jojacks2 Pop Culture, Rare Books, Uncategorized

The Fugitive Author

Robert Burns Escaped from the Georgia Chain Gangs, Then Strove to Abolish Them

Here in Special Collections, we hold a number of books that have altered the course of history. Such works as Uncle Tom’s Cabin, The Communist Manifesto, Common Sense, and Walden have all profoundly shaped human thought and history, and all have places on our shelves.

Today, I want to tell you about another book in our collection thatthough not as celebrated as the above exampleshas had a significant influence on the course of events. Robert Elliott Burnss I Am a Fugitive from a Georgia Chain Gang! is an account of the authors experiences inand escape fromthe Georgia penal system of the 1920s. Burnss vivid description of the systems brutality and inhumanity has been credited with spurring 20th-century penal reforms in Georgia and beyond.

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The Special Collections copy of I Am a Fugitive from a Georgia Chain Gang!, a souvenir edition from Atlantic Citys Steel Pier, is inscribed by the author.

A New York City accountant, Burns volunteered for the army when the United States entered World War I. Assigned to a medical detachment with the 14th Railway Engineers, he served mostly at the front from September 1917, until armistice 14 months later. His service took its toll, and, according to his brother, Robert Burns returned home nervously unstrung and mentally erratica typical shell-shock case. In more recent years, Burns might have been diagnosed with post-traumatic stress disorder.

Returning to New York, Burns struggled to rebuild his life, expecting that his military training and service would be valued by potential employers. He soon found, however, that his status as a veteran instead proved a handicap in securing employment. Burns arrived at the same conclusion as many veterans returning from that war and others.

The promises of the Y. M. C. A. secretaries and all the other fountain-pen soldiers who promised us so much in the name of the nation and the Government [sic] just before wed go into action turned out to be the bunk. Just a lot of plain applesauce! Really an ex-soldier with A. E. F. [Amy Expeditionary Forces] service was looked upon as a sucker. The wise guys stayed homelanded the good jobsor grew rich on war contracts I went through hell for my country and my reward was the loss of my sweetheart and my position.

Disillusioned, Burns drifted from town to town as a vagrant, alighting in Atlanta in 1922. There, he participated in an armed robbery with two other men. Burns paints himself as a reluctant accomplice in the crime, coerced by the ringleaders trickery and intimidation. The robbery netted the perpetrators a mere $5.80, and the three were captured 20 minutes afterward.

For his part in the theft, Burns was sentenced to six to ten years at hard labor. Expecting to serve his time in a penitentiary, Burns instead found himself designated for roadwork on a county chain gang. Issued a convicts striped uniform and shackled with heavy chains, Burns was transported to one of Georgias many county prison camps.

Burns describes the Campbell County prison camp as filthy and dehumanizing. The endless days were filled with backbreaking and mind-numbing work; frequent beatings by guards; and subsistence-level, sometimes putrid food. The system made no pretense of reformation but instead sought to inflict harsh punishment and exploit a captive workforce.

One was never allowed to rest a moment but must always be hard at work, and even moving in the mass of chain was painful and tiringyet if one did not keep up his work greater terrors and more brutal punishment was in reserve. If a convict wanted to stop for a second to wipe the sweat off his face, he would have to call out Wiping if off and wait until the guard replied, Wipe it off before he could do so.

Dinner came in a galvanized iron bucket The contents of the iron bucket was boiled, dried cowpeas (not eaten anywhere else but in Georgia) and called Red beans. They were unpalatable, full of sand and worms.

Determining that hed be unable to serve out his time in such conditions, Burns escaped the chain gang after several months. Evading his pursuers, the fugitive made his way to Chicago and arrived there with 60 cents in his pocket. He soon secured employment and began saving money. By 1925, Burns had saved enough to begin publishing The Greater Chicago Magazine, and he became a well-known figure about the city. During his rise to prominence, Burns claims, he was compelled by extortion into an unwanted marriage. Soon after he initiated divorce proceedings in 1929, Burns was arrested as a fugitivebetrayed, he asserts, by his estranged wife.

Citing the law-abiding and productive life that Burns had led in the seven years since his escape, a number of prominent Chicagoans helped Burns fight extradition. Assurances of leniency from Georgia authorities, however, persuaded Burns to voluntarily return. Upon arriving in Georgia, Burns found that the promises of fair treatment soon evaporated. Relegated to Troup Countys prison camp, Burns experienced conditions that were even more primitive and cruel than those he had experienced in Campbell County several years earlier.

After 14 months, Burns made a second escape, and he provides the reader with a step-by-step description of his flight. A natural-born storyteller, Burns keeps the reader in suspense through several close calls and daring risks.

Burns made his way to New Jersey, but, with the nation in the throes of the Great Depression, the success that hed found in Chicago during the 1920s would elude him. Working at a series of menial jobs and living under an assumed identity, he decided to write a scathing indictment against the penal system from which hed escaped. Its now my lifes ambition to destroy the chain-gang system in Georgia, he told a friend, and see substituted in its place a more humane and enlightened system of correction.

Serialized in True Detective Mysteries magazine in 1931, the fugitive’s story gained national attention. I Am a Fugitive from a Georgia Chain Gang! was later released in book form and became a bestseller. A popular film adaptation, I Am a Fugitive from a Chain Gang, soon followed, netting three Academy Award nominations, including Best Actor for leading man Paul Muni and Best Picture.

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The Steel Pier Souvenir Edition of Burns book features on its end papers several scenes from the film adaptation.

In 1932, Burns was again arrested as a fugitive, but public outcry convinced New Jersey Governor A. Harry Moore to refuse extradition to Georgia, and Burns was soon released. In 1945, Burns again voluntarily returned to Georgia and appeared before the parole board, with no less a figure than Georgia Governor Ellis Arnall serving as his counsel. The board commuted Burnss sentence to time served.

Burns died ten years later, but he lived long enough to witness reforms to the cruel system he opposed. The state of Georgia, spurred perhaps not so much by humanitarianism as by embarrassment, implemented a series of penal reforms in the 1940s. In abolishing the use of chain gangs within the state, Governor Arnall cited Burnss story as the impetus behind his actions. Though chain gang systems remained in place in other Southern states, their abolition in Georgia signaled the beginning of an incremental change that would accelerate during the civil rights movement.

In Robert Burns, the chain gang system had perhaps created its own worst enemy: an inmate with the background, eloquence, and determination to attack it. His book caused widespread outrage and sparked condemnation of the chain gang system. It is impossible to gauge the influence of I Am a Fugitive from a Georgia Chain Gang! within the context of a wider movement for prison reform, and the book certainly didnt cause the immediate demise of the chain gang system, but it undoubtedly implanted the need for reform in the national consciousness.

In addition to Burns’s book here in Special Collections, the library also holds the film’s screenplay and a videocassette copy of the film.

jojacks2 University History

William Uncle Bill Gitt, Virginia Techs Original Campus Character

A century ago, the most recognizable face on Virginia Techs campus probably wasnt that of the college president (Joseph Eggleston) or the football coach (Charles Bernier) but instead belonged to a beloved figure now all but forgotten in campus lore, William Grove Uncle Bill Gitt, Virginia Techs original campus character.

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William Uncle Bill Gitt.

Born to William and Amanda Gitt in Montgomery County, Virginia, in 1860, Gitt soon afterward moved with his parents to Newport, in neighboring Giles County. There, the Gitts operated the Gitt House, an inn that became a popular stop for cadets, especially during outings to nearby Mountain Lake.

According to biographical information appearing in the 1918 Bugle and Col. Harry Temples The Bugles Echo, Gitt enrolled in what was then Virginia Agricultural and Mechanical College in 1877. Having failed every subject during his freshman year at VAMC, Gitt began searching for employment. He somehow alit in New Haven, Connecticut, where he clerked in a 99-cent store for about a year before joining the Barnum & Bailey Greatest Show on Earth as a circus clown. After a single season, Gitt left the circus and worked successively as a brakeman, fireman, and conductor on the Chesapeake and Ohio Railway, but he returned to performing for Barnum & Bailey three years later. He remained with the circus for several seasons, including a European tour, but an injury in 1891 forced his retirement from performing. After retiring from the circus, Gitt worked at several jobs in Chicago, where he is said to have saved the lives of two children. He was later employed as a railroad brakeman for four years, then as a bartender in Huntington, West Virginia, for another four years.

In 1907, Gitt returned to Blacksburg, where he operated a street corner stand, selling fruit, candy, and knickknacks. He soon became a favorite local figure of Virginia Techs cadets, who probably enjoyed the many stories he undoubtedly shared of his life and travels. Fond of composing bits of doggerel for every occasion, Gitt always ending his poems with Uncle BillThats all, and it was by this stock phrase that the cadets invariably referred to him.

In a move that was mutually beneficial, the university allowed the perpetually down-on-his-luck Gitt to move into Room 102 of Virginia Techs Barracks No. 1 (now known as Lane Hall) in 1911. In exchange for his room and a salary of $7.50 per month, Gitt performed various tasks for the cadets, as summarized in The Bugles Echo:

He handled incoming and outgoing express packages. The cadets left their bags of soiled laundry in front of his room, and he looked after them. He mailed letters, sold stamps, and ran errands such as buying cigarettes. He sold smoking equipment such as pipes and matches, and sold apples and notions, tickets for athletic events, Lyceum shows, and the Pressing Club. He operated a telephone service, relayed messages, and went to cadets rooms to call them to the telephone. He collected items for charities and acted as a coordinator between the boys and community projects and actions. He cashed checks at the downtown bank for the cadets and operated a lost and found service. He maintained a bulletin board in the hall outside of his room on which items of current interest were posted, including intercollegiate athletic scores.

Finding his salary to be insufficient, Gitt subsisted on gratuities as well as commissions on the sales of event tickets and fees for other odd jobs. Fortunately for him, faculty members frequently invited him into their homes for dinner.

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An advertisement for one of the services offered by Gitt (from Ms1964-006).

Here in Special Collections, were fortunate to have a journal maintained by Bill Gitt (Ms1964-006). Covering a period of 10 weeks in the fall of 1912, the journal is titled Dope Sheet and Daffy Dill. Always given to rhyme, Gitt couldnt help but refer to himself as Old wobbly Uncle Bill / owned by the boys on College Hill / Rah / Thats all.

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Cover of Bill Gitts 1912 journal (Ms1964-006).

In addition to describing his daily work and activities, Gitts journal chronicles his health problems and his dire financial condition. Throughout all, however, he tries to maintain a positive attitude, and the entries are full of slang and poetry. On November 28, 1912, he wrote: I am thankful that I am as well situated as I am. I have a good warm room, electric light, and plenty to eat, and clothes and shows. And the boys are my friends. I would not get by on $7.50 a month, if it was not for the boys.

Elsewhere, Gitt chronicles life among the cadets, mentioning fights, celebrations, and football games. He makes frequent mention of his roommate, Rusty the dog, who served as a college mascot, and of the cadets, invariably referring to them as my boys and with genuine affection.

By 1918, Gitts health had deteriorated to the point that he could no longer tend to his demanding duties at Virginia Tech. After Gitt underwent a surgical operation in Roanoke, an alumnus obtained for him a job in that citys Travelers Hotel. Medical bills soon eroded his savings, however, and Gitt had to move into the Roanoke City Almshouse, the last refuge for the areas indigent and aged in the days before government assistance.

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Bill Gitts bad leg, probably a result of the injury he sustained as a circus performer, forced him into early retirement.

Bill Gitt remained a beloved figure to students and alumni. Following his move to Roanoke, the cadets pooled their money and purchased for him a phonograph and a collection of his favorite records. They were sent to Gitt in Roanoke, accompanied by a letter of appreciation signed by every cadet. Each year, he received a complimentary subscription to The Virginia Tech (todays Collegiate Times). Despite his difficulties, Gitt revisited campus on several occasions and attended the annual Thanksgiving Day game between VPI and VMI until he died.

One cadets feelings about Virginia Techs first campus character were recorded in a 1917 Roanoke World News article:

Every one that knows Virginia Tech is sure to know Uncle William, for he is truly a part of the College. At any rate, the boys are very fond of the old man; and if any one would like to hear some real interesting experiences, just have a chat with Uncle BillThats All.

jojacks2 African American History, The 1960s, University History

The Agitator

Charles Taylor Adams Played the Provocateur as Both Student and Alumnus

The title of the Herman Bruce Hawkins Papers (Ms1974-014) is a little misleading. While the materials in the one-box collection do relate to Hawkins (who graduated from Virginia Polytechnic Institute in 1910, had a successful 50-year career in the power industry, remained actively involved in Virginia Techs alumni association, and was awarded Virginia Techs Distinguished Alumni Citation in 1961), the overwhelming focus is on Hawkins VPI classmate, Charles Taylor Adams.

A native of Richmond, Adams entered VPI as a sophomore in the schools horticultural program in 1908. Adams became known on campus for his verbose and iconoclastic nature and his relative lack of interest in the discipline and protocol of a military school. The blurb below his picture in the 1910 Bugle sums up Adams (known more familiarly by his middle name) in this way: Taylor has the hot-air supply of Montgomery County cornered, trussed up and stored away. And that isnt the worst of it. If hed keep it where hes got it, we would not object so strenuously. But he always has it on tap and you never can tell what is and what isnt true. Taylor also seems to have had a reputation for excessive idealisism and was sometimes known to friends as Quix, short for Quixote.

In 1909, Adams was named editor-in-chief of The Virginia Tech, forerunner of todays Collegiate Times. Taylor presented a number of tongue-in-cheek editorials and soon began running a regular feature, Asbestographs, so-called because the column was intended to cover red-hot matter, too incendiary to print on paper. Not quite living up to its stated purpose, the column usually featured gripes about mundane aspects of campus life: the stench from campus incinerators, the inefficient laundry service, and the lack of heat in the dorms being among the many grievances aired. Adams’ diatribes were often directed against his classmates, whom he castigated for their lack of enthusiasm and involvement.

The papers editorials took on a more weighty subject on January 26, 1910, when Adams addressed a local issue. Some students had taken a dislike to a local Italian immigrant who had been peddling peanuts and popcorn (and, according to some, anarchism) and had pelted him with firecrackers. According to Adams (in language not politically correct), the Blacksburg mayor had paid an African-American Blacksburg resident to act as witness against two innocent cadets against whom the mayor held a grudge. The case was ultimately thrown out by the grand jury, but it came at a time when other issues were straining town-gown relations, and Adams editorial apparently received some negative attention from school authorities. In protest, Adams published the following week a Spotless Edition of The Virginia Tech. The issue contained only advertising. The sections that would have held news stories and editorials were intentionally left blank.

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The front page of the Virginia Tech’s “Spotless Edition,” February 2, 1910

Adams remained editor-in-chief and seems to have completed the school year, but records indicate that he never graduated from VPI. He did, however, go on to a successful career, working for several prestigious New York advertising firms.

In 1959, classmates Adams and Hawkins reconnected through correspondence. The letters between the two served as an outlet for Adams views, and he wrote of his great regret for having spent his years in advertising, rather than being a communist activist:

Did I ever tell you that I once met John Reed [the American journalist who chronicled Russias Bolshevik Revolution] and talked with him? (and how shamed I am now that his words moved me not, and I put him down as a wild eyed young radical). It was in 1914, I think, in some smoke-filled bistro in Greenwich Village, and I was down there with some of my friends, and Reed came over to greet one of them … and not long thereafter he went over and was in the October Revolution When I think that I might have done that, or something like it, I am shamed and deeply sick in spirit. For what have I done, in the seventy years I have had? Advertising to make people buy things they do not need, at prices far beyond their true worth

Remembering with fondness their time as classmates, Hawkins saw Adams as a frustrated idealist:

Your unhappiness though is, I suspect, that of so many intellectuals who expect too much of people. And with the people being what they are throughout the world, I wonder just where you might go to find happiness. In thinking back over the years I can recall now that you were a revolutionary from the start during our early years when we roamed the campus together at Blacksburg … You are though my favorite revolutionary and though it would have been thrilling to say, I knew him well he was one of my dearest friends Im really glad that you didnt distinguish yourself in the same way that John Reed and Lenin and Castro did.

Taylor Adams (left) and Herman Hawkins are pictured as classmates in the 1910 Bugle.

During the next few years, the two men occasionally exchanged letters that present in microcosm the contrast of opinions on the overarching issues of the daycivil rights, nuclear arms, and the Vietnam WarAdams espousing views that at the time were considered fairly radical and often sharing printed materials from such organizations as the NAACP and the Congress for Racial Equality, while Hawkins held on to prevailing conservative opinions, such as his take on Adams activities as a speech-writer for the NAACP:

I do believe that you are being unrealistic for the highest hurdle the Negro has to clear is that of prejudice[,] and what you are doing through the N.A.A.C.P. the writing of speeches for the traveling educators being sent through the plague ridden Southern States will do nothing more than harden and heighten this barrier of prejudice.

Hawkins abruptly cut off correspondence in 1962, though Adams apparently made at least one more attempt at contact. Adams, having retired from advertising, continued to use much of his free time in sharing his opinions with whomever would listen. The Hawkins collection contains several opinion pieces that Adams contributed to publications both large and small.

In 1969, perhaps recalling the reaction that hed been able to provoke as editor of the student newspaper 60 years earlier, Adams placed three advertisements in The Virginia Tech. In the first, he exhorted students and their parents to protest a raise in the schools room and board rates. In another ad, Adams offered a five-dollar reward to the first person answering two questions: How many Negroes are on the academic (not sports, dance, or Home Ec.) faculty of VPI? and Give name and brief description of all academic courses in Negro History, Culture and related specifically Negro subjects. It was Adams third ad, however, that caused a stir.

Learning that U.S. Army Chief of Staff General William Westmoreland would be delivering an address at Virginia Techs ROTC commissioning ceremony on June 7, Adams place an ad in the Tech calling for recruits for a guerilla battalion to protest the event. The ad generated a brief firestorm of controversy, and the Hawkins collection contains a number of opinion pieces against Adams specifically and school protests generally. In the end, Adams claimed that the ad was a joke. According to a May 22 article in the Richmond Times-Dispatch: He said he ran it because he wanted to stick a pin in the people at VPI, a school which he contends is behind the times. Citing poor health, the 80-year-old Adams did not leave his home in New York to attend the event. A small, peaceful protest was, however, staged at the ceremony. (You can see footage of it in this Youtube video.)

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Taylor Adams’ ad in a 1969 issue of The Virginia Tech

Adams continued writing about issues of the day into his 90s and died in 1981; Hawkins died that same year.

The Hawkins papers would of course be of interest to anybody researching Hawkins, and especially his involvement in the alumni association, but much more importantly, the papers provide a small glimpse into the private, conflicting opinions of two Virginia Tech alumni on some of the bigger questions confronting the United States during the 1950s and 1960s.

jojacks2 African American History, Local/Regional History, Uncategorized

“Amanda: Colored Daughter of Virginia”

Hidden History at Special Collections III

(In this on-again, off-again (mostly off-again) series, we look at interesting pieces found in unexpected placesnoteworthy items that, because they represent only a tiny part of a larger collection thats devoted to unrelated topicsremain concealed to all but the most thorough of researchers.)

Despite an increased interest in the past couple of decades, Blacksburgs early African-American experience remains an underrepresented piece of the towns history. Such projects as the restoration of St. Luke and Odd Fellows Hall as a museum of black history have done much to preserve a long-ignored history, but still African-American contributions to Blacksburgs early development remain greatly undocumented. With a dearth of primary sources, every scrap of information that comes to hand is a precious discovery. One such discovery is a brief, off-the-cuff essay found in the James Robbins Randolph Papers (Ms1971-001).

Born in 1891, James Randolph was the son of Lingan Randolph, a professor of mechanical engineering at Virginia Polytechnic Institute. The younger Randolph grew up in Blacksburg and obtained his own degree in mechanical engineering at VPI in 1912. After earning a masters degree at Harvard in 1921, Randolph taught physics and mechanical engineering at a succession of colleges and served in the U. S. Army Reserve Ordnance Department from 1931 to 1943.

Nearly all of Randolphs surviving papers consist of his notes and writings on various subjects. Not surprisingly, most of these writingsboth fiction and non-fictionfocus on science and technology, particularly rocketry. But within a collection of essays gathered under the title Maybe We Are Not Wanted on Mars is a brief, seemingly incongruous piece Randolph called Amanda: Colored Daughter of Virginia.

In his five-page essay, the professor offers his views of race relations in the South, focusing primarily on the Blacksburg of his youth. His viewpoints might today be considered at best nave, but they do offer some insights into race relations in Blacksburg a century ago. For example, Randolph attributes the necessity for the founding of New Town, a one-time historically black neighborhood near the present intersection of Main Street and Prices Fork Road, to an influx of new residents:

Before the Civil War in the South, Negroes and whites lived side by side because they belonged to each other, and seldom had occasion to move separately. After the war both found it expedient to stay where they were As the older people of both races died, or moved and were replaced by strangers, living side by side became less pleasant. So a group of Negroes bought a farm on the edge of town, divided it into lots, and called it Newtown.

Elsewhere in the essay, Randolph repeats his assertion that problems between the races resulted from disruptions by outsiders. Despite presenting a somewhat skewed look at the issue, Randolph recalls becoming aware at an early age that local relations between the races were not always easy, and that crises could erupt at any time:

Some of our students were from the mountains, where strange Negroes were apt to get shot, so we always feared a race riot, but it never came. As soon as we boys were big enough, Father told us how he planned to meet such an emergency. His plan was to round up as many as possible of our colored friends and get them into our house. Then he would take the front door, while we boys and the colored men took the back and sides. We were all good shots, and he explained that a man with peaceful intentions would come to the front door, whereas an enemy would try to sneak in somewhere else, so there was no harm in being trigger happy there.

It was around 1900, Randolph recalls, that two colored girls, Amanda and Ella began coming to us once a week to give the house a real cleaning. Thus began the familys lifelong friendship with Amanda, who eventually became the Randolphs cook. Later, when Amanda married, she and her husband John would live in the Randolph house while saving for a home of their own. Throughout the essay, Randolph writes of the couple with fondness and respect:

She and John were a thrifty industrious couple. He had his job. She worked part time for a white family, and she took in washing. She and John picked and canned fruits and vegetables on shares. They had fruit trees and a garden of their own. They had pigs and chickens. Their house was small and plain, but always neat. Their three daughters did well at school.

The Randolphs eventually left Blacksburg (James Randolph in 1914, his parents in 1918) but frequently corresponded with Amanda, and she visited the Randolphs in New Jersey on several occasions. James Randolph concludes his essay by remembering his last meeting with Amanda:

The last time I saw Amanda was when my fathers portrait was unveiled at the college where he had taught for so long Amanda and her three daughters were among the invited guests. Her oldest daughter, Clio [sic], took Mother there Amanda and I were talking when the meeting was called to order, and we sat down, side by side.

Randolph never provides Amandas last name, but a quick search of the census reveals the missing information. Among the inhabitants of the Randolph household in 1910, the census lists two servants named John B. and Amanda D. Rollins, aged 38 and 29, respectively. By 1920, John and Amanda owned a home of their own, which they shared with three daughters: Cleo, 10; Theriffee, 8; and Cuetta, 4. The census notes that the Rollins home was on a cross alley between Prices Fork Road and Main Street, placing it within the bounds of what was at that time New Town. The family continues to appear in Blacksburg through the 1940 census, which shows Amanda Rollins, a 61-year-old, widowed cook, living on New Town Alley with daughters Cleo Price, 30; and Quella Rollins, 23. Cemetery readings on findagrave.com reveal that Amanda Rollins died in 1950 and is buried in Blacksburg. John B. Rollins (1878-1931) is also buried there, as are the couples daughters, Cleo Rollins Price (1910-1974), Theriffa Rollins Christian (1911-1956), and Cuetta Virginia Rollins Webb (1916-1987).

For more on Blacksburg’s African-American history and Special Collections’ role in helping to preserve it, see Sam Winn’s post of October 19, 2015, “Uncovering Hidden Histories: African Americans in Appalachia.”

 

jojacks2 Civil War, Local/Regional History

An Unexpected Treasure

The Joseph P. and Margaret James Collection

Sometimes, despite all of the proactive efforts we make in Special Collections to find new and interesting collections to add to our holdings, some of the best materials just fall right into our laps, thanks to the thoughtfulness of generous donors. Such is the case with the Joseph P. and Margaret James Collection, which was donated to us earlier this year by VT alumna Denise Hurd (sociology, 74). Though relatively small in size (approximately half a cubic foot), the collection relates notably to two of our focus areas (the Civil War and Appalachia) and touches on at least two others (culinary history and agriculture). The collection had been handed down from Hurds father, Festus Burrell James, and relates to the James family of Braxton County, West Virginia.

At the heart of the James collection are six Civil War-era letters to Margaret James from her husband Joseph P. James, who enlisted in Company L of the 14th Virginia Cavalry on October 4, 1862. Just 10 weeks later, Joseph was captured, and the first of his letters to Margaret was written from Camp Chase, Ohio, on January 28, 1863. In the letter, Joseph recounts his journey in captivity from Braxton County to Camp Chase and advises Margaret to move in with his father.

Margaret did move to her father-in-laws home, and her reply to Joseph provides a word from the war-time home front of northwestern Virginia (todays West Virginia). Dated March 14, 1853 [sic], Margarets brief letter shares news from Josephs family and neighbors. Having left her home, she hints at the hazards for a young mother living alone in contested territory during wartime (i havent Ben at home Since the first of febuary … but am going hom if i can get enybody to stay with me) and brings the absent father up to date on his childrens growth and behavior (Luther … is a bad boy. he swears yet[.] little vany can run just where he pleases. he is as fat as a little pig).

Margaret James' 1863 letter to her husband speaks of her concern and loneliness.
Margaret James’ 1863 letter to her husband speaks of her concern for her husband and her loneliness.

Joseph was exchanged and released in April, 1863. According to his service record, he transferred to Company I, 17th Virginia Cavalry while still a prisoner, and he must have immediately joined his new regiment; by May 10, Joseph was near Salem, Virginia, from which he wrote Margaret another letter. He discusses the Jones-Imboden Raid into northwestern Virginia, then mentions three acquaintances who were sent to Montgomery White Sulphur Springs to convalesce. Always present in Joseph’s letters are his love for his family and his desire to return home. He mentions sending a lock of hair to Margaret and receiving locks from her and their sons, a common practice at the time (see our blogpost of October 30, 2014, The Hairy, Scary Things That Time Forgot!).

By that autumn, poor health had forced Joseph to fall behind his company and miss the opportunity to return to Braxton County with his comrades. The route being too hazardous to travel alone, Joseph instead recuperated in Mercer County, and he wrote Margaret from there on November 5 and 25. Josephs final war-time letter was written from Red Sulphur Springs in Monroe County, West Virginia on April 15, 1864. In this letter, Joseph dispels rumors that he had been captured by the enemy or imprisoned as a deserter. He admits having been absent without leave, then boasts of the lenient punishment given him. It is Josephs lengthiest letter, and he goes into detail about what the men are eating and the religious services in which theyre participating. Six months later, Joseph would again be reported absent without leave, and in the final weeks of the war, he was listed as a deserter. Josephs letters give us today a brief but valuable glimpse into the life of a soldier whose service was spent almost entirely in southwestern Virginia.

The James Collections includes many tintypes, including these two interesting photos of Civil War soldiers. Might one or both of these photos be of Joseph P. James?
The James Collections contains many tintypes, including these two photos of Civil War soldiers. Might one or both of these photos be of Joseph P. James?

 

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The James Collection extends well beyond the Civil War, however. From the end of the war until his death in 1889, Joseph James maintained a series of memorandum books to record information that he deemed significant. Nearly every 19th-century farmer seems to have kept account books, detailing farm, business, and personal financial transactions, and we hold many pocket-sized ledgers in Special Collections. Joseph’s books are a bit unusual, though, in that they frequently contain other items of interest. One book contains notes on a trial for the murder of Jemima Green, a case on which Joseph served as a juror. Elsewhere, one might find records from Joseph’s work as a mail carrier, quotes from Bible scripture, notes on deaths in the family and neighborhood, and recipes for home remedies. Though recorded somewhat haphazardly and in no particular chronological order, the entries as a whole provide a fairly complete look at the activities and concerns of a fairly typical Appalachian farmer for nearly 15 years during the latter half of the 19th century.

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Joseph James’ memorandum books contain an eclectic mix of information the various aspects of his life: home, farm, business, and church.

The collection also contains a few items that had belonged to the James youngest son, Charles (1885-1949), who left Braxton County and worked as a motorman in Clarksburg, West Virginia, where he also raised hens and rabbits. Like his father, Charles made use of memorandum books, and in the few that we have, he briefly recorded anything of interest to him, from the day his cat died to the day he saw President Roosevelt.

Unfortunately, theres just not room for me, in this one brief blogpost, to mention all of the interesting little things in the Joseph P. and Margaret James Collection, but it would be a mistake to dismiss it as being of interest only for its Civil War letters. The collection has yet to be processed, meaning that it has not yet been fully organized and inventoried, but as with all of our treasuresboth expected and unexpectedthe collection is available for the use of researchers in the Special Collections reading room during our normal operating hours.

jojacks2 Uncategorized, University History

When Orange Became The New Black (and Maroon the New Gray)

1896, a Formative Year for Virginia Tech Football

With a new school year about to start, and Lane Stadium soon to be filled with cheering fans, we cant resist offering a little lesson from Hokie History 101. Well, this piece may belong in a 200-level course, since weve included a few obscure facts that the average fan isnt likely to know.

In recognition of its broadening curriculum in science and technology, the Virginia Agricultural and Mechanical College in 1896 became the Virginia Agricultural and Mechanical College and Polytechnic Institute. The new name being more than a mouthful, it was shortened in popular usage to Virginia Polytechnic Institute, or VPI.

The schools fledgling football program underwent changes of its own that year. Early on, the college had adopted school colors of black and cadet gray, but when worn on a striped football jersey, the colors resembled a prison convicts uniforma similarity that undoubtedly became a source of ridicule from opposing teams.

Norbon R. Patrick, a guard on the 1893 team, poses in the jersey that necessitated a change of school colors.
Norbon R. Patrick, a guard on the 1893 team, poses in the jersey
that necessitated a change of school colors.

A committee reviewed the colors used by other colleges and decided that burnt orange and Chicago maroon would provide a unique color combination (as indeed it did and continues to do). The new colors debuted not in the opening game of 1896, but in the second game, at home against Roanoke College, on October 20.

The black jersey sported by the 1895 team, just prior to the schools name change, featured the letters AMC encircled by a large C in white.
The black jersey sported by the 1895 team, just prior to the schools name change,
featured the letters AMC encircled by a large C in white.
The first orange-and-maroon jersey featured an oversized V under a smaller P, reflecting a de-emphasis of the word Institute in popular usage of the schools name.
The first orange-and-maroon jersey featured an oversized V under a smaller P, reflecting
a de-emphasis of the word Institute in popular usage of the schools name.

Changes came to fan support, as well. By the 1890s, the college cheer, or yell, had become a popular means of boosting enthusiasm at campus athletic events. As long as they incorporated the name of the college and / or team, the words in these yells werent as important as the rhythm and tone. Cheers relied on creative, invented words–words that were easy and fun to yell–as is evident in the first yell adopted by VAMC:

Rip, Rah, Ree,
Vah, Vah, Vee,
Vir-gin-i-a
A. M. C.
Vir-gin-i-a
Virg-gin-i-a
Ree, Ree,
A. M. C.

An abridged, peppier version of the longer yell seems to have been used more frequently by fans at games:

Rip, Rah, Ree!
Va, Va, Vee!
Virginia, Virginia!
A-M-C!

By the 1895 season, the students had adopted a new, somewhat more complex college yell, published in the 1896 Bugle:

Hicki! Hicki! Hicki!
Sis! Bom! Bar!
A. and M. College,
Wah! Who! Wah!
Vivla! Vivla! Vivla! Vee!
Virginia! Virginia! A. M. C.!

The “Wah! Who! Wah!” bit may have been a little too reminiscent of the “Wah-hoo-wah!” yell of University of Virginia fans, and the 1896 Bugle records a separate yell that was used to cheer the 1895 football squad :

Do! Do! Ha! Ha! Dom-i-di-i-dee;
Wah! Wah!
A. M. C.
Hip Hip, Hip, Hurrah!
Virgin-u-a!, Virgini-u-ah,
Wee! Wee!
A. M. C.-c-c-c-c-c-boom!!!! Football

The schools new name rendered these yells obsolete, but rather than simply incorporate the new name into existing yells, the Athletic Association sponsored a contest for a new yell (which, as things turned out, is fortunate, or we might otherwise all be cheering Lets go, Hickies! or be members of the Do Do Nation today). The composer of the winning entry would receive a five-dollar prize.

Oscar Meade Stull (1874-1964), a senior majoring in applied chemistry and serving as cadet first lieutenant and adjutant, put his imagination to work in composing a cheer that used fun, invented words and incorporated the schools new name:

Hoki, Hoki, Hoki, Hy!
Techs, Techs, VPI!
Sola-Rex, Sola-Rah.
Polytechs Vir-gin-i-a!
Rae, Ri, VPI!

Oscar Meade Stull, '96, the first person to ever hear the What is a Hokie? question.
Oscar Meade Stull, ’96, the first person to ever hear
the What is a Hokie? question.

Stulls submission became the winning entry and is said to have made its debut when the cadets traveled to Richmond and participated in the laying of the cornerstone for the citys Jefferson Davis monument on July 2, 1896. As Stull recalled some 60 years later, I was surprised when my yell was accepted, but I needed the five spot. In addition to the fiver, Stull earned a lasting place in Virginia Tech history. The legacy was an unexpected one. In a 1956 letter to Virginia Tech library director Seymour Robb, Stull wrote, I am more surprised in recent years that [the Hokie yell] has endured for 60 years!

According to various histories, 1896 also marked the year in which Floyd Hard Times Meade (1882-1941) came to be associated with the football team. Just 14 years old at the time, Meade worked part-time in the campus mess hall and was adopted as an unofficial mascot by the team. As mascot, Meade frequently performed at games dressed as a clown in orange and maroon, his antics probably not so dissimilar to mascots of later years. Meade would later figure prominently in the evolution of the teams mascot and traditions. But his is a story for a future blog post.

Floyd Hard Times Meade, from the 1899 Bugle.
Floyd Hard Times Meade, from the 1899 Bugle.

The traditions begun in 1896 served the team well. The VPI gridders won that first orange-and-maroon game over Roanoke College 12-0, and the team eventually went 5-2-1, ending the season with a 24-0 rout of then-archrival VMI. The eight-game season was the longest played since the teams founding, and though it would be nearly a decade before VPI regularly played that many games a year, the success of that season proved the feasibility of scheduling more games.

It would take some time for an e to be added to Stulls hoki, and though his cheer incorporated the names Techs and Polytechs, the school seems to have made little effort in promoting the use of these names. The Cohee, an 1897-1898 publication of the Athletic Association, makes no mention of the names; the press most often referred to the team simply as V.P.I. or by generic terms such as the Blacksburg eleven. It would be several years before VPI teams came to be known more commonly as Techs, Polytechs, or Techmen; more than a decade to be known as The Gobblers; and still longer to be called The Hokies, but the seeds for all that has followed were sown in 1896.

jojacks2 Just for Fun, Local/Regional History, Pop Culture

The Amazing Guy Who Smiled

Here in Special Collections we have any number of items easily recognized as rare or unique: a letter from Charles Lindbergh to Apollo XI astronaut Michael Collins; a diary written by former slave Jeffrey Wilson; a first edition of James Joyces Ulysses. These items are among those that even a casual visitor would see as exceptional treasures. We have other items, however, that might at first glance seem commonplace but are in fact surprisingly rare, and such is the case with this studio portrait of William Dabney Martin.

William Dabney Martin, The Amazing Guy Who Smiled
William Dabney Martin, The Amazing Guy Who Smiled

Who was he, this dapper young man with the unruly mustache, smiling back at us from more than a century ago? Unfortunately, we know nothing definite of Martin, whose photo is found within an elegant 19th-century album in the Price Family Collection (Ms2012-047), purchased by Special Collections at a local estate auction in 2012. Clues found within the album suggest that he was the same William D. Martin who was born in Virginia in 1873, a son of Samuel and Josephine Martin. The owner of a Rocky Mount, Virginia, jewelry store, Martin married Nora Powell, and the couple had five children. Census records indicate that William Martin died young, between 1913 and 1920; the latter year found Nora, a widow, living in Prince Edward County with four of her children.

Given that we know nothing about the subject of the portrait or the studio in which it was created, it seems that the picture deserves no more notice than any another 19th-century photograph. But it is Martins smile that makes the image remarkable.

While looking through any collection of 19th-century studio portraits, one might understandably reach the conclusion that our ancestors were a stern and humorless lot. In a collection of a hundred photos, we might find, at most, a dozen in which the subject wears any expression other than a frown or scowl. Within that dozen, we might find within the mix of faces an occasional neutral or kind expression, but a discernible upturn of the mouth is a rarity, and a grin is even more uncommon. To find a subject wearing a full-out, tooth-baring smile, like that of the Amazing Guy Who Smiled, is downright extraordinary.

Certainly the latter 19th century wasnt devoid of humor; the era gave us the wit of Mark Twain and the satire of Thomas Nast. The era’s humor, however, rarely seems to have crossed the threshold of the portrait studio. In examining the photos below, typical of the time and pulled from the same album in which Martins photo is housed, we might be forgiven for thinking that people of the late 19th century were overwhelmed by despair and dyspepsia.

We can almost hear Phoebe Heckman Boone telling the photographer to get on with it.
We can almost hear Phoebe Heckman Boone telling the photographer to get on with it.
Creed and Hannah Ikenberry Heckman, here with an unidentified child, may have been been party favorites, renowned for their wit and affability, but the camera failed to capture these qualities.
Creed and Hannah Ikenberry Heckman, here with an unidentified child, may have been been party favorites, renowned for their wit and affability, but the camera failed to capture these qualities.
Frances Heckman Noels festive hat says Independence Day parade, but her dour expression says funeral procession.
Frances Heckman Noels festive hat says Independence Day parade, but her dour expression says funeral procession.
Even The Amazing Guy Who Smiled didn't always smile.
Even The Amazing Guy Who Smiled didn’t always smile.
Julia Wood Margaret Francis Middleton Hunt Heckman. Her name says it all.
Julia Wood Margaret Francis Middleton Hunt Heckman. Her name says it all.
James and Theodore Price. The hairless Theodore seems bemused by the hairbrush with which hes been asked to pose. James appears frightened, as though he'd been caught smiling and threatened with punishment if he did it again.
James and Theodore Price. The hairless Theodore seems bemused by the hairbrush with which hes been asked to pose. James appears frightened, as though he’d been caught smiling and threatened with punishment if he did it again.
The beautiful Frances Folsom Heckman holds us all in disdain.
The beautiful Frances Folsom Heckman holds us all in disdain.

One theory blames poor hygiene for the absence of smiles in old photos. The theory contends that few people had good teeth, and the frowns were a way to hide an unflattering feature from posterity. It hardly seems likely, though that self-consciousness would have motivated nearly everybody to frown at the photographer. Moreover, the hygiene theory doesnt account for the dearth of even close-mouthed smiles.

Others claim that the tendency toward frowns may be attributed to the long exposure times required by early photography. Anybody whos had to hold a smile for more than a few seconds for a camera can attest to how quickly it becomes a strain. In the earliest days of studio portraiture, long exposure times certainly contributed to stilted poses and a lack of spontaneity. By 1880, however, advances in technology had eliminated the problem of long exposure times. Still the frowns persisted.

It seems likely that social customs of the day provided the most compelling reason for portrait subjects ill-humored appearances. Though studio photography quickly grew in popularityby the late 1800s even small towns had at least one portrait studiothe process and expense of portraiture continued to make it a significant event, and it was not one to be frivolously wasted. In a letter to the Sacramento Daily Union, Twain wrote, A photograph is a most important document, and there is nothing more damning to go down to posterity than a silly, foolish smile caught and fixed forever. Twains views reflected Victorian-era codes of conduct that considered open displays of emotion as unseemly and something in which only by the coarse, the drunken, and the foolish engaged. And so, because nobody wanted to be remembered by posterity as a grinning idiot, smiles were largely discouraged in the portrait studio.

Societal changes and the advent of personal cameras, particularly Kodaks Brownie, greatly loosened strictures on photographic conventions, and spontaneity became much more the norm. Some decades later, as film gave way to digital cameras and smartphones, the values of the Victorian era vis–vis photography were completely reversed. If the novelty and expense of 19th-century studio portraiture led to frozen frowns, then the ubiquity and negligible expense of digital photography naturally led to such 21st-century phenomena as the duckface, a trend that would certainly have had most Victorians sternly spinning in their graves. But William Dabney Martin–non-conformist, iconoclast, rebel, smiler–may have understood.

jojacks2 Faculty, Science and Engineering

The Legacies of A. B. Massey

Arthur Ballard Massey arrived in Blacksburg in 1918, ready to assume his duties as associate professor of plant pathology and bacteriology at Virginia Tech and as a researcher with the Virginia Agricultural Experiment Station. Just 29 years old, the Albemarle County native had already served as an instructor of botany at Clemson University for three years and as assistant botanist at the Alabama Agricultural Research Station for five. His tenure at Virginia Tech would span 40 years.

A. B. Massey, 1968
A. B. Massey, 1968

Educational requirements for careers in academia were not as stringent a century ago as they are today, and despite holding only a bachelors degree until 1928, Massey devoted most of his first decade at Virginia Tech to instruction. He taught all of the university’s bacteriology courses until 1924, and in that year was assigned to teaching full-time. In 1935, Massey became a botanist in the Virginia Cooperative Wildlife Research Unit, a position he would hold until his 1959 retirement; Masseys duties during these years became much more focused on research rather than instruction.

In a 1992 biographical sketch, Professor Curtis W. Roane wrote, “One might describe Massey as a complete botanist. He taught and conducted research in many phases of botany but he excelled in the taxonomy of Virginia flowering plants and will be most remembered for his collections and records of this flora.” Massey found the universitys herbarium to be a particularly useful teaching tool, and during his tenure, the herbarium steadily expanded. Massey is credited with adding 25,000 specimens to the collection, and in recognition of his contributions, the herbarium today bears his name.

While serving as chair of the Virginia Academy of Science’s Flora Committee, Massey cofounded the botanical journal Claytonia, a forerunner of today’s Virginia Journal of Science, and he worked with colleagues from the University of Virginia in establishing the Mountain Lake Biological Station. Perhaps most significantly among his accomplishments, Massey added greatly to the literature on the commonwealth’s flora, publishing such works as The Ferns and Fern Allies of Virginia (1944), Orchids in Virginia (1953), and Poisonous Plants in Virginia (1954).

In addition to several of these publications, Special Collections holds the Arthur B. Massey Papers (Ms1962-002). Among the papers are a number of essays and other works written by Massey and others on various botanical subjects. The collection also contains photographs and lists of trees on the Virginia Tech campus, valuable resources for studies of the campuss arboreal history and landscape development.

Within Masseys papers is this photo of an ivy-covered American chestnut in front of old McBryde Hall, ca. 1920. The tree would eventually be killed by the blight that decimated the chestnut population nationwide.
Within Masseys papers is this photo of an ivy-covered American chestnut in front of old McBryde Hall, ca. 1920. The tree would eventually be killed by the nationwide blight that decimated the chestnut population.

 

Also among the papers is an undated essay by Massey titled “Wild Flower Conservation.” In it, the botanist warns that exploitation has endangered a number of native wildflower species:

We have inherited, to a large degree, the notion that the native plants growing in the fields, meadows, and woodlands, the great out-of-doors, are there for the first to come (first come, first served, never mind who follows). Thoughtful Americans are awakening to the realization that some of our most interesting native plants are becoming rare and well nigh on to extinction… By education and example we need to develop a wild flower consciousness and a true interest in their conservation.

Page one of Masseys undated essay on wildflower conservation, probably intended for publication in Virginia Journal of Science.
Page one of Masseys undated essay on wildflower conservation, probably intended for publication in Virginia Journal of Science.

Though the conservation of natural resources was no new concept at the time (the American conservation movement having its roots in the late 19th century), the paper was written years before conservation would enter the mainstream of American consciousness, and it shows a growing realization among naturalists that valuable species were being irrevocably lost to careless overharvesting. While Masseys little essay is hardly a landmark in environmental thought, it expresses views that the professor undoubtedly shared with students through instruction and with peers and the public at large through his writings and outreach, influencing the viewpoints of those he taught.

Here in the New River Valley, were fortunate to live in a region of abundant biodiversity. Though the landscape has altered dramatically since the arrival of the first Euro-American settlers, it remains in large part a healthy ecosystem. The preservation of this ecosystem remains the living legacy of A. B. Massey and the many naturalists like him who have encouraged us to learn about, to engage with, and to value the living things that we see around us every day. Thats something to keep in mind as we venture outdoors and enjoy the colorful changes that spring brings to the surrounding fields and woods.

And if youre unable to get outside, pay us a visit, and well be happy to pull some of the many books we have on the subject of flora (local, national, and elsewhere), a small, colorful sampling from which you can see below:

 

jojacks2 African American History, Civil War, Pop Culture, Uncategorized

An Uneasy Birth

Marking the 100th Anniversary of D. W. Griffiths Controversial Landmark Film, The Birth of a Nation

While recently pulling materials for an exhibit on silent films, I happened upon a small promotional flyer, probably from Blacksburgs Lyric Theatre, for D. W. Griffiths Birth of a Nation, which saw its initial theatrical release on March 3, 1915.

Though Griffith’s work is considered a watershed in cinematic history, few today can claim to have watched it in its entirety. The films relegation to a remote corner of public consciousness can be attributed to its silent film format (considered quaint or boring by most modern viewers) and to its treatment of a subject matter that is today widely seen as repugnant.

The Birth of a Nation purports to tell the story of Americas Civil War and the origin of the Ku Klux Klan during Reconstruction. In doing so, the film portrays the Klan as a noble organization devoted to protecting Southern society from marauding bands of brutish, lecherous Freedmen and their manipulative, hypocritical carpetbagger allies.

The Birth of a Nation flyer cover, depicting a cross-wielding Klan member in full regalia sitting astride a rearing horse, hints strongly at the films content and point of view.
The Birth of a Nation flyer cover, depicting a cross-wielding Klan member in full regalia sitting astride a rearing horse, hints strongly at the films content and point of view.

 

The plot for The Birth of a Nation was based on Thomas F. Dixon Jr.s novel The Clansman, the second volume in a trilogy about the Reconstruction South. A North Carolina Baptist minister, attorney, and state legislator, Dixon became a popular author around the turn of the 20th century, publishing more than 20 novels. The Clansman

The Clansman is among five of Dixons novels held by Special Collections. The librarys main collection holds several more titles.
The Clansman is among five of Dixons novels held by Special Collections. The librarys main collection holds several more titles.

is today remembered as his most famous (or infamous) work, and from it was drawn the films Southern apologist version of the Klans origins.

In bringing Dixons tale to the screen, Griffith spared no expense and pioneered a number of moviemaking techniques and technologies: The Birth of a Nation is said to have been the first film to employ night photography, panning motion shots, the iris effect, the intercutting of parallel action sequences, and many more advances that would become mainstays of cinematic narrative. Griffith also employed hundreds of extras in staging epic Civil War battle scenes and interspersed his story with accurate tableaux of scenes from American history. The film was unlike anything that movie-going audiences had seen to that time.

 

Inside, the flyer lists some of the innovations and enormous costs associated with the films production.
Inside, the flyer lists some of the innovations and enormous costs associated with the films production.

Griffiths accuracy and attention to detail exploited the publics willingness to take its history lessons from fictionalized accounts. An uninformed audience, seeing accurately portrayed historical scenes presented side-by-side with Dixons skewed view of events, might be partially forgiven for accepting all as fact. Even supposedly knowledgeable viewers, however, were enthralled by Griffiths prowess as a storyteller. The film is said to have been the first to be screened in the White House. After seeing it, President Wilson, himself a historian, reportedly said, It is like writing history with lightning. And my only regret is that it is all so terribly true. The films widespread popularity and its audience’s impressionability are credited with being partially responsible for the KKKs resurgence and rise to political prominence during the 1910s and 1920s.

CAPTION: A page from the flyer illustrates how The Birth of a Nation mixed historic events with a subjective, fanciful view of the Klans origins.
A page from the flyer illustrates how The Birth of a Nation mixed accurate historical depictions of the Civil War with with a subjective, fanciful interpretation of events.

Even in 1915, however, the film spurred controversy. The NAACP staged protests in several major cities and made repeated efforts to have the film banned from theaters. Letter-writing campaigns sought to educate the public on the facts of Reconstruction and to warn of the films inflammatory nature, while boycotts attempted to provide economic deterrents against the film’s release. Such efforts were in fact successful in having the film banned from the theatres of a handful of large cities but could not prevent its nationwide release.

Testimony to its immense popularity at the time, The Birth of a Nation continued to enjoy periodic revivals for years, and it is said to have remained Americas highest-grossing film until being toppled by another Civil War / Reconstruction epic, Gone with the Wind, more than twenty years later.

Despite his films overwhelming commercial success, Griffith was not immune to criticism. Partially in response to negative comments on his films racially intolerant themes, Griffith released his magnum opus, Intolerance, the following year. The three-and-a-half hour epic tells four parallel stories from different time periods of human history, each illustrating the catastrophic consequences of intolerance. Griffith would continue to make films throughout the silent era with varying degrees of success, but he never again matched the achievements of The Birth of a Nation and Intolerance.

Should The Birth of a Nation be considered an early cinematic masterpiece that is marred by its skewed interpretation of history and its outdated, hateful view of racial relations, or should any film (or other work of art) be considered a masterpiece when it advocates a point of view that is later almost universally abhorred as destructive and wrongheaded? In answering this question in his 2003 review of the film in 2003, critic Roger Ebert wrote: The Birth of a Nation is not a bad film because it argues for evil… [I]t is a great film that argues for evil. To understand how it does so is to learn a great deal about film, and even something about evil.

jojacks2 About Special Collections and University Archives, Just for Fun, Pop Culture

The Hairy, Scary Things That Time Forgot!

So you think archival work is boring and routine, that nothing could be so harmless and mundane as arranging papers and then writing summary descriptions of them? Maybe you think the most frightening thing an archivist encounters in a typical workday is a misfiled folder or a paper cut. Well, let me tell you: a misfiled folder can be a pretty ominous thing, and as for paper cuts, hey, those things can get infected. And if you were to delve deep into the dark, quiet recesses of Special Collections, you might be shocked to find archivists with hands stained crimson (with red rot), their clothing torn (by sharp, rusty paperclips), and their minds shattered by a blinding stench (from decaying film negatives).

If none of these prospects strike you as particularly sinister, then also consider this: Archivists often spend a great part of their workday hanging out with dead people (no, Im not referring to other archivists). In arranging the personal papers of long-deceased individuals, we often come to know them pretty well, not only the bare facts of their lives, but their habits, their successes and failures, and their oddities. Truth be told, dead people can be pretty creepy sometimes, and when it comes to creepy, the Victorians, preoccupied as they were with mortality and the macabre, take the cake. These are the people, after all, who popularized the gothic novel, sances, so-called freak shows, and post-mortem photography. Several of our collections from that time period contain another creepy artifact of Victorian culture: the dreaded lock of hair keepsake.

Now of course a lock of hair seems a fairly innocuous thing and wouldnt normally be associated with creepiness, but when youre thumbing through the century-old account ledgers of a long-defunct livery stable, the lastwell, perhaps near to the lastthing you expect is for a big clump of hair to pop out at you. Thats exactly the shock we recently got, however, when reviewing the Warm Springs, Virginia Ledgers (Ms2014-003), a collection purchased earlier this year.

Though locks of hair continue to be clipped and kept as mementos, usually by parents who want a keepsake of their infant children, the sharing of a lock of hair between lovers as a symbol of devotion is a tradition that has largely fallen out of favor. In the 19th and early 20th centuries, however, it was a very common thing for a lover to request a lock of hair as a keepsake. Within the Frank C. Kitts Jr. Scrapbook (Ms2010-20), in fact, may be found small ringlets that Kitts, a native of Tazewell, Virginia, obtained from three different women, seemingly as a chronicle of his romantic conquests.

The scrapbook of Frank C. Kitts Jr., who perhaps considered himself something of a Lothario, contains locks of hair from three different women.
The scrapbook of Frank C. Kitts Jr., who perhaps considered himself something of a Lothario, contains locks of hair from three different women.

Locks of hair were also often kept as mementos of deceased loved ones. Such would seem to be the case with a small, loose bundle of reddish-blonde hair in the Vivian Coleman Bear Papers (Ms2009-086). The lock is accompanied by a poem titled “Despair,” clipped from a newspaper, which concludes, [I]n this world-weary bosom / is buried a sleepless pain.

The poem accompanying a lock of hair in the Bear Papers seems to have been written from the point of view of a woman mourning the loss of her fianc.
The poem accompanying a lock of hair in the Bear Papers seems to have been written from the point of view of a woman mourning the loss of her fianc.

The symbolic associations and physical qualities of hair gave rise to its use as a medium for artistic expression during the 19th century, and hairwork became a fashionable handicraft, with jewelry, accessories, and wall ornaments being meticulously fashioned from human hair. Unfortunately (well, fortunