of literary history, classical reception studies, and the philosophy of history, Storey builds a more fundamental inquiry into how we imagine both our politics and ourselves within historical time. He outlines a new relationship between text and context, and between history and culture. Offering a fresh reckoning with the historicist protocols of literary study, this book suggests that recognizing the shape of history we step into when we analogize with the past is also a way of thinking about how we have read—and how we might yet read. Mark Storey is Associate Professor in the Department of English and Comparative Literary Studies at the University of Warwick. He was a founding member of the British Association of Nineteenth-Century Americanists and has held fellowships at the University of Virginia and the Houghton Library at Harvard. His research and teaching interests lie broadly in American literature and culture, and he is currently working on projects in two areas: critical theory and historical time, and horror and the gothic. Carrie Lynn Evans is a PhD student at Université Laval in Quebec City. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

This is Carrie Lynn, welcoming you back to New Books in Literary Studies, a podcast channel on the New Books Network. Today I’m looking forward to sharing with you Time and Antiquity in American Empire: Roma Redux (Oxford UP, 2021) by Dr. Mark Storey, a book about two empires—America and Rome—and, as Storey puts it, the forms of time we create when we think about these empires together. Ranging from the eighteenth century to the present day, through novels, journalism, film, and photography, Time and Antiquity in American Empire reconfigures our understanding of how cultural and political life has generated an analogy between Roman antiquity and the imperial US state—both to justify and perpetuate it, and to resist and critique it. The book takes in a wide scope, from theories of historical time and imperial culture, through the twin political pillars of American empire—republicanism and slavery—to the popular literary genres that have reimagined America's and Rome's sometimes strange orbit, specifically Christian fiction, travel writing, and science fiction. Through this conjunction of literary history, classical reception studies, and the philosophy of history, Storey builds a more fundamental inquiry into how we imagine both our politics and ourselves within historical time. He outlines a new relationship between text and context, and between history and culture. Offering a fresh reckoning with the historicist protocols of literary study, this book suggests that recognizing the shape of history we step into when we analogize with the past is also a way of thinking about how we have read—and how we might yet read. Mark Storey is Associate Professor in the Department of English and Comparative Literary Studies at the University of Warwick. He was a founding member of the British Association of Nineteenth-Century Americanists and has held fellowships at the University of Virginia and the Houghton Library at Harvard. His research and teaching interests lie broadly in American literature and culture, and he is currently working on projects in two areas: critical theory and historical time, and horror and the gothic. Carrie Lynn Evans is a PhD student at Université Laval in Quebec City. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

This is Carrie Lynn, welcoming you back to New Books in Literary Studies, a podcast channel on the New Books Network. Today I’m looking forward to sharing with you Time and Antiquity in American Empire: Roma Redux (Oxford UP, 2021) by Dr. Mark Storey, a book about two empires—America and Rome—and, as Storey puts it, the forms of time we create when we think about these empires together. Ranging from the eighteenth century to the present day, through novels, journalism, film, and photography, Time and Antiquity in American Empire reconfigures our understanding of how cultural and political life has generated an analogy between Roman antiquity and the imperial US state—both to justify and perpetuate it, and to resist and critique it. The book takes in a wide scope, from theories of historical time and imperial culture, through the twin political pillars of American empire—republicanism and slavery—to the popular literary genres that have reimagined America's and Rome's sometimes strange orbit, specifically Christian fiction, travel writing, and science fiction. Through this conjunction of literary history, classical reception studies, and the philosophy of history, Storey builds a more fundamental inquiry into how we imagine both our politics and ourselves within historical time. He outlines a new relationship between text and context, and between history and culture. Offering a fresh reckoning with the historicist protocols of literary study, this book suggests that recognizing the shape of history we step into when we analogize with the past is also a way of thinking about how we have read—and how we might yet read. Mark Storey is Associate Professor in the Department of English and Comparative Literary Studies at the University of Warwick. He was a founding member of the British Association of Nineteenth-Century Americanists and has held fellowships at the University of Virginia and the Houghton Library at Harvard. His research and teaching interests lie broadly in American literature and culture, and he is currently working on projects in two areas: critical theory and historical time, and horror and the gothic. Carrie Lynn Evans is a PhD student at Université Laval in Quebec City. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/world-affairs

This is Carrie Lynn, welcoming you back to New Books in Literary Studies, a podcast channel on the New Books Network. Today I’m looking forward to sharing with you Time and Antiquity in American Empire: Roma Redux (Oxford UP, 2021) by Dr. Mark Storey, a book about two empires—America and Rome—and, as Storey puts it, the forms of time we create when we think about these empires together. Ranging from the eighteenth century to the present day, through novels, journalism, film, and photography, Time and Antiquity in American Empire reconfigures our understanding of how cultural and political life has generated an analogy between Roman antiquity and the imperial US state—both to justify and perpetuate it, and to resist and critique it. The book takes in a wide scope, from theories of historical time and imperial culture, through the twin political pillars of American empire—republicanism and slavery—to the popular literary genres that have reimagined America's and Rome's sometimes strange orbit, specifically Christian fiction, travel writing, and science fiction. Through this conjunction of literary history, classical reception studies, and the philosophy of history, Storey builds a more fundamental inquiry into how we imagine both our politics and ourselves within historical time. He outlines a new relationship between text and context, and between history and culture. Offering a fresh reckoning with the historicist protocols of literary study, this book suggests that recognizing the shape of history we step into when we analogize with the past is also a way of thinking about how we have read—and how we might yet read. Mark Storey is Associate Professor in the Department of English and Comparative Literary Studies at the University of Warwick. He was a founding member of the British Association of Nineteenth-Century Americanists and has held fellowships at the University of Virginia and the Houghton Library at Harvard. His research and teaching interests lie broadly in American literature and culture, and he is currently working on projects in two areas: critical theory and historical time, and horror and the gothic. Carrie Lynn Evans is a PhD student at Université Laval in Quebec City. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

This is Carrie Lynn, welcoming you back to New Books in Literary Studies, a podcast channel on the New Books Network. Today I’m looking forward to sharing with you Time and Antiquity in American Empire: Roma Redux (Oxford UP, 2021) by Dr. Mark Storey, a book about two empires—America and Rome—and, as Storey puts it, the forms of time we create when we think about these empires together. Ranging from the eighteenth century to the present day, through novels, journalism, film, and photography, Time and Antiquity in American Empire reconfigures our understanding of how cultural and political life has generated an analogy between Roman antiquity and the imperial US state—both to justify and perpetuate it, and to resist and critique it. The book takes in a wide scope, from theories of historical time and imperial culture, through the twin political pillars of American empire—republicanism and slavery—to the popular literary genres that have reimagined America's and Rome's sometimes strange orbit, specifically Christian fiction, travel writing, and science fiction. Through this conjunction of literary history, classical reception studies, and the philosophy of history, Storey builds a more fundamental inquiry into how we imagine both our politics and ourselves within historical time. He outlines a new relationship between text and context, and between history and culture. Offering a fresh reckoning with the historicist protocols of literary study, this book suggests that recognizing the shape of history we step into when we analogize with the past is also a way of thinking about how we have read—and how we might yet read. Mark Storey is Associate Professor in the Department of English and Comparative Literary Studies at the University of Warwick. He was a founding member of the British Association of Nineteenth-Century Americanists and has held fellowships at the University of Virginia and the Houghton Library at Harvard. His research and teaching interests lie broadly in American literature and culture, and he is currently working on projects in two areas: critical theory and historical time, and horror and the gothic. Carrie Lynn Evans is a PhD student at Université Laval in Quebec City. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

This is Carrie Lynn, welcoming you back to New Books in Literary Studies, a podcast channel on the New Books Network. Today I'm looking forward to sharing with you Time and Antiquity in American Empire: Roma Redux (Oxford UP, 2021) by Dr. Mark Storey, a book about two empires—America and Rome—and, as Storey puts it, the forms of time we create when we think about these empires together. Ranging from the eighteenth century to the present day, through novels, journalism, film, and photography, Time and Antiquity in American Empire reconfigures our understanding of how cultural and political life has generated an analogy between Roman antiquity and the imperial US state—both to justify and perpetuate it, and to resist and critique it. The book takes in a wide scope, from theories of historical time and imperial culture, through the twin political pillars of American empire—republicanism and slavery—to the popular literary genres that have reimagined America's and Rome's sometimes strange orbit, specifically Christian fiction, travel writing, and science fiction. Through this conjunction of literary history, classical reception studies, and the philosophy of history, Storey builds a more fundamental inquiry into how we imagine both our politics and ourselves within historical time. He outlines a new relationship between text and context, and between history and culture. Offering a fresh reckoning with the historicist protocols of literary study, this book suggests that recognizing the shape of history we step into when we analogize with the past is also a way of thinking about how we have read—and how we might yet read. Mark Storey is Associate Professor in the Department of English and Comparative Literary Studies at the University of Warwick. He was a founding member of the British Association of Nineteenth-Century Americanists and has held fellowships at the University of Virginia and the Houghton Library at Harvard. His research and teaching interests lie broadly in American literature and culture, and he is currently working on projects in two areas: critical theory and historical time, and horror and the gothic. Carrie Lynn Evans is a PhD student at Université Laval in Quebec City.

