Guest Blogger: Ayla Amon*, Curatorial Assistant at the Smithsonian National Museum of African American History and Culture, “The Autobiography and the Bible**: A Tale of Resistance”

Daguerreotype of Omar ibn Sayyid showing him directly facing the camera as the focus of the image – a rare position for an enslaved person. (Image courtesy of Davidson College, Archives, Special Collections and Community)

“In the name of Allah, the merciful, the compassionate…”[i] So begins the first sentence of the 1831 autobiography of Omar ibn Sayyid (c. 1770-1863), a man enslaved in North Carolina.[ii] This Arabic-language handwritten manuscript, currently housed at the Library of Congress, is the only known autobiography of an enslaved person that is written in a native African language. At sixteen pages of text, it is the longest document of the fifteen that Sayyid left behind. In it, he details his life in both Futa Toro – the land “between the two rivers”[iii] in what are today Senegal and Mauritania – as well as the United States. The autobiography tells the story of Sayyid’s life, his religious beliefs, and his views on slavery in his own, unfiltered words.


The first page of Sayyid’s autobiography (folio 1a) on which he writes the Qur’anic Surat al-Mulk, beginning with the Basmala. (Courtesy of the Library of Congress)

This document is only part Sayyid’s rich life story, and it showcases one of the most striking and ubiquitous aspects of Sayyid’s writings: his use of Arabic as a means of resisting his enslavement. In an era when it was illegal for enslaved persons to read and write, not only was Sayyid encouraged to do so by his enslavers, but he also found within the practice a space of personal power to directly question and challenge his captivity.

Sayyid’s autobiography is not the only place he comments on themes of faith and forced servitude. His handwriting also adorns an Arabic-language Bible, currently housed at Davidson College, that he received from his enslavers around 1819. He wrote the Basmala – the same Qur’anic phrase that begins his autobiography – above the Book of Genesis, and his marginalia sprinkled throughout the Bible offers praise to Allah. His notations are most prominent in the Old Testament, where he creates new titles for some of the books by transliterating them into English – a practice that appears in many of the documents he wrote.[iv] Focusing on these books speaks to Sayyid’s interest in how slavery is presented in the Bible, particularly concerning the legal status of enslaved persons, treatment of the enslaved, and manumission.


This opening page of Book of Lamentations shows one of Sayyid’s alternate titles. Rather than the printed “al-Marāthi Irmiyā al-nabi,” (Lamentations of the Prophet Jeremiah) (line 1) Sayyid writes (line 2) “Lmntsn Zrmāy,” an Arabic transliteration of the English “Lamentations of Jeremiah”. (Folio 536, Arabic-language Bible of Omar ibn Sayyid, Courtesy of Davidson College, Archives, Special Collections and Community (DCs 0211-4,5,6))
 

Sayyid moves further into an examination of enslavement in his own writings. The Qur’anic verse he quotes in his autobiography, Surat al-Mulk (67),[v] can be read as a commentary on his enslavement – and a challenge to it. It asserts that the absolute power of dominion belongs with Allah alone, not man, thus subverting the social power of his enslaver. Neither the slavery of the Qur’an nor the slavery of the Bible, which both include provisions for kind treatment and manumission of the enslaved, align with the brutal race-based chattel slavery Sayyid experienced in the United States.


Image of the “Illegal to Preach” case in Slavery and Freedom at the National Museum of African American History and Culture showing Sayyid’s Bible (far right) opened to the final page of Revelations where Sayyid writes “al-hamdu lillah hamdan kathiran” (“Praise be to Allah much praise”). He also includes his name, as well as that of his mother, ‘Umhan Yasnik. (Photograph by John Lutz)

For the first time since Sayyid’s death in 1863, both of these manuscripts are in the same city, Washington, D.C. The autobiography at the Library of Congress, and the Bible on loan to the Smithsonian National Museum of African American History and Culture. One can only assume that Sayyid would appreciate how the work of an enslaved African Muslim resides in the capital of a country that once denied both his humanity and religion – a final act of resistance that writes African Islam into the religious, social, and political fabric of the United States.

*Ayla Amon is a Curatorial Assistant at the Smithsonian National Museum of African American History and Culture and Visiting Lecturer at University of North Carolina Greensboro. She studies African Islam, the African Muslim Diaspora, and the African Muslims forcibly migrated to the United States during the transatlantic slave trade.

**The Sayyid Bible will be on display in the Slavery and Freedom Gallery of the National Museum of African American History and Culture through July 24, 2021.  

[i] Called the Basmala, this phrase, “bismillah ir-rahman ir-rahim,” is the first line of the Qur’an and is recited before every chapter (or sura), save the ninth.

[ii] More information on Sayyid’s life, including a page-by-page translation of his autobiography, can be found in Omar ibn Said and Ala Alryyes (trans.), A Muslim American Slave: The Life of Omar ibn Sayyid (Madison: University of Wisconsin Press, 2011).

[iii] Sayyid writes, “bayn al-bahrayn” (folio 14). Omar ibn Said. The life of Omar ben Saeed, called Morro, a Fullah Slave in Fayetteville, N.C. Owned by Governor Owen. Manuscript. 1831. From Library of Congress, Theodore Dwight, Henry Cotheal, Lamine Kebe, and Omar Ibn Said Collection, https://www.loc.gov/item/2018371864/ (accessed January 14, 2021).

[iv] A full exploration of Sayyid’s Biblical marginalia is the topic for another blog post, but some additional examples can be found in Jeffrey Einboden, “Davidson Marginalia,” Northern Illinois University, https://www.niu.edu/arabic-slave-writings/davidson-marginalia/index.shtml, and Allan Austin, African Muslims in Antebellum America: Transatlantic Stories and Spiritual Struggles (Routledge, 1997): 136-137, 140.

[v] The Arabic word “mulk” derives from the tripartite root “malaka” – to own or have dominion over. Sayyid writes the entire sura though he erroneously omits 67:29 and repeats 67:30 twice.

Guest blogger: Alexa Torchynowycz, Systems and Cataloging Librarian, “Measured in millimeters: Miniature books at Davidson”

The other day I read an article about “micro” apartments being built in Charlotte’s South End. The square footage of these space conscious dwellings start at under 400 square feet. For some perspective, that’s only slightly larger than a double occupancy dorm room on campus. As a fan of shows like “Tiny House Hunters” and “Container Homes” I am very familiar and fascinated by this mini mode of living. However, when imagining my life in downsized digs I always have one concern: where would I put all my books? Right now bookshelves cover at least half of my walls and those shelves are at (and over) capacity. I have books stashed in cabinets, closets, and boxes. Needless to say I have a storage problem already. So what is a bibliophile with a penchant for tiny homes to do? Enter the miniature book!

Miniature books are typically defined as books that are smaller than 4 inches tall. They can have all the same elements as non-mini books such as hardback covers, illustrations, chapters, etc., just on a smaller scale. Davidson’s Library has several examples of miniature books in its collection and many more were recently added thanks to a donation from the estate of Wilbur L. Fugate (class of 1934). Titles from the donation include a mini “Merchant of Venice”, a diminutive dictionary, and a bitty biography of the composer Handel just to name a few.

From left to right: Miniature “The merchant of Venice” with a full sized copy of “The tempest” for size comparison ; “The little Webster” dictionary is less than 2 inches tall ; a biography of Handel from the Petite Library series.

There is some debate as to when the miniature book originated and for what purpose. Some say the first miniature books appeared during the Middle Ages. These were predominately Bibles, hymnals, and devotional literature used for daily religious practice. Some of these books were so small they became known as “thumb Bibles.” The smallest miniature book in the library’s collection is a Bible which barely measures 1.5 inches tall. That Bible is not from the Middle Ages, but the library’s earliest miniature book was printed in 1808. “Wisdom in miniature” describes itself as a “collection of sentences divine and moral” for young gentlemen and ladies on piety, obedience, calm behavior, and other basic tenets of early 19th century society.

Because small books could be produced en masse and easily distributed, many were used for sales and advertising purposes. “The pocket carpet bag,” much like its namesake, was inexpensive and easy to travel with. Although there are some stories, most of the pages are filled with advertisements for goods and services. And since their small size made them more travelable, mini books became popular souvenirs. Want to remember your trip to D.C.? Then grab “Washington in Miniature” and marvel at the petite pictures of the capital’s major sites.

On the left: “Washington in miniature” with drawings by artists from the Rochon Hoover Studio. On the right: “The pocket carpet bag” with full color illustration on the front cover.


So will miniature books solve all our storage problems? Probably not. But they are just so much fun to look at! To view the books mentioned in this post, or any of the other miniature books in the library’s collection, email archives@davidson.edu to make an appointment.  Let’s hope that this COVID-19 quarantine ends soon!

Guest blogger: Alexa Torchynowycz, Systems and Cataloging Librarian, “The Historic Textbook Collection: A New Addition to the Special Collections”

We’re baaack! After a hiatus to change service providers, the Archives blog, Around the D, has returned!

Ever wonder what it was like to be a Davidson College student 100 years ago? Well, unless you have access to Mr. Peabody’s Wayback machine you’ll need to make a visit to the Davidson College Archives and Special Collections and view one of our newer additions, the Historic Textbook Collection.

Among the photographs, ephemera, and other materials from the college that are housed in the Archives and Special Collections, we now have several textbooks that were originally used in Davidson classrooms which make up the Historic Textbook Collection. The textbooks were donated by alumni families and cover topics such as English, geography, religion, and ‘modern’ bookkeeping.

Black and white title page for Modern Illustrative Bookkeeping
page 54 and 55 of Modern Illustrative Bookkeeping
Modern Illustrative Bookkeeping

One of the items in the Historic Textbook Collection is a student’s notebook for English I, which belonged to Mitchell Corriher, class of 1920. The binder contains all of the assignments, notes, and even graded papers for the 1916-1917 school year English course. In some of the assignments, the student proudly writes about Davidson’s impressive football record for 1916. In others, he strikes a somber tone writing about the “greatest war known in history,” World War I.

Cover page of English I, 2 ring binder notebook
Mitchell Corriher’s (Class of 1920) English I student notebook

As a group, these textbooks and notebooks not only give a peek into Davidson’s classrooms and college life from years ago but also inform a broader understanding of the social and political events of the time.

The early Davidson textbooks in the Historic Textbook Collection aren’t the only interesting things from the Archives, Special Collections and Community department. From millimeter tall artist books to maps of the world, check out the library’s other rare and special materials in these collections:

Artists’ Books Collection

Bruce Rogers Collection

Cumming Collection

Fugate Collection

Golden Cockerel Press Collection

Have a historic textbook you’d like to donate? Contact the Davidson College Archives – archives@davidson.edu

Guest blogger: Alexa Torchynowycz, Systems and Cataloging Librarian in the E.H. Little Library, “Did you know we had this?!?! A serendipitous encounter with Solzhenitsyn”

An independent press, a censored author, and two donations: No, this is not the beginning of a “… walked into a bar” joke. It is, however, the beginning elements of a chance meeting of materials in the Rare Book Room.

I recently cataloged the first broadside printed by the Iron Mountain Press, which was donated by Dr. Robert Denham, class of 1961. A broadside in the printing industry is a single sheet of paper with printing on only one side of it and this particular broadside contains the poem “Release of Solshenitsyn” (1969) by J.M. Martin. I was excited to work with this item because it was the first issued in a series of broadsides from Iron Mountain Press and, just like with comic books, the first issue is very rare (we are the only library in WorldCat with this item). The Rare Book Room has several other broadsides from this series. To find them, search for Iron Mountain Press broadside in the Rare Book Room catalog https://davidson.primo.exlibrisgroup.com/discovery/search?&tab=RBR&search_scope=RBR&vid=01DCOLL_INST:01DCOLL&lang=en

Examples of three Iron Press broadsides: "Persephone's Dilemma", "Release of Solshenitsyn", and "In the dark all cats fly"
Iron Mountain Press Broadsides

An added bonus to working with this broadside was that the poem was about the Russian author, Alexander Solzhenitsyn. I had read several of his books and was familiar with his background. I enjoyed reading the poem and picking up on elements that pointed to Solzhenitsyn’s history. As much as I try to, I can’t keep the things I catalog in my office forever, so I finished up my work and put the broadside with a few other items I was planning to take back to the Rare Book Room.

Little did I know that Solzhenitsyn would be making a repeat appearance in a very big way.

A few days later, I grabbed an innocuous-looking archival rare book box out of a stack of things I needed to catalog. I couldn’t tell what was in it so naturally, my curiosity was piqued. Upon opening the box, I found several handwritten notes and a plain paperback written in Russian. The first note I read said that the book was an issue of the literary journal, Novyi Mir, and this precise issue (1962, no. 11) contained the first-ever publication of … wait for it … “One day in the life of Ivan Denisovich” by none other than Alexander Solzhenitsyn. What a fantastic coincidence and an even more fantastic find!

Copy of bookplate of donor, Dr. Jack Perry and front cover of 1962 publication in Cyrillic.
First page of the volume in Cyrillic.

The story focuses on a prisoner of a Soviet labor camp and the extreme conditions prisoners faced there. Solzhenitsyn had to severely edit his own novel in order to see it published, but when it finally came out in Novyi Mir it was the first time that the labor camp system, or Gulag, was depicted in a Soviet published work. It was an immediate sensation both inside and outside of the Soviet Union, but soon afterward, Solzhenitsyn and his work were labeled as anti-Soviet by literary critics within the USSR. Solzhenitsyn published several more novels, none of which saw an initial publication in the Soviet Union again and all of which were critical of the Soviet government. This led to the author’s deportation in 1974.

Though the issue of Novyi Mir with “One day” had a large publication run (over 95,000 copies sold) they began to disappear in the Soviet Union because of a government initiative to censor the novel. Few physical copies of the November 1962 issue of Novyi Mir exist in libraries today and here was one in my hands! I also still had the “Release of Solshenitsyn” broadside sitting on a cart next to me. Two Solzhenitysns from two completely different sources. I was so excited about this unbelievable coincidence that I took (ran is the more correct verb) “One day” and the broadside up to the Rare Book Room. As soon as I got up there I asked, “Did you know we had this?!?!” They were as astonished as I was. Sharon Byrd, the Special Collections Librarian, also helped me to put the pieces together of how we acquired this item. The Novyi Mir was donated by Dr. Jack Perry, a Davidson professor of political science. In 1962, when “One day” appeared in Novy Mir, Dr. Perry was living in Russia and most likely picked up the issue during his time there. He then taught at Davidson from 1985 to 1995 and over 20 years later, presented this copy of “One day” to the library.

And now you can answer my question from the title of this blog post with, “Yes! I know we have the first broadside from Iron Mountain Press AND the first publication of “One Day in the life of Ivan Denisovich” by Alexander Solzhenitsyn!”

Rethinking Darwin….

Descent of Man 1st ed., 1871 title page

Descent of Man
1st ed., 1871

I had an RBR session yesterday for Dr. Jerry Putnam and two of his students studying Perspectives on Darwinism.  One of the items I had out from the collection is our first edition of his The Descent of Man, and selection in relation to sex.  Here’s some information on our copy.

The Descent of man, and selection in relation to sex.  By Charles Darwin.  London, J. Murray, 1871, 2v., 1st edition.

Published 12 years after his famous On the Origin of Species, The Descent of Man was Darwin’s second work dealing with the theory of evolution and natural selection.  His first, On the Origin of Species, may be a more familiar title to many, but it is on page 2 of the 1st edition of The Descent of Man that Darwin first used the term evolution.

Vol. I page 2 Introduction chapter

Use of the word “evolution” in 1st paragraph

The Rare Book Room has a copy of the 1st edition, 1st issue, which was published in 2 volumes in a run of 2500 copies on February 24, 1871.  It was given to the library by Dr. Carlton B. Chapman, Davidson class of 1936, and a collector in the area of medical history.  It is in its original green cloth binding,

Original binding of Descent of Man Vol. I and Vol. II

Original binding

and a bookseller’s note on the title page of volume 1 indicates that it is a “1st edition as issued.”  The volumes are illustrated throughout with wood engravings.

Two images in the book of Embryonic Development. The upper figure is human embryo, fro Ecker. Lower figure is that of a dog from Bischoff.

Engraving

Errata sheet Vol. I & Vol. II and Contents page Part II

Errata sheet

 

 

 

 

 

An errata sheet on the verso (back) of the title page of volume 2 lists the errors noted but un-corrected in the text, such as the word mail for male, and a scrambled spelling of walruses as narwhals.  Darwin also noted in a postscript that he made a “serious and unfortunate error, in relation to the sexual differences of animals” on pages 297-299 of volume 1, and admits that “the explanation given is wholly erroneous.”

Postscript Vol. I noting "serious and unfortunate error"

“serious and unfortunate error”

(Even great scientists sometimes make initial errors in discovery!)

Thanks, Dr. Chapman, for this great donation to the RBR collection.

Guest Blogger: Andrew Rippeon, Ph.D. Visiting Assistant Professor of Writing, “More Frankenstein”

Broadside with the silhouette of a human with cross hatches of green surrounded by quotes regarding monsters and Frankenstein

Broadside Celebrating the Bicentennial of Mary Shelley’s Frankenstein and Halloween 2018

It’s been 200 years since the publication of Mary Shelley’s story of a creature created in a laboratory.  In the cinematic adaptations, the creature is stitched together, composed of body parts taken from corpses and medical specimens (and a famously “abnormal” brain).  Given this collage-like nature of Frankenstein’s creation, it seemed fitting to mark both the bicentennial of Shelley’s publication and Halloween 2018 with an “exquisite corpse”-style letterpress print.  In the Surrealist technique of the exquisite corpse, multiple authors or artists contribute short fragments to a single composition, with the result being a collaboratively composed final work that often demonstrates striking, unexpected juxtapositions.    

In our practice of the exquisite corpse, volunteers from Professor Sample’s WRI-101 course (“Monsters”!) visited the new and developing Letterpress Lab in the Wall Center for a brief overview of typesetting and letterpress printing.  After an introduction to the anatomy of moveable type (including the face, foot, belly, shoulder, and beard of the individual pieces of type, known as “sorts”), and the basics of typesetting (upside-down, from left to right), students selected typefaces and then set short quotations they’d brought with them, drawn from their readings in all things monsterish.  Some had chosen extracts from novels, while others had more theoretical excerpts.  When typesetting was complete, the students’ individual quotations were then gathered together onto one of two mid-century Vandercook proof presses, and locked into place in the bed of the press.   

The following day, students returned to print their type on large-format sheets previously printed with an appropriate background: a monsterish, vaguely human silhouette emerging from a visually noisy background.  Perhaps appropriate to the occasion (a celebration of what is sometimes called the first work of science fiction), these background sheets were produced on the letterpress but by means of a decidedly twenty-first century technique known as “pressure printing,” and in this specific case enabled by the technology of the laser-cutter in the college makerspace Studio M.  Pressure printing is a little bit like stenciling, but rather than applying pigment onto a sheet through a stencil, the stencil itself is placed behind the sheet, and the pair are run through the letterpress.  Ink transfers unevenly from the press to the print—a “mistake” in traditional letterpress practices!—according to the presence or absence of the material behind the printed sheet.  In this case, a negative and then a positive stencil were used to create, respectively, the background field (silver) with a silhouette removed, and the foreground figure (variably inked) with the background removed.  Hand inking of the figure produced a stitch-like effect, which continued the monsterish and collage-oriented approach to the print.  In the short edition (limited to 40), no two prints are the same.       

 

Frankenstein: the Anniversary

Frankenstein, cover

Frankenstein

This year is the 200th anniversary of the publication of Mary Shelley’s Frankenstein, and many libraries are participating in “Frankenreads”…a reading of the gothic novel. In case you’ve never read the tale, this would be a good time to do that.  Here’s some background on the novel.

“It’s alive! It’s alive”
You probably associate that line with the movie, “Frankenstein.” And, you’d be right. You’d be wrong, however if you think the monster is Frankenstein. That was actually the name of the doctor who created him, and both were born from the imagination of Mary Shelley, who began her book Frankenstein; or the Modern Prometheus during the summer of 1816 when she was not yet nineteen. Mary (the lover, and later wife of the poet Percy Bysshe Shelley), Shelley, Lord Byron and John Polidori were spending time in Geneva, and the gloomy, rainy weather often kept them indoors. Among the often occult topics of conversation was galvanism, the contraction of a muscle that is stimulated by an electric current. One rainy afternoon, Byron suggested that they have a contest to see who could write the best gothic horror story. Mary’s was the only one which was completed. Her story is of a doctor, Victor Frankenstein, who experiments with a technique for giving life to non-living matter which ultimately leads to his creation of The Monster. Full of gothic elements, and considered to be one of the earliest examples of science fiction, it is more than that. It explores themes of goodness and beauty as well. Shelley’s tale was published in London in 1818, but that first edition was published anonymously. Her name did not appear as the author until the second edition was published in France in 1823.
Although when first published Frankenstein did not receive favorable critical reviews, it did gain almost immediate popular success, and the story has been retold in theatrical productions, movies (and movie spoofs) through the years. Although Mary Shelley continued to write, she will always be remembered for Frankenstein.
We have in the Rare Book Room an early copy of the celebrated novel.

Forthcoming book ad for Vanity Fair

Forthcoming book ad for Vanity Fair

Frankenstein back cover of original paper wrappers

Back cover of original paper wrappers

Publisher's list of some of their other works

Publisher’s list of some of their other works

Frankenstein or, The Modern Prometheus by Mary W. Shelley, title page

Title Page

Frankenstein, original preface

Original preface

1831 Bentley edition preface, "Preface to the Last London Edition."

1831 Bentley edition preface

Frankenstein's opening page, "Frankenstein; or, The Modern Prometheus Letter I. to Mrs. Saville, England."

Opening pages of the story

Frankenstein; or, The Modern Prometheus / by Mrs. Shelley. Boston: Sever, Francis, & Co., 1869. Third American edition. Includes both the original preface, and the preface the author wrote for the 1831 Bentley’s Standard Novel edition (London). Rebound in brown buckram, but retains the original green paper wrappers. Includes original publisher’s ad for “the elegant Cambridge edition” of Vanity Fair.

Rare Book School and Bruce Rogers

I’m just back from a great week in Charlottesville, VA at Rare Book School.  Founded in 1983 at Columbia University, it moved to UVA in 1992.  Not just for librarians, Rare Book School offers week long classes at UVA during the months of June and July to those interested in all aspects of “rare books”…classes which are taught by experts in their fields.  Initially dealing primarily with books and manuscripts, classes have expanded to include all areas of the history of written, printed, and digital materials.  Students include librarians, dealers in antiquarian books, book collectors, conservators, teachers, and students (professional or avocational).  Classes are small (usually about 12 students) so students really get to know each other and work closely together for the week.  Entry is competitive, so I was excited to be accepted this year to “The History of 19th and 20th Century Typography and Printing.”

The course was taught by Katherine Ruffin, Book Arts Program Director at Wellesley College, and John Kristensen, owner of the Firefly Press in Boston.  I was in class with students from Virginia, Maine, New York, Pennsylvania, Washington, D.C., Missouri, and Vancouver, BC, including librarians, students, professors, and a member of the RBS staff.  We talked about the evolution of “books,” and “printing,” from clay tablets through letterpress printing to the electronic book, but concentrated on 19th and 20th century letterpress printing with handset foundry type, to monotype and linotype machine set type.  We looked at examples of typefaces and printing styles of famous printers and presses from the collections of the Rare Book School and the Special Collections at UVA’s Small Library  We were also able to set type ourselves (harder than it looked!) and print a joint class effort broadside to take home.  On Friday, each class member made a presentation on a particular type face…one of personal interest.

First page of The Centaur

First page of The Centaur

I chose Centaur type, designed by Bruce Rogers.  I have a particular interest in his design since we have a large collection of materials of Bruce Rogers (numbering around 200), given to Davidson by a friend of the typographer, Dr. Harold Marvin, Davidson class of 1914.

Rare Book School is a great professional opportunity for learning, meeting colleagues in the field, and having a great deal of fun!

From the Rare Book Room: Watermark Wednesday

A hallmark of good research is looking beyond the surface. Particularly, in the Davidson Archives, it is prudent to search beyond what meets the eye—literally. The Davidson College Archives and Special Collections houses a multitude of rare books and 19th century correspondences by former College Presidents which boast watermarks. Such hidden images on the pages can offer insights as to where and by whom the paper was made, as well as its quality.

A page featuring a poem and a faint watermark and lines.

Nonesuch Press watermark and chain and laid lines visible on handmade page.

The tradition of watermarks in papermaking began in Fabriano, Italy late in the 13th Century and was continued by other manufacturers of handmade paper into the 19th century. Watermarks were formed by twisting thin wires into various geometric shapes and adhered to the paper mold. The mold was simply a wood-framed wire screen which would be dipped into a “soup”-of-sorts of warm water and rag fibres several times. As the water strained through, horizontal (laid) lines and vertical (chain) lines would appear on the forming sheet. The shape of the watermark was imprinted into the sheet whilst the fibres were still wet, thereby thinning the paper in a specific area, forming the mark.

The Davidson Rare Book Room holds a 1923 reprint by The Nonesuch Press of the Poems of Andrew Marvell, the original 1681 edition of which is housed in the British Museum. As noted on the cover, the edition was printed on handmade Italian watermarked paper.

Title page reading: MISCELLANEOUS POEMS BY ANDREW MARVELL, Esq. Late Member of the Honourable House of Commons LONDON The Nonesuch Press, 30 Gerrard Street M. CM. XXIII.

Title page of the Poems of Andrew Marvell

Portrait of a mustachioed man in a long curly wig, typical of the 17th century,

Portrait of Andrew Marvell.

Nathaniel Hawthorne’s House of the Seven Gables

Nathaniel Hawthorne‘s second novel was published in April 1851 and followed his very successful first novel, The Scarlet Letter.    Begun in August 1850, The House of the Seven Gables was published to mixed reviews, but was well received by the public.  His Gothic tale of the Pyncheon family and the haunting of their house was inspired by an actual gabled house in Salem, Massachusetts which was owned by one of Hawthorne’s cousins, and by ancestors who had been involved in the Salem Witch Trials of 1692.

House of the Seven Gables Cover

House of the Seven Gables Cover

It has been adapted for movies, TV, and short stories.  And, in 2000, the Manhattan School of Music premiered an opera based on the novel.

We are fortunate to have in our Rare Book Room collection an 1851 printing of the novel, presented to the library by Mrs. Richard H. Brooks.

As we move nearer to Halloween, consider reading a copy of this classic tale!

House of the Seven Gables title page

House of the Seven Gables

And for more ghostly tales…

Come to the Rare Book Room at 8:00 PM on Tuesday October 24 for our 9th annual “Ghosts in the Library” storytelling event.  Complete with treats, but no tricks!