Nature’s Wonders

This post comes to us from Discovery Fellow Hannah Whitaker

Through my Discovery Fellowship I have accessed dozens of unique and beautiful pieces of literature. My focus has primarily been on natural history; I am interested to see how natural history texts have evolved over time. I began in the Baldwin Library of Historical Children’s Literature, reading books about insects and animals written for children in the Victorian Era.

My favorite was Birds and Insects by Jane Bragg, which features a young girl with boundless curiosity waltzing through her garden and conversing with each critter she finds.

The creatures speak back, of course, responding with factual information about themselves in an almost Lewis-Carrollian way. This ability to freely converse with animals is pervasive in Victorian Children’s literature, I have found, and while less common in 20th century American literature, Marjorie Kinnan Rawlings maintained this magical ability in her posthumously released children’s story The Secret River.

Cover of the book The Look About Club

These natural history books emphasize the intrinsic value of each creature,

whether written primarily for pleasure or education. Thomas Say’s reference book, American Entomology, is inscribed with the Stillingfleet poem “Each moss/ Each shell, each crawling insect, holds a rank/ Important in the plan of Him who fram’d/ This scale of beings.” This poem illustrates the author’s fondness for all creatures, regardless of shape, size, or species. Birds and Insects (1844) and The Look-About Club (1887) each highlight the importance and value of each animal. In Birds and Insects, the animals are imbued with feelings, begging the reader to discontinue hunting. The father in The Look-About Club beseeches his children to be gentle with the animals they study.

Despite evolution in writing styles, authors recognized the fragility and beauty of the natural world nearly two centuries ago; a haunting and timely warning to modern-day readers. More recent texts, such as Forest in the Sand by Marjory Bartlett Sanger (1983) and Voices of the Earth: Florida’s Environmental Storybook with Pictures to Color by Kristin Farquhar (1992) also detail the necessity of maintaining the balance of the ecosystem.

Marjory Bartlett Sanger, Forest in the Sand (1983) , from the PK Yonge Library of Florida History

Meet our New Discovery Fellows

We’re excited to have three new faces around the collections this semester, working on some very different projects. They’ll be posting more about how their research is going in the near future, but here are some early directions they’re headed in.

Arianna Zhai (’24) is interested in following the ways that different people share knowledge and tell stories in the collections. She’ll be investigating the ways that medical knowledge and ideas about public health evolved in 19th century America and Florida, with the help of our Florida History Collections.

Hannah Whitaker (’21) is an English major with a focus in American and British Literature. With this fellowship, she is finally living out her dream of becoming Matilda, and she hopes that her magical powers will manifest themselves soon. In the meantime, she’ll be exploring nineteenth-century newspapers, pamphlets, and wood engravings. Hannah loves autumn, local coffee shops, children, and her cat, Hemingway.

Stepheny Pham (’22) is a Zoology major who is looking forward to applying her interests in animals and digital storytelling to some of the global materials on natural history in the Rare Book Collection. She will be looking at the different ways that humans relate to animals across time and place, as well as their many social and cultural values.

We’re glad they’re here, and as they work through their projects this semester, we know you’ll agree. Congratulations to Hannah, Arianna, and Stepheny, and thanks to all those who made the start of this program possible!

Meet Megan Wilson, University Scholar in Special Collections

“Little Red Cap,” illustrated in a 1933 edition of Grimm’s Fairy Tales

My name is Megan Wilson and I am a senior English Major at UF! I come from a really small town in southern Illinois, but UF has definitely become my home away from home. When I am not studying or working, I love spending time with my foster dogs, reading any Stephen King book I can find, drinking coffee, and watching Dance Moms.

After I graduate, I hope to go to law school and then advocate in the courtroom for the various environmental issues that our planet faces today. While my interests are broad, the one thing I appreciate most about researching with the University Scholars Program in Special Collections is the opportunity to pick any topic that you want for your research project. This freedom alleviates some of the pressure and makes the research that much more enjoyable because it is something that you want to be researching. Initially, it was difficult for me to choose because there are so many different avenues to go down, especially in the extensive archival collection that UF has. Ultimately, however, I chose fairy tales.

In the Grimm tale "the Valiant Tailor" the tailor plays a violin to calm a bear.

Early fairy tales are interesting to me because of the strange underlying messages that accompany them.

The stories, although they may seem happy, are often much more sinister if you look closely enough. There is an uncanniness in them, whether it be in the protagonists, the settings, or both. I find the uncanny to be a fascinating way to look at shifting attitudes towards children and the supernatural, and fairy tales tend to have this plurality of themes and genres within them.   

An early Gothic parody of “Mother Goose:” Tales of Terror (1801)

Discovery Fellowships in Special Collections

Illustration of the Crystal Palace, London, under construction

We’re thrilled to announce that we are taking applications for our first cohort of Discovery Fellowships in Special Collections. Applications are due Monday, November 30, 2020, for fellowships beginning Spring of 2021

Initiated through the generosity of Joseph and Rebecca White, Discovery Fellowships will provide students them with the assistance and mentoring necessary to bring new life to the collections through their research or creative projects. Over the Spring semester, Discovery Fellows will work with the curators of Special & Area Studies collections to identify and explore materials in the collections at UF.

Fellows will will have the opportunity to share their project with the university community through presentation, exhibition, or other means, and their work will be featured on the Storied Books project. They will receive a $500 stipend at the completion of their fellowship.

Application information can be found on our fellowships page.

Welcome, Gators!

A printing plate and imprint telling you to check us out

It’s a bit of a different start this year, but we’re looking forward to the first full year of our project!

Next week, the libraries will be holding their second annual Fall Festival, which is a chance to get a quick look into the different libraries on campus. This post is a rewind to last year’s activity, where we turned an illustration in a fine press edition of the Canterbury Tales into an exercise in handpress printing.

We started with the illustration of Chaucer’s squire from the Golden Cockerell Press. The engraving was done on wood from a drawing by the British artist Eric Gill. Gill’s block was then set in a matrix with the type and borders.

The beginning of the Squires Tale, from the Golden Cockerell Press' Canterbury Tales

To make it into a printable block, we had to reverse-engineer the process. In earlier periods, an artist might have been brought in to re-draw an illustration and transfer the image to a new block. Fortunately for me, that didn’t involve any drawing.

Likewise, there was no cutting for me either. After the image was set, it was engraved on a metal plate and set on wood so that it would be tall enough to line up with metal type if it was being printed at the same time. Again, modern technology let me cheat and just put the type on the image I sent to the engraver…

And it was finally ready to be printed, on a press that was designed for use by DIY printers in the 19th century. You can see it below, locked up in its metal frame, in which a printer could also set and align type.

The trial run was a success!

All in all, it was an interesting experience. For all the time that I have studied books, I have never had to actually print anything. Fortunately, we have a great team here in special collections, including our book arts curator, who teaches letterpress printing in the School of Art. I hope that we get to do more of this when people can meet in person again.

I’d also like to give a special welcome to our inaugural student researchers. You’ll be hearing more from them soon.

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