This is Carrie Lynn, welcoming you back to New Books in Literary Studies, a podcast channel on the New Books Network. Today I’m looking forward to sharing with you Time and Antiquity in American Empire: Roma Redux (Oxford UP, 2021) by Dr. Mark Storey, a book about two empires—America and Rome—and, as Storey puts it, the forms of time we create when we think about these empires together. Ranging from the eighteenth century to the present day, through novels, journalism, film, and photography, Time and Antiquity in American Empire reconfigures our understanding of how cultural and political life has generated an analogy between Roman antiquity and the imperial US state—both to justify and perpetuate it, and to resist and critique it. The book takes in a wide scope, from theories of historical time and imperial culture, through the twin political pillars of American empire—republicanism and slavery—to the popular literary genres that have reimagined America's and Rome's sometimes strange orbit, specifically Christian fiction, travel writing, and science fiction. Through this conjunction of literary history, classical reception studies, and the philosophy of history, Storey builds a more fundamental inquiry into how we imagine both our politics and ourselves within historical time. He outlines a new relationship between text and context, and between history and culture. Offering a fresh reckoning with the historicist protocols of literary study, this book suggests that recognizing the shape of history we step into when we analogize with the past is also a way of thinking about how we have read—and how we might yet read. Mark Storey is Associate Professor in the Department of English and Comparative Literary Studies at the University of Warwick. He was a founding member of the British Association of Nineteenth-Century Americanists and has held fellowships at the University of Virginia and the Houghton Library at Harvard. His research and teaching interests lie broadly in American literature and culture, and he is currently working on projects in two areas: critical theory and historical time, and horror and the gothic. Carrie Lynn Evans is a PhD student at Université Laval in Quebec City. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

This is Carrie Lynn, welcoming you back to New Books in Literary Studies, a podcast channel on the New Books Network. Today I'm looking forward to sharing with you Time and Antiquity in American Empire: Roma Redux (Oxford UP, 2021) by Dr. Mark Storey, a book about two empires—America and Rome—and, as Storey puts it, the forms of time we create when we think about these empires together. Ranging from the eighteenth century to the present day, through novels, journalism, film, and photography, Time and Antiquity in American Empire reconfigures our understanding of how cultural and political life has generated an analogy between Roman antiquity and the imperial US state—both to justify and perpetuate it, and to resist and critique it. The book takes in a wide scope, from theories of historical time and imperial culture, through the twin political pillars of American empire—republicanism and slavery—to the popular literary genres that have reimagined America's and Rome's sometimes strange orbit, specifically Christian fiction, travel writing, and science fiction. Through this conjunction of literary history, classical reception studies, and the philosophy of history, Storey builds a more fundamental inquiry into how we imagine both our politics and ourselves within historical time. He outlines a new relationship between text and context, and between history and culture. Offering a fresh reckoning with the historicist protocols of literary study, this book suggests that recognizing the shape of history we step into when we analogize with the past is also a way of thinking about how we have read—and how we might yet read. Mark Storey is Associate Professor in the Department of English and Comparative Literary Studies at the University of Warwick. He was a founding member of the British Association of Nineteenth-Century Americanists and has held fellowships at the University of Virginia and the Houghton Library at Harvard. His research and teaching interests lie broadly in American literature and culture, and he is currently working on projects in two areas: critical theory and historical time, and horror and the gothic. Carrie Lynn Evans is a PhD student at Université Laval in Quebec City. Learn more about your ad choices. Visit megaphone.fm/adchoices

 By Photographer unidentified - MS Am 1092 (1185), Houghton Library, Harvard University, Public Domain, https://commons.wikimedia.org/w/index.php?curid=34246605In this final episode of Season 3 we actually do not talk about Darwin, but instead focus our attention to William James, a medical doctor, early psychologist, and philosopher who wrote about emotions about 20 years after Charles Darwin published The Expression of the Emotions in Man and Animals. Mark suggested we read James' views on emotion which he published first in his 1890 two volume set of his Principles of Psychology and then distilled in his single volume Psychology:Briefer Course. You can find reading editions of both books at the wonderful resource Project Gutenberg.The opening and closing theme to Discovering Darwin is "May" by Jared C. Balogh.Interlude music Laid by James

Episode One Hundred Twenty Eight Show Notes KEY: CW = Chris Wolak and EF = Emily Fine– Currently Reading –The Age of Light – Whitney Scharer (EF)Leaving Coy’s Hill – Katherine A. Sherbrooke (CW) release 5/4/2021The Address Book: What Street Addresses Reveal about Identity, Race, Wealth, and Power – Deirdre Mask (EF)(audio)– Just Read –Brood – Jackie Polzin (EF)Finding Freedom: A Cook’s Story Remaking a Life from Scratch – Erin French (EF)– Biblio Adventures – Chris enjoyed a virtual adventure via a joint event with the Emily Dickinson Museum and The Emily Dickinson Collection at Harvard’s Houghton Library. Emily watched to Lisa Marie Donovan, author of Our Lady of Perpetual Hunger, and Phyllis Grant, author of Everything Is Under Control talk about breadcrumbs. Chris attended an event via the GLBT Historical Society in San Francisco. The topic was Archiving Lesbian Memory, Stewarding Lesbian Futures. You can watch a recording of the event here. Panelists included:Jen Jack Giesking – A Queer New York: Geographies of Lesbians, Dykes, and Queers, and the website An Everyday Queer New York.Cait McKinney Information Activism: A Queer History of Lesbian Media Technologies and Inside Killjoy’s Kastle: Dykey Ghosts, Feminist Monsters, and other Lesbian Hauntings Briona Simone Jones – Mouths of Rain: An Anthology of Black Lesbian ThoughtShawn(ta) Smith-CruzEmily attended the Reading Across Rhode Island event with Jason Reynolds discussing his book Stamped: Racism, Antiracism, and You, co-authored with Ibram X. Kendi. Emily moderated an event via the Newburyport Literary Festival with Deirdre Mask author of The Address Book: What Street Addresses Reveal about Identity, Race, Wealth, and Power. You can watch a video of the event here. – Upcoming Jaunts –On Saturday, May 1, Chris is signed up to attend an event via the London Library Lit Fest with Sarah Waters in conversation with Hallie Rubenhold. You can sign up for the event here. Emily will be attending a joint event with Chris Bohjalian, author of Hour of the Witch, in conversation with Wally Lamb on May 11 at 6pm via Savory Bookshop and Café / Bank Square Books.– Upcoming Reads –Ghosts of Harvard – Francesca Serritella (CW)That Summer – Jennifer Weiner (EF)– Author Spotlight with Dr. Melissa Homestead –Dr. Homestead’s book is now available: The Only Wonderful Things: The Creative Partnership of Willa Cather & Edith Lewis You can learn more about Dr. Homestead and her other publications here.– 17th Readalong discussion – Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge, and the Teachings of Plants by Robin Wall KimmererThe discussion will drop on June 8th via Episode 131, please get questions/comments to us by June 2nd. The Goodreads discussion thread can be found HERE.The Zoom discussion will take place on Sunday, May 30th at 7:00 p.m. (EST). If you would like to join in please send an email to save a spot.You can find the beautifully bound anniversary edition of the book here. Note: this is in celebration of Milkweed Editions 40th anniversary, not the anniversary of the book which was originally published in 2013.With Jenny / Reading Envy Podcast – we will be reading When the Light of the World Was Subdued, Our Songs Came Through: A Norton Anthology of Native Nations Poetry – edited by Joy Harjo, Jennifer Elise Foerster, and Leanne HoweMore details about the readalong can be found on the Reading Envy Goodreads discussion thread.Extra Credit: A Poetry Handbook by Mary Oliver – Also Mentioned –Check out our friend Ryan’s Instagram page: @readbyryan Check out the Lost Kitchen website To Kill A Mockingbird – Harper LeeOther books by Sarah Waters: Tipping the Velvet, Fingersmith, The Night Watch, The Little StrangerSarah Orne JewettChronicling of America – Library of Congress Newspaper DirectoryThe Professor’s House – Willa CatherGay New York: Gender, Urban Culture, and the Making of Gay Male World, 1890-1940 – George ChaunceyThe Lavender Scare: The Cold War, Persecution of Gays and Lesbians in the Federal Government – David K. JohnsonEpistemology of the Closet – Eve Kosofsky SedgewickMy Antonia – Willa CatherStylish Academic Writing – Helen SwordThe Minister’s Wooing – Harriet Beecher Stowe You can help support the Book Cougars via our affiliates:Libro.fm audiobook platform: Follow this link for the monthly membership. (promo code: bookcougars)We are an affiliate of Bank Square Books and Savoy Bookstore & Café, click HERE to start shopping.Bookshop.org – support us and independent bookstores! Purchase Book Cougars Swag on Zazzle! If you’d like to help financially support the Book Cougars, please consider becoming a Patreon member. You can DONATE HERE. If you would prefer to donate directly to us, please email bookcougars@gmail.com for instructions.Join our Goodreads Group! We have a BookTube Channel – please check it out here, and be sure to subscribe! Please subscribe to our email newsletter here.

Today on the egg timer we explore how William James makes the case that a deterministic view of the world is confronted with a very challenging dilemma. Image Attribution: By Notman Studios (photographer) - [1]MS Am 1092 (1185), Series II, 23, Houghton Library, Harvard University, Public Domain, https://commons.wikimedia.org/w/index.php?curid=16250941

On today’s podcast, I am chatting with Dorothy Berry, Houghton Library's Digital Collections Program Manager. In it, we discuss why she became an archivist, what digital archivists do, and about the great project she created and is leading at Houghton: Slavery, Abolition, Emancipation, and Freedom: Primary Sources from Houghton Library. Dorothy Berry received her MLS from Indiana University, as well as an MA in Ethnomusicology from the same institution, following a BA in Music Performance from Mills College. Previously she worked as the Metadata and Digitization Lead for Umbra Search African American History at University of Minnesota, as a Mellon Fellow at the National Museum of African American History and Culture, and also as a graduate assistant at the Black Film Center/Archive and the Archives of African American Music and Culture. Adam McNeil is a third year Ph.D. in History student at Rutgers, the State University of New Jersey. Learn more about your ad choices. Visit megaphone.fm/adchoices

On today's podcast, I am chatting with Dorothy Berry, Houghton Library's Digital Collections Program Manager. In it, we discuss why she became an archivist, what digital archivists do, and about the great project she created and is leading at Houghton: Slavery, Abolition, Emancipation, and Freedom: Primary Sources from Houghton Library. Dorothy Berry received her MLS from Indiana University, as well as an MA in Ethnomusicology from the same institution, following a BA in Music Performance from Mills College. Previously she worked as the Metadata and Digitization Lead for Umbra Search African American History at University of Minnesota, as a Mellon Fellow at the National Museum of African American History and Culture, and also as a graduate assistant at the Black Film Center/Archive and the Archives of African American Music and Culture. Adam McNeil is a third year Ph.D. in History student at Rutgers, the State University of New Jersey. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

On today's podcast, I am chatting with Dorothy Berry, Houghton Library's Digital Collections Program Manager. In it, we discuss why she became an archivist, what digital archivists do, and about the great project she created and is leading at Houghton: Slavery, Abolition, Emancipation, and Freedom: Primary Sources from Houghton Library. Dorothy Berry received her MLS from Indiana University, as well as an MA in Ethnomusicology from the same institution, following a BA in Music Performance from Mills College. Previously she worked as the Metadata and Digitization Lead for Umbra Search African American History at University of Minnesota, as a Mellon Fellow at the National Museum of African American History and Culture, and also as a graduate assistant at the Black Film Center/Archive and the Archives of African American Music and Culture. Adam McNeil is a third year Ph.D. in History student at Rutgers, the State University of New Jersey. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/digital-humanities

What is self-care, and why should archivists care? Listen to our conversation with Dorothy Berry, digital collections program manager at Harvard University’s Houghton Library, as she explores a more sophisticated understanding of self-care—one that goes beyond eating brownies and taking bubble baths. With wisdom and humor, Dorothy talks about how and why we should be kinder … Continue reading Season 5, Episode 2: Dorothy Berry

Welcome back to the Christmas special of Past Loves - the weekly history podcast that explores affection, infatuation and attachment across time.With Covid and the closure of so many theatres this year, it only seemed apt to take the Past Loves Christmas special to the stage. So for this very special episode, I am joined by Irina Klyagin - a Russian ballet scholar who looks after Harvard University’s extensive theatre collection at the Houghton Library - to discuss the love story between Rudolf Nureyev and Erik Bruhn.Erik was the Danish ice to Rudolf's Russian fire and the two were both titans within the ballet world, defining an era. Their art was, therefore, at the heart of their relationship and was so from the very beginning. When Rudolf defected to the West from the Soviet Union, it was his aim to meet and train with Erik. He knew that was where he was meant to be. They learnt from each other, honing their talent to become two of the most famous male ballet dancers in history.Their love story is one of passion which I very much hope you enjoy. May your festive season be full of light and love. Merry Christmas!Where To Find UsWatch Artists In Love - Rudolf and Erik episode: https://www.nowtv.com/watch/artists-in-love/dc13f8e4e7924510VgnVCM1000000b43150a____Discover Julie Kavanagh's Rudolf Nureyev: https://www.waterstones.com/book/rudolf-nureyev/julie-kavanagh/9780241986905Discover Diane Solway's Nureyev: His Life: https://www.amazon.co.uk/Nureyev-His-Life-Diane-Solway/dp/0688128734/More about Irina: https://library.harvard.edu/staff/irina-klyaginFollow Past Loves on Instagram: https://www.instagram.com/pastlovespodcast/Join the Past Loves newsletter: https://mailchi.mp/d293dd27393a/past-loves-newsletterIf Past Loves has become your current love, you can email me at pastlovespodcast@gmail.com

About 50 books are known to exist in the world that are allegedly bound in human skin—and it’s possible that there are many more. Believe it or not, these dark books were not made by Nazis, serial killers, or occultists, nor were they churned out in a nightmare factory during the French Revolution. No, they were made mostly by doctors in the 19th century. How and why such books came to be is the subject of Dark Archives, by rare-books specialist and UCLA medical librarian Megan Rosenbloom. She’s one of the founders of the Anthropodermic Book Project, whose team has used a simple protein test called peptide mass fingerprinting to confirm that, as of October 2020, 18 books were bound in human skin. What sort of person would do this? How did they get away with it, and what does this ghoulish practice tell us about the clinical gaze? Megan Rosenbloom joins us on the podcast this week to discuss the history of anthropodermic bibliopegy, the evolution of medical ethics and consent, and the controversial question of what we do now with the very human remains of this grim legacy.Go beyond the episode:Megan Rosenbloom’s Dark Archives: A Librarian's Investigation Into the Science and History of Books Bound in Human SkinCurrently, the Anthropodermic Book Project has tested 31 books,The first anthropodermic book to be confirmed using peptide mass fingerprinting was at Harvard’s Houghton Library; the same year, 2014, its other book suspected of having human skin binding turned out to be made of sheep leatherExplore the anthropodermic book collection at the Mütter Museum, which has the largest known collection (of five books)Follow librarian Beth Lander’s quest to learn more about Mary Lynch, the woman whose skin binds three of those booksSi vous pouvez lire le français ... here is the story of a French edition of The Gold Bug by Edgar Allan Poe, the 18th book confirmed by the Anthropodermic Book ProjectTune in every week to catch interviews with the liveliest voices from literature, the arts, sciences, history, and public affairs; reports on cutting-edge works in progress; long-form narratives; and compelling excerpts from new books. Hosted by Stephanie Bastek.Subscribe: iTunes • Feedburner • Stitcher • Google Play • AcastHave suggestions for projects you’d like us to catch up on, or writers you want to hear from? Send us a note:... See acast.com/privacy for privacy and opt-out information.

About 50 books are known to exist in the world that are allegedly bound in human skin—and it’s possible that there are many more. Believe it or not, these dark books were not made by Nazis, serial killers, or occultists, nor were they churned out in a nightmare factory during the French Revolution. No, they were made mostly by doctors in the 19th century. How and why such books came to be is the subject of Dark Archives, by rare-books specialist and UCLA medical librarian Megan Rosenbloom. She’s one of the founders of the Anthropodermic Book Project, whose team has used a simple protein test called peptide mass fingerprinting to confirm that, as of October 2020, 18 books were bound in human skin. What sort of person would do this? How did they get away with it, and what does this ghoulish practice tell us about the clinical gaze? Megan Rosenbloom joins us on the podcast this week to discuss the history of anthropodermic bibliopegy, the evolution of medical ethics and consent, and the controversial question of what we do now with the very human remains of this grim legacy.Go beyond the episode:Megan Rosenbloom’s Dark Archives: A Librarian's Investigation Into the Science and History of Books Bound in Human SkinCurrently, the Anthropodermic Book Project has tested 31 books,The first anthropodermic book to be confirmed using peptide mass fingerprinting was at Harvard’s Houghton Library; the same year, 2014, its other book suspected of having human skin binding turned out to be made of sheep leatherExplore the anthropodermic book collection at the Mütter Museum, which has the largest known collection (of five books)Follow librarian Beth Lander’s quest to learn more about Mary Lynch, the woman whose skin binds three of those booksSi vous pouvez lire le français ... here is the story of a French edition of The Gold Bug by Edgar Allan Poe, the 18th book confirmed by the Anthropodermic Book ProjectTune in every week to catch interviews with the liveliest voices from literature, the arts, sciences, history, and public affairs; reports on cutting-edge works in progress; long-form narratives; and compelling excerpts from new books. Hosted by Stephanie Bastek.Subscribe: iTunes • Feedburner • Stitcher • Google Play • AcastHave suggestions for projects you’d like us to catch up on, or writers you want to hear from? Send us a note:... See acast.com/privacy for privacy and opt-out information.

Today we're joined by Robert M. Sarwark, Visiting Fellow in Publishing History at Harvard University's Houghton Library, to talk about librarianship and his research into the history of the book during the time of the Reformation and Counter-Reformation.  You can find him on Twitter as @RaMerrix.   © 2019 Brian M. Watson

Deep in the hidden archives of Harvard’s Houghton Library are the butter stained recipes of Emily Dickinson. Who knew? Emily Dickinson was better known by most as a baker than a poet in her lifetime. In this story a beautiful line up of “Keepers”— dedicated archivists, librarians, historians, Thornton Wilder, Patti Smith, and more—lead us through the complex labyrinth of Emily Dickinson’s hidden kitchen. A world of black cake, gingerbread, slant rhyme, secret loves, family scandals, and poems composed on the backs of coconut cake recipes and chocolate wrappers.

Did you know that Houghton Library is also the publisher of Harvard Review, a major American literary journal? In this episode of Houghton75, editor Christina Thompson talks to two contributors to Harvard Review's 50th issue: renowned essayist Phillip Lopate and award-winning novelist Lily King. The conversation, part of the Houghton 75th celebrations, marks Harvard Review's 25th anniversary and the inauguration of our new Harvard Review Salon Series. It was held May 11, 2017, in the Edison and Newman Room at Houghton Library. For more information about Harvard Review, visit us at http://harvardreview.org Find out more about the exhibition and Houghton Library’s 75th anniversary celebrations at http://houghton75.org/ Podcast Transcript: http://wp.me/p7SlKy-wP

In this episode of Houghton75 we speak with Joseph Connors, Professor of the History of Art and Architecture, about the historical practice of architectural sketching and how he incorporates it into his classes. We start the conversation with the sketchbooks from the late 17th century of a young Baroque architect, Gilles-Marie Oppenord, not much older than Professor Connors’ students. This is our final faculty interview episode. Watch for more episodes soon, including a peek into the Harvard Review, the major American literary journal published by Houghton, and a salon series that celebrates their 50th issue. Find out more about the exhibition and Houghton Library’s 75th anniversary celebrations at http://houghton75.org/hist-75h Transcript and detailed music notes: http://wp.me/p7SlKy-wu Music La Luna Sprezzatura: 17th century Italian Virtuosos Music (Dorian #93200)

In this episode of Houghton75 we speak with Thomas Kelly, Morton B. Knafel Professor of Music about his experiences researching and teaching chant using Houghton collections. We examine the music of Ambrosian chant, the only competing tradition to Gregorian chant which still survives to this day in the area of Milan, Italy. Find out more about the exhibition and Houghton Library’s 75th anniversary celebrations at http://houghton75.org/hist-75h Transcript and detailed music notes: http://wp.me/p7SlKy-wp Music Ambrosian chants from Antifonale Ambrosiano (LIM, Lucca), directed by Giovanni Scomparin

In this episode of Houghton75 we speak with Stephen Greenblatt, John Cogan University Professor of the Humanities, about a small, very fragile book containing an ancient poem that rocked the world, and what it says about the inter-connectivity of the sciences and the humanities. Find out more about the exhibition and Houghton Library’s 75th anniversary celebrations at http://houghton75.org/hist-75h Transcript and detailed music notes: http://wp.me/p7SlKy-wg Music De Rerum Natura by Robert Xavier Rodriguez G. Schirmer, publisher. Recorded by Albany Records (TROY1479).

In this episode of Houghton75, we speak with Ann Blair, Carl H. Pforzheimer University Professor at Harvard, about the development of note-taking devices from early wax tablets to our modern smartphones. We start with an early modern writing tablet - a small reference book which also contains specially treated pages for recording notes while on the road. Find out more about the exhibition and Houghton Library’s 75th anniversary celebrations at http://houghton75.org/hist-75h Transcript and detailed music notes: http://wp.me/p7SlKy-w1 Music From La Luna (Ensemble for 17th Century Music), Wild Boar Records, WLBR 9605.

In this episode of Houghton75, we speak with Danielle Allen, James Bryant Conant University Professor and director of the Edmond J. Safra Center for Ethics, about her research and teaching on the Declaration of Independence, including John Adams’ role in creating it, supported by evidence found right here at Houghton. Find out more about the exhibition and Houghton Library’s 75th anniversary celebrations at http://houghton75.org/hist-75h Transcript and detailed music notes: http://wp.me/p7SlKy-vC Music Fife & Drum Ensembles from the Internet Archive https://archive.org/

In this episode of Houghton75, we speak with Stephanie Sandler, Ernest E. Monrad Professor of Slavic Languages and Literatures, about one relatively unknown and enigmatic artist from the time of the Russian Revolution, 100 years ago this year. Featuring special guest host Christine Jacobson. Find out more about the exhibition and Houghton Library’s 75th anniversary celebrations at http://houghton75.org/hist-75h Transcript and detailed music notes: http://wp.me/p7SlKy-vz Music Historic reproducing piano rolls from The Pianola Institute http://www.pianola.org

In this episode of Houghton75, we speak with Racha Kirakosian, Assistant Professor of German and the Study of Religion at Harvard, about one of the newer acquisitions in our collection. Close study of this colorful medieval manuscript, and other such manuscripts, can reveal where they were made, who they were written by, where they were used, who they were made for, and much more. Find out more about the exhibition and Houghton Library’s 75th anniversary celebrations at http://houghton75.org/hist-75h Transcript and detailed music notes: http://wp.me/p7SlKy-ui Music Lorelei Ensemble http://www.loreleiensemble.com

Hunter, Soldier, President, Naturalist, Rough Rider. In this episode of Houghton75, we speak with Michael Canfield, a lecturer in the Department of Organismic and Evolutionary Biology at Harvard and author of Theodore Roosevelt in the Field, about the complex legacy of America’s 26th President. Find out more about the exhibition and Houghton Library’s 75th anniversary celebrations at http://houghton75.org/hist-75h Transcript and detailed music notes: http://wp.me/p7SlKy-rH Music Public Domain recordings from the Internet Archive http://archive.org

Did you know that the phrase “amp it up” is a tribute to a 19th century French scientist? In this episode of Houghton75 we speak with Alex Csiszar, Associate Professor of the History of Science, about his research on Andre Marie Ampére's electromagnetic experiments and his equally remarkable experiments in scientific publishing. Find out more about the exhibition and Houghton Library’s 75th anniversary celebrations at http://houghton75.org/hist-75h Transcript and detailed music notes: http://wp.me/p7SlKy-oQ Music Dara O Shayda https://soundcloud.com/dara-o-shayda

In this episode of Houghton75, we speak with Kate van Orden, Dwight P. Robinson Jr. Professor of Music. Her selection for our recent exhibition was a 16th century partbook printed by the first music publisher. The book contained the tenor lines of multiple Masses by Josquin de Prez, a master of Renaissance polyphony and one of the first composers whose works were widely disseminated in both manuscript and print. Find out more about the exhibition and Houghton Library’s 75th anniversary celebrations at http://houghton75.org/hist-75h Transcript and detailed music notes: http://wp.me/p7SlKy-oD Music Cut Circle. Jesse Rodin, artistic director http://cutcircle.org Selections from Missa L’homme armé super voces musicales by Josquin de Prez

Legal Talk from Bruce Strauch and Bill Hannay All of us at Against The Grain - The Podcast have been busy lining up great new content and interviews for future episodes. Due to scheduling issues and Leah Hind’s trip to France for a conference, we had a gap to fill in the podcast schedule. Fortunately two of our regular contributors to the Against The Grain journal, Bruce Strauch and Bill Hannay were able to step in and put together a quick conversation around banned books (specifically D. H. Lawrence’s “Lady Chatterley’s Lover”) and the resulting litigation that ensued. Bruce Strauch, The Citadel, Professor of Business Law (Retired) Bruce Strauch, J.D. is a Professor of Business Law and Director of the Citadel Mentors Program. He holds degrees from UNC-Chapel Hill and Oxford, is extensively published in the field of copyright and trademark, is the author of nine novels and the publisher of a trade journal of the scholarly publishing industry. His wife Katina is the founder of the Charleston Conference and Assistant Dean for Technical Services and Collection Development at the College of Charleston (SC) Libraries; his son is a U.S. Army major and his daughter a medical doctor. Bill Hannay Partner, Schiff, Hardin, LLP William M. Hannay regularly represents corporations and individuals in civil and criminal matters, involving federal and state antitrust law and other trade regulation laws. He is an Adjunct Professor, teaching courses at IIT/Chicago-Kent law school in antitrust, intellectual property, and international business transactions, and is the author or editor of several books on antitrust and intellectual property law, including "The Corporate Counsel's Guide to Unfair Competition," soon to be published by Thomson Reuter's West Publishing. He is a frequent lecturer at The Charleston Conference. Mr. Hannay is active in the American Bar Association and is currently Co-Chair of the Joint Editorial Board for International Law, which is co-sponsored by the Uniform Law Commission and the ABA. He served as an Assistant District Attorney in the New York District Attorney's Office and was a law clerk for Justice Tom Clark on the U.S. Supreme Court. He is a graduate of Yale College and Georgetown University Law Center. We also have another weekly update from Katina Strauch from her rumors segment. Katina’s Notes: As you all might suspect it is getting HOT in Charleston! Air conditioning becomes essential and it’s time for flip flops and shorts and t-shirts. Speaking of t-shirts, I signed up for one from AAAS online to support science. I also noticed that Gale (and probably others) are into the t-shirt movement. Let’s pull out all our old Charleston Conference t-shirts! We are gearing up for the 37th Charleston Conference – What’s Past Is Prologue. As you all know, the dates have been moved up slightly making many of you very happy! November Nov 6 – 7: Pre-conferences; November 7: Vendor Showcase, November 8 – 10: Main Conference. Our keynote speakers are – Brewster Kahle Founder of the Internet Archive, the San Francisco–based nonprofit digital library with the stated mission of "universal access to all knowledge". Loretta Parham (CEO and Director of the Atlanta University Center). Loretta is the 2017 ACRL Academic/Research Librarian of the Year, and Georgios Papadopoulos, the founder and CEO of Atypon which recently sold to John Wiley. More speakers will be announced soon! charlestonlibraryconference.com PS Did you see that Loretta Parham is on the cover of the April, 2017 College & Research Libraries! The Charleston Conference Call for Papers was posted this week. Submit your proposal! Please! http://www.charlestonlibraryconference.com/call-for-papers/ Listen up! The innovator extraordinaire, Mark Sandler has won the 2017 Hugh Atkinson Award. Mark is the principal in Novel Solutions Consulting. He is indeed a leader of great vision with exceptional persuasive skills! Congratulations, Mark! Hip Hip Hooray! When I talked to Mark the other day, he and his wife were headed to Canada where they are planning to board a flight to Scotland! Just got an email from Mark Herring, the Director of Libraries at Winthrop. For those of you who are looking for a position in libraries, Mark has a few good ones. Head of Content Services and Library Development (http://bit.ly/2oRpBPv) And Acquisitions and Collections Management Librarian (http://bit.ly/2plFmzq). These are now posted on the ATG Newschannel at: http://www.against-the-grain.com/category/jobs/ ”Naked Lunch: The Musical” will be performed at St. Sebastian Players Theatre in Chicago June1, 2, and 3. It features the likes of Allen Ginsberg, Jack Kerouac, Norman Mailer who are portrayed by several of Bill’s Yale Class of 1966. Naked Lunch is about one of the last landmark decisions on obscenity in the 20th Century and was just featured on Broadwayworld.com! http://www.broadwayworld.com/chicago/article/NAKED-LUNCH-THE-MUSICAL-Comes-to-St-Sebastian-Players-Theatre-20170420 Just reading about the Houghton Library at 75, A Celebration of its Collection a new book by Heather Cole and John Overholt which is due to be released on my mother’s birthday May 8. Houghton Library ― the primary repository for Harvard University’s rare books, manuscripts, and much more ― celebrates its 75th anniversary in 2017. Houghton’s holdings span nearly the entire history of the written word, from papyrus to the laptop. This anniversary volume presents a snapshot of the unique items that fill the library’s shelves. From miniature books composed by a teenage Charlotte Brontë to a massive medieval manuscript hymnbook; from the plays of Shakespeare to costume designs for Star Trek; and from the discoveries of Copernicus to the laptops of twenty-first century writers, the selections celebrate great achievements in many and diverse fields of human endeavor. I Hope to buy a copy! www.amazon.com Meanwhile, talk to y’all next time and happy summer! Katina  

In this episode of Houghton75, we speak with Christie McDonald, Smith Professor of French Language and Literature and Professor of Comparative Literature, about a fascinating painting by her aunt, Anne Eisner Putnam, entitled “Beauty Salon.” Putnam lived and worked with the Bantu and Mbuti peoples in the 1940s and 1950s in the Belgian Congo (what is now the Democratic Republic of the Congo). Find out more about the exhibition and Houghton Library’s 75th anniversary celebrations at http://houghton75.org/hist-75h Transcript and detailed music notes: http://wp.me/p7SlKy-nX Music From Mbuti Pygmies of the Ituri Rainforest, recorded by Colin Turnbull and Francis S. Chapman. Smithsonian Folkways Recordings, 1992. Catalog number SFW40401. http://www.folkways.si.edu/mbuti-pygmies-of-the-ituri-rainforest/world/music/album/smithsonian

In this episode of Houghton75 we speak with Tom Conley, Abbott Lawrence Lowell Professor of Visual and Environmental Studies and Professor of Romance Languages and Literatures, about the work of Oronce Finé, and the surprising things we can learn from maps. Find out more about the exhibition and Houghton Library’s 75th anniversary celebrations at http://houghton75.org/hist-75h Transcript and detailed music notes: http://wp.me/p7SlKy-nQ Music 15th century French instrumental music performed by La Chapelle des Ducs de Savoie http://www.ducs.ch/ “Belle, bonne, sage, plaisant” performed Martin Near, Charles Weaver, and Scott Metcalfe of Blue Heron. http://www.blueheron.org/

In this episode of Houghton75, we speak with James Engell, Gurney Professor of English and Professor of Comparative Literature at Harvard, about Charles Eliot Norton and the expression of anti-war sentiment on the university campus. Find out more about the exhibition and Houghton Library’s 75th anniversary celebrations at http://houghton75.org/hist-75h Transcript and detailed music notes: http://wp.me/p7SlKy-nJ Music Matthew Aucoin (‘12), piano and Keir GoGwilt (‘13), violin Quatuor pour la fin du temps VIII. Louange à l'Immortalité de Jésus From “Seamus Heaney: A Memorial Celebration (Nov 7, 2013)” http://hcl.harvard.edu/poetryroom/listeningbooth/

In this episode of Houghton75, we speak with Deidre Lynch, Ernest Bernbaum Professor of Literature, to discuss one of the most audacious literary hoaxes in history, masterminded by a teenage fan turned fanatic. Featuring special guest host Dale Stinchcomb. Find out more about the exhibition and Houghton Library’s 75th anniversary celebrations at http://houghton75.org/hist-75h Transcript and detailed music notes: http://wp.me/p7SlKy-nD Renaissance string ensemble music by The King’s Noyse.

In this episode of Houghton75, we speak with Eric Nelson, Robert M. Beren Professor of Government at Harvard, to discuss the surprising impact of John Milton and a set of once forgotten rabbinical texts on the formation of the government of the United States. The story starts with Wilhelm Schickard, a Christian Hebraist, monarchist, and the most important early modern political theorist you’ve never heard of, who in the early 17th century set out to compile all rabbinic references to monarchy. Schickard’s book is in our current exhibition, where it can be viewed through April 22, 2017. Find out more about the exhibition and Houghton Library’s 75th anniversary celebrations at http://houghton75.org/hist-75h Transcript and detailed music notes: http://wp.me/p7SlKy-ns Music The Boston Camerata. Anne Azéma, artistic director http://www.bostoncamerata.org/ Recording from Rosh Hashanah at the Park Avenue Synagogue, New York City Cantor Azi Schwartz, voice Colin Fowler and the PAS choir, music Doug Yoel, recording

In this episode of Houghton75, we speak to Elaine Scarry, Walter M. Cabot Professor of Aesthetics and General Theory of Value at Harvard. She discusses a collection of miniature books handmade by the Brontës as children. This collection of nine miniature books provides a rare glimpse into the developing voices of the Brontë sisters, who write with authority even as children. These miniature manuscripts are on display in our current exhibition, where it can be viewed through April 22, 2017. Find out more about the exhibition and Houghton Library’s 75th anniversary celebrations at http://houghton75.org/hist-75h Transcript and detailed music notes: http://wp.me/p7SlKy-nc Music: Fanny Mendelssohn’s Piano Trio in d minor, Op. 11, from Musica Omnia: Felix & Fanny Mendelssohn: Piano Trios MO 0105, The Atlantis Trio http://www.musicaomnia.org/release/felix-fanny-mendelssohn-piano-trios-op-66-op-16/

In this episode of Houghton75, we speak to Elaheh Kheirandish, Postdoctoral Associate of the Department of History of Art and Architecture at Harvard. For our current exhibition, she has chosen a copy of Alhazen’s Optics in Latin from 1572. She’ll delve into some of Alhazen’s importance to the science of Optics, and his place in the creation and transmission of scientific learning through the Islamic world and to the west. Find out more about the exhibition and Houghton Library’s 75th anniversary celebrations at http://houghton75.org/hist-75h Transcript and detailed music notes: http://wp.me/p7SlKy-n6 Music by دنگ شو Dang Show‎ http://www.facebook.com/dangshow Additional Music Performed by Mohammad Reza Haeri (setar) and Hormoz Goodarzy (tonbak)

After an inspiring weekend in Boston we have a lo…

In this episode of Houghton75, we speak with Daniel Donoghue, John P. Marquand Professor of English. It is a glimpse into the ancient past of England when the world was approaching the first millennium, literature and poetry were shared mainly orally, and the languages spoken by both the clergy and lay people were very different from today. The manuscript fragment Prof. Donoghue chose is on display in our current exhibition, where it can be viewed through April 22, 2017. Find out more about the exhibition and Houghton Library’s 75th anniversary celebrations at http://houghton75.org/hist-75h Transcript and detailed music notes: http://wp.me/p7SlKy-mt Music by Blue Heron http://blueheron.org Daniel Donoghue’s reading of Beowulf from the Woodberry Poetry Room’s Listening Booth http://hcl.harvard.edu/poetryroom/listeningbooth/

After an inspiring weekend in Boston we have a lo…

In this episode of Houghton75, we speak with John Stauffer, Professor of English as well as African and African American Studies, about the wanted poster that was integral to finding and capturing the assassin (John Wilkes Booth) of President Lincoln and his conspirators. The poster was one of the first to have photographs, but those on Houghton’s copy aren’t quite what they seem. The poster is on display in our current exhibition, where it can be viewed through April 22, 2017. Find out more about the exhibition and Houghton Library’s 75th anniversary celebrations at http://houghton75.org/hist-75h Transcript and detailed music notes: http://wp.me/p7SlKy-mo Louis Moreau Gottschalk’s “The Union (Fantasy on Patriotic Airs)” played by Alan Marks, from http://www.wyastone.co.uk/gottschalk-music-for-2-and-4-hands.html “Booth Killed Lincoln” sung by Bascom Lamar Lunsford from the Library of Congress https://www.loc.gov/item/ihas.200197130/

In this episode of Houghton75, we speak with Carol Oja, William Powell Mason Professor of Music, to discuss her research and teaching on the history of African-American music. Her selection for our current exhibition is a 1920 flyer featuring the African-American performer Bert Williams. Find out more about the exhibition and Houghton Library’s 75th anniversary celebrations at http://houghton75.org/hist-75h Podcast transcript can be found at http://wp.me/p7SlKy-md Music by Rhiannon Giddens http://rhiannongiddens.com/ Additional historical recording from the Internet Archive http://archive.org/

In this episode of Houghton75 we welcome Professor Robert Darnton, Carl H. Pforzheimer University Professor and University Librarian, Emeritus, to discuss the experiences which led him to study the history of books. It all started with Herman Melville’s personal copy of Emerson’s Essays, housed at Houghton Library and on display in our current exhibition, HIST75H: A Masterclass on Houghton Library (through April 22, 2017). Find out more about the exhibition and Houghton Library’s 75th anniversary celebrations at http://houghton75.org/ Music by Les Délices http://www.lesdelices.org

This exhibition traces the emergence of the modern understanding of drawing in multiple senses: as an autonomous form of expression; an index of the artist’s personal style; an object of aesthetic contemplation; an epistemological tool; and a commodity. While historically grounded in the French tradition of drawing in the 18th and 19th centuries, the exhibition is neither chronological nor linear, but instead arranged around a constellation of categories that speaks to the key aspects of drawing understood as a medium, an object, and a discourse. The variety of techniques, materials, and approaches developed by the major artists of this period offers a historically complex answer to the basic question: what is it to draw? The 60 drawings on view include important works in the Harvard Art Museums’ preeminent drawings collections and two loans from Harvard’s Houghton Library. The exhibition is the result of close collaboration between Harvard professor Ewa Lajer-Burcharth and Harvard Art Museums curator Elizabeth Rudy, who co-taught seminars on the history of drawing in the museums’ Art Study Center in Fall 2015 and Spring 2016 and worked closely with their students to develop the show and its related materials. Students in the first seminar began the preliminary planning for the exhibition and wrote essays that will be published by the museums in an accompanying catalogue. These students studied and researched the drawings chosen for the exhibition, yielding new information about the works’ creation and even a new attribution—scholarship published for the first time in the catalogue. The students in the second seminar helped conceptualize the installation in the galleries and wrote labels for each drawing featured in the show. These labels will be compiled in a digital tool, which will also present audio clips of interviews with students about their research as well as additional resources. Co-curated by Ewa Lajer-Burcharth, the William Dorr Boardman Professor of Fine Arts at Harvard University, and Elizabeth M. Rudy, the Carl A. Weyerhaeuser Associate Curator of Prints at the Harvard Art Museums.

This exhibition traces the emergence of the modern understanding of drawing in multiple senses: as an autonomous form of expression; an index of the artist’s personal style; an object of aesthetic contemplation; an epistemological tool; and a commodity. While historically grounded in the French tradition of drawing in the 18th and 19th centuries, the exhibition is neither chronological nor linear, but instead arranged around a constellation of categories that speaks to the key aspects of drawing understood as a medium, an object, and a discourse. The variety of techniques, materials, and approaches developed by the major artists of this period offers a historically complex answer to the basic question: what is it to draw? The 60 drawings on view include important works in the Harvard Art Museums’ preeminent drawings collections and two loans from Harvard’s Houghton Library. The exhibition is the result of close collaboration between Harvard professor Ewa Lajer-Burcharth and Harvard Art Museums curator Elizabeth Rudy, who co-taught seminars on the history of drawing in the museums’ Art Study Center in Fall 2015 and Spring 2016 and worked closely with their students to develop the show and its related materials. Students in the first seminar began the preliminary planning for the exhibition and wrote essays that will be published by the museums in an accompanying catalogue. These students studied and researched the drawings chosen for the exhibition, yielding new information about the works’ creation and even a new attribution—scholarship published for the first time in the catalogue. The students in the second seminar helped conceptualize the installation in the galleries and wrote labels for each drawing featured in the show. These labels will be compiled in a digital tool, which will also present audio clips of interviews with students about their research as well as additional resources. Co-curated by Ewa Lajer-Burcharth, the William Dorr Boardman Professor of Fine Arts at Harvard University, and Elizabeth M. Rudy, the Carl A. Weyerhaeuser Associate Curator of Prints at the Harvard Art Museums.

This exhibition traces the emergence of the modern understanding of drawing in multiple senses: as an autonomous form of expression; an index of the artist’s personal style; an object of aesthetic contemplation; an epistemological tool; and a commodity. While historically grounded in the French tradition of drawing in the 18th and 19th centuries, the exhibition is neither chronological nor linear, but instead arranged around a constellation of categories that speaks to the key aspects of drawing understood as a medium, an object, and a discourse. The variety of techniques, materials, and approaches developed by the major artists of this period offers a historically complex answer to the basic question: what is it to draw? The 60 drawings on view include important works in the Harvard Art Museums’ preeminent drawings collections and two loans from Harvard’s Houghton Library. The exhibition is the result of close collaboration between Harvard professor Ewa Lajer-Burcharth and Harvard Art Museums curator Elizabeth Rudy, who co-taught seminars on the history of drawing in the museums’ Art Study Center in Fall 2015 and Spring 2016 and worked closely with their students to develop the show and its related materials. Students in the first seminar began the preliminary planning for the exhibition and wrote essays that will be published by the museums in an accompanying catalogue. These students studied and researched the drawings chosen for the exhibition, yielding new information about the works’ creation and even a new attribution—scholarship published for the first time in the catalogue. The students in the second seminar helped conceptualize the installation in the galleries and wrote labels for each drawing featured in the show. These labels will be compiled in a digital tool, which will also present audio clips of interviews with students about their research as well as additional resources. Co-curated by Ewa Lajer-Burcharth, the William Dorr Boardman Professor of Fine Arts at Harvard University, and Elizabeth M. Rudy, the Carl A. Weyerhaeuser Associate Curator of Prints at the Harvard Art Museums.

This exhibition traces the emergence of the modern understanding of drawing in multiple senses: as an autonomous form of expression; an index of the artist’s personal style; an object of aesthetic contemplation; an epistemological tool; and a commodity. While historically grounded in the French tradition of drawing in the 18th and 19th centuries, the exhibition is neither chronological nor linear, but instead arranged around a constellation of categories that speaks to the key aspects of drawing understood as a medium, an object, and a discourse. The variety of techniques, materials, and approaches developed by the major artists of this period offers a historically complex answer to the basic question: what is it to draw? The 60 drawings on view include important works in the Harvard Art Museums’ preeminent drawings collections and two loans from Harvard’s Houghton Library. The exhibition is the result of close collaboration between Harvard professor Ewa Lajer-Burcharth and Harvard Art Museums curator Elizabeth Rudy, who co-taught seminars on the history of drawing in the museums’ Art Study Center in Fall 2015 and Spring 2016 and worked closely with their students to develop the show and its related materials. Students in the first seminar began the preliminary planning for the exhibition and wrote essays that will be published by the museums in an accompanying catalogue. These students studied and researched the drawings chosen for the exhibition, yielding new information about the works’ creation and even a new attribution—scholarship published for the first time in the catalogue. The students in the second seminar helped conceptualize the installation in the galleries and wrote labels for each drawing featured in the show. These labels will be compiled in a digital tool, which will also present audio clips of interviews with students about their research as well as additional resources. Co-curated by Ewa Lajer-Burcharth, the William Dorr Boardman Professor of Fine Arts at Harvard University, and Elizabeth M. Rudy, the Carl A. Weyerhaeuser Associate Curator of Prints at the Harvard Art Museums.

This exhibition traces the emergence of the modern understanding of drawing in multiple senses: as an autonomous form of expression; an index of the artist’s personal style; an object of aesthetic contemplation; an epistemological tool; and a commodity. While historically grounded in the French tradition of drawing in the 18th and 19th centuries, the exhibition is neither chronological nor linear, but instead arranged around a constellation of categories that speaks to the key aspects of drawing understood as a medium, an object, and a discourse. The variety of techniques, materials, and approaches developed by the major artists of this period offers a historically complex answer to the basic question: what is it to draw? The 60 drawings on view include important works in the Harvard Art Museums’ preeminent drawings collections and two loans from Harvard’s Houghton Library. The exhibition is the result of close collaboration between Harvard professor Ewa Lajer-Burcharth and Harvard Art Museums curator Elizabeth Rudy, who co-taught seminars on the history of drawing in the museums’ Art Study Center in Fall 2015 and Spring 2016 and worked closely with their students to develop the show and its related materials. Students in the first seminar began the preliminary planning for the exhibition and wrote essays that will be published by the museums in an accompanying catalogue. These students studied and researched the drawings chosen for the exhibition, yielding new information about the works’ creation and even a new attribution—scholarship published for the first time in the catalogue. The students in the second seminar helped conceptualize the installation in the galleries and wrote labels for each drawing featured in the show. These labels will be compiled in a digital tool, which will also present audio clips of interviews with students about their research as well as additional resources. Co-curated by Ewa Lajer-Burcharth, the William Dorr Boardman Professor of Fine Arts at Harvard University, and Elizabeth M. Rudy, the Carl A. Weyerhaeuser Associate Curator of Prints at the Harvard Art Museums.

This exhibition traces the emergence of the modern understanding of drawing in multiple senses: as an autonomous form of expression; an index of the artist’s personal style; an object of aesthetic contemplation; an epistemological tool; and a commodity. While historically grounded in the French tradition of drawing in the 18th and 19th centuries, the exhibition is neither chronological nor linear, but instead arranged around a constellation of categories that speaks to the key aspects of drawing understood as a medium, an object, and a discourse. The variety of techniques, materials, and approaches developed by the major artists of this period offers a historically complex answer to the basic question: what is it to draw? The 60 drawings on view include important works in the Harvard Art Museums’ preeminent drawings collections and two loans from Harvard’s Houghton Library. The exhibition is the result of close collaboration between Harvard professor Ewa Lajer-Burcharth and Harvard Art Museums curator Elizabeth Rudy, who co-taught seminars on the history of drawing in the museums’ Art Study Center in Fall 2015 and Spring 2016 and worked closely with their students to develop the show and its related materials. Students in the first seminar began the preliminary planning for the exhibition and wrote essays that will be published by the museums in an accompanying catalogue. These students studied and researched the drawings chosen for the exhibition, yielding new information about the works’ creation and even a new attribution—scholarship published for the first time in the catalogue. The students in the second seminar helped conceptualize the installation in the galleries and wrote labels for each drawing featured in the show. These labels will be compiled in a digital tool, which will also present audio clips of interviews with students about their research as well as additional resources. Co-curated by Ewa Lajer-Burcharth, the William Dorr Boardman Professor of Fine Arts at Harvard University, and Elizabeth M. Rudy, the Carl A. Weyerhaeuser Associate Curator of Prints at the Harvard Art Museums.

This exhibition traces the emergence of the modern understanding of drawing in multiple senses: as an autonomous form of expression; an index of the artist’s personal style; an object of aesthetic contemplation; an epistemological tool; and a commodity. While historically grounded in the French tradition of drawing in the 18th and 19th centuries, the exhibition is neither chronological nor linear, but instead arranged around a constellation of categories that speaks to the key aspects of drawing understood as a medium, an object, and a discourse. The variety of techniques, materials, and approaches developed by the major artists of this period offers a historically complex answer to the basic question: what is it to draw? The 60 drawings on view include important works in the Harvard Art Museums’ preeminent drawings collections and two loans from Harvard’s Houghton Library. The exhibition is the result of close collaboration between Harvard professor Ewa Lajer-Burcharth and Harvard Art Museums curator Elizabeth Rudy, who co-taught seminars on the history of drawing in the museums’ Art Study Center in Fall 2015 and Spring 2016 and worked closely with their students to develop the show and its related materials. Students in the first seminar began the preliminary planning for the exhibition and wrote essays that will be published by the museums in an accompanying catalogue. These students studied and researched the drawings chosen for the exhibition, yielding new information about the works’ creation and even a new attribution—scholarship published for the first time in the catalogue. The students in the second seminar helped conceptualize the installation in the galleries and wrote labels for each drawing featured in the show. These labels will be compiled in a digital tool, which will also present audio clips of interviews with students about their research as well as additional resources. Co-curated by Ewa Lajer-Burcharth, the William Dorr Boardman Professor of Fine Arts at Harvard University, and Elizabeth M. Rudy, the Carl A. Weyerhaeuser Associate Curator of Prints at the Harvard Art Museums.

This exhibition traces the emergence of the modern understanding of drawing in multiple senses: as an autonomous form of expression; an index of the artist’s personal style; an object of aesthetic contemplation; an epistemological tool; and a commodity. While historically grounded in the French tradition of drawing in the 18th and 19th centuries, the exhibition is neither chronological nor linear, but instead arranged around a constellation of categories that speaks to the key aspects of drawing understood as a medium, an object, and a discourse. The variety of techniques, materials, and approaches developed by the major artists of this period offers a historically complex answer to the basic question: what is it to draw? The 60 drawings on view include important works in the Harvard Art Museums’ preeminent drawings collections and two loans from Harvard’s Houghton Library. The exhibition is the result of close collaboration between Harvard professor Ewa Lajer-Burcharth and Harvard Art Museums curator Elizabeth Rudy, who co-taught seminars on the history of drawing in the museums’ Art Study Center in Fall 2015 and Spring 2016 and worked closely with their students to develop the show and its related materials. Students in the first seminar began the preliminary planning for the exhibition and wrote essays that will be published by the museums in an accompanying catalogue. These students studied and researched the drawings chosen for the exhibition, yielding new information about the works’ creation and even a new attribution—scholarship published for the first time in the catalogue. The students in the second seminar helped conceptualize the installation in the galleries and wrote labels for each drawing featured in the show. These labels will be compiled in a digital tool, which will also present audio clips of interviews with students about their research as well as additional resources. Co-curated by Ewa Lajer-Burcharth, the William Dorr Boardman Professor of Fine Arts at Harvard University, and Elizabeth M. Rudy, the Carl A. Weyerhaeuser Associate Curator of Prints at the Harvard Art Museums.

This exhibition traces the emergence of the modern understanding of drawing in multiple senses: as an autonomous form of expression; an index of the artist’s personal style; an object of aesthetic contemplation; an epistemological tool; and a commodity. While historically grounded in the French tradition of drawing in the 18th and 19th centuries, the exhibition is neither chronological nor linear, but instead arranged around a constellation of categories that speaks to the key aspects of drawing understood as a medium, an object, and a discourse. The variety of techniques, materials, and approaches developed by the major artists of this period offers a historically complex answer to the basic question: what is it to draw? The 60 drawings on view include important works in the Harvard Art Museums’ preeminent drawings collections and two loans from Harvard’s Houghton Library. The exhibition is the result of close collaboration between Harvard professor Ewa Lajer-Burcharth and Harvard Art Museums curator Elizabeth Rudy, who co-taught seminars on the history of drawing in the museums’ Art Study Center in Fall 2015 and Spring 2016 and worked closely with their students to develop the show and its related materials. Students in the first seminar began the preliminary planning for the exhibition and wrote essays that will be published by the museums in an accompanying catalogue. These students studied and researched the drawings chosen for the exhibition, yielding new information about the works’ creation and even a new attribution—scholarship published for the first time in the catalogue. The students in the second seminar helped conceptualize the installation in the galleries and wrote labels for each drawing featured in the show. These labels will be compiled in a digital tool, which will also present audio clips of interviews with students about their research as well as additional resources. Co-curated by Ewa Lajer-Burcharth, the William Dorr Boardman Professor of Fine Arts at Harvard University, and Elizabeth M. Rudy, the Carl A. Weyerhaeuser Associate Curator of Prints at the Harvard Art Museums.

This exhibition traces the emergence of the modern understanding of drawing in multiple senses: as an autonomous form of expression; an index of the artist’s personal style; an object of aesthetic contemplation; an epistemological tool; and a commodity. While historically grounded in the French tradition of drawing in the 18th and 19th centuries, the exhibition is neither chronological nor linear, but instead arranged around a constellation of categories that speaks to the key aspects of drawing understood as a medium, an object, and a discourse. The variety of techniques, materials, and approaches developed by the major artists of this period offers a historically complex answer to the basic question: what is it to draw? The 60 drawings on view include important works in the Harvard Art Museums’ preeminent drawings collections and two loans from Harvard’s Houghton Library. The exhibition is the result of close collaboration between Harvard professor Ewa Lajer-Burcharth and Harvard Art Museums curator Elizabeth Rudy, who co-taught seminars on the history of drawing in the museums’ Art Study Center in Fall 2015 and Spring 2016 and worked closely with their students to develop the show and its related materials. Students in the first seminar began the preliminary planning for the exhibition and wrote essays that will be published by the museums in an accompanying catalogue. These students studied and researched the drawings chosen for the exhibition, yielding new information about the works’ creation and even a new attribution—scholarship published for the first time in the catalogue. The students in the second seminar helped conceptualize the installation in the galleries and wrote labels for each drawing featured in the show. These labels will be compiled in a digital tool, which will also present audio clips of interviews with students about their research as well as additional resources. Co-curated by Ewa Lajer-Burcharth, the William Dorr Boardman Professor of Fine Arts at Harvard University, and Elizabeth M. Rudy, the Carl A. Weyerhaeuser Associate Curator of Prints at the Harvard Art Museums.

This exhibition traces the emergence of the modern understanding of drawing in multiple senses: as an autonomous form of expression; an index of the artist’s personal style; an object of aesthetic contemplation; an epistemological tool; and a commodity. While historically grounded in the French tradition of drawing in the 18th and 19th centuries, the exhibition is neither chronological nor linear, but instead arranged around a constellation of categories that speaks to the key aspects of drawing understood as a medium, an object, and a discourse. The variety of techniques, materials, and approaches developed by the major artists of this period offers a historically complex answer to the basic question: what is it to draw? The 60 drawings on view include important works in the Harvard Art Museums’ preeminent drawings collections and two loans from Harvard’s Houghton Library. The exhibition is the result of close collaboration between Harvard professor Ewa Lajer-Burcharth and Harvard Art Museums curator Elizabeth Rudy, who co-taught seminars on the history of drawing in the museums’ Art Study Center in Fall 2015 and Spring 2016 and worked closely with their students to develop the show and its related materials. Students in the first seminar began the preliminary planning for the exhibition and wrote essays that will be published by the museums in an accompanying catalogue. These students studied and researched the drawings chosen for the exhibition, yielding new information about the works’ creation and even a new attribution—scholarship published for the first time in the catalogue. The students in the second seminar helped conceptualize the installation in the galleries and wrote labels for each drawing featured in the show. These labels will be compiled in a digital tool, which will also present audio clips of interviews with students about their research as well as additional resources. Co-curated by Ewa Lajer-Burcharth, the William Dorr Boardman Professor of Fine Arts at Harvard University, and Elizabeth M. Rudy, the Carl A. Weyerhaeuser Associate Curator of Prints at the Harvard Art Museums.

This exhibition traces the emergence of the modern understanding of drawing in multiple senses: as an autonomous form of expression; an index of the artist’s personal style; an object of aesthetic contemplation; an epistemological tool; and a commodity. While historically grounded in the French tradition of drawing in the 18th and 19th centuries, the exhibition is neither chronological nor linear, but instead arranged around a constellation of categories that speaks to the key aspects of drawing understood as a medium, an object, and a discourse. The variety of techniques, materials, and approaches developed by the major artists of this period offers a historically complex answer to the basic question: what is it to draw? The 60 drawings on view include important works in the Harvard Art Museums’ preeminent drawings collections and two loans from Harvard’s Houghton Library. The exhibition is the result of close collaboration between Harvard professor Ewa Lajer-Burcharth and Harvard Art Museums curator Elizabeth Rudy, who co-taught seminars on the history of drawing in the museums’ Art Study Center in Fall 2015 and Spring 2016 and worked closely with their students to develop the show and its related materials. Students in the first seminar began the preliminary planning for the exhibition and wrote essays that will be published by the museums in an accompanying catalogue. These students studied and researched the drawings chosen for the exhibition, yielding new information about the works’ creation and even a new attribution—scholarship published for the first time in the catalogue. The students in the second seminar helped conceptualize the installation in the galleries and wrote labels for each drawing featured in the show. These labels will be compiled in a digital tool, which will also present audio clips of interviews with students about their research as well as additional resources. Co-curated by Ewa Lajer-Burcharth, the William Dorr Boardman Professor of Fine Arts at Harvard University, and Elizabeth M. Rudy, the Carl A. Weyerhaeuser Associate Curator of Prints at the Harvard Art Museums.

This exhibition traces the emergence of the modern understanding of drawing in multiple senses: as an autonomous form of expression; an index of the artist’s personal style; an object of aesthetic contemplation; an epistemological tool; and a commodity. While historically grounded in the French tradition of drawing in the 18th and 19th centuries, the exhibition is neither chronological nor linear, but instead arranged around a constellation of categories that speaks to the key aspects of drawing understood as a medium, an object, and a discourse. The variety of techniques, materials, and approaches developed by the major artists of this period offers a historically complex answer to the basic question: what is it to draw? The 60 drawings on view include important works in the Harvard Art Museums’ preeminent drawings collections and two loans from Harvard’s Houghton Library. The exhibition is the result of close collaboration between Harvard professor Ewa Lajer-Burcharth and Harvard Art Museums curator Elizabeth Rudy, who co-taught seminars on the history of drawing in the museums’ Art Study Center in Fall 2015 and Spring 2016 and worked closely with their students to develop the show and its related materials. Students in the first seminar began the preliminary planning for the exhibition and wrote essays that will be published by the museums in an accompanying catalogue. These students studied and researched the drawings chosen for the exhibition, yielding new information about the works’ creation and even a new attribution—scholarship published for the first time in the catalogue. The students in the second seminar helped conceptualize the installation in the galleries and wrote labels for each drawing featured in the show. These labels will be compiled in a digital tool, which will also present audio clips of interviews with students about their research as well as additional resources. Co-curated by Ewa Lajer-Burcharth, the William Dorr Boardman Professor of Fine Arts at Harvard University, and Elizabeth M. Rudy, the Carl A. Weyerhaeuser Associate Curator of Prints at the Harvard Art Museums.

This exhibition traces the emergence of the modern understanding of drawing in multiple senses: as an autonomous form of expression; an index of the artist’s personal style; an object of aesthetic contemplation; an epistemological tool; and a commodity. While historically grounded in the French tradition of drawing in the 18th and 19th centuries, the exhibition is neither chronological nor linear, but instead arranged around a constellation of categories that speaks to the key aspects of drawing understood as a medium, an object, and a discourse. The variety of techniques, materials, and approaches developed by the major artists of this period offers a historically complex answer to the basic question: what is it to draw? The 60 drawings on view include important works in the Harvard Art Museums’ preeminent drawings collections and two loans from Harvard’s Houghton Library. The exhibition is the result of close collaboration between Harvard professor Ewa Lajer-Burcharth and Harvard Art Museums curator Elizabeth Rudy, who co-taught seminars on the history of drawing in the museums’ Art Study Center in Fall 2015 and Spring 2016 and worked closely with their students to develop the show and its related materials. Students in the first seminar began the preliminary planning for the exhibition and wrote essays that will be published by the museums in an accompanying catalogue. These students studied and researched the drawings chosen for the exhibition, yielding new information about the works’ creation and even a new attribution—scholarship published for the first time in the catalogue. The students in the second seminar helped conceptualize the installation in the galleries and wrote labels for each drawing featured in the show. These labels will be compiled in a digital tool, which will also present audio clips of interviews with students about their research as well as additional resources. Co-curated by Ewa Lajer-Burcharth, the William Dorr Boardman Professor of Fine Arts at Harvard University, and Elizabeth M. Rudy, the Carl A. Weyerhaeuser Associate Curator of Prints at the Harvard Art Museums.

The Baker Street Irregulars are widely known as a literary society dedicated to the study of Sherlock Holmes. Since 1934 the group has been gathering in New York City for  and has embarked on  centered around, , and analysis of extant . But more than that, the BSI wants to ensure that its own history and that of its members are recorded for posterity and the researchers who may be interested in it sometime in the future. Enter . In this episode, Burt and Scott interview Tom Francis, BSI ("The Imperial Opera at Warsaw), who is the Chair of the Trust. Tom helps us understand how and why the Trust was established, what its aims are, and how you can help this august institution. We discuss some of the holdings of the Houghton Library at Harvard University, where the Trust is housed, including the H.W. Bell collection - Bell having been an early Sherlockian scholar and member of The Speckled Band of Boston. The BSI Trust is a nonprofit organization as a subset of the Baker Street Irregulars. Donations are welcome, but original materials are more desirable. Correspondence of Irregulars and their other papers are welcome - but the Trust does is not interested in everything Sherlockian or related to all Sherlockian societies. Books and other items that are not a core part of the Trust typically go up for sale or auction. Tom breaks ground as he utters a phrase never before heard on this program - tune in to find out exactly what that is - and even begins to delve into what the future of the Trust looks like in our digital/electronic times. Links: How individuals can  to the BSIT    - the BSI Trust newsletter Please  and be kind enough to leave a rating or review for the show. Your thoughts on the show? Leave a comment below, send us an email, call us at (774) 221-READ (7323). Connect with us on  on Google+, ,  and . And above all, please let our sponsors know that you heard us rant and rave about their excellence during the programme:  and .

Houghton Library, *47Z-7

Leslie Morris is Curator of Modern Books and Manuscripts at Houghton Library, Harvard University in Cambridge MA and an expert on the New Directions publishing house. I met with her to talk about publisher James 'J' Laughlin "New Directions was founded in 1936, when James Laughlin (1914–1997), then a twenty-two-year-old Harvard sophomore, issued the first of the New Directions anthologies. "I asked Ezra Pound for ‘career advice,'" James Laughlin recalled. "He had been seeing my poems for months and had ruled them hopeless. He urged me to finish Harvard and then do 'something' useful." and the history of his venerable firm. Subjects covered include Ezra Pound, dust jacket designer Alvin Lustig, experimental poetry, works in translation - all of which are informed by an underlying desire to get at those books within this publisher's output that might most appeal to the book collector and/or book lover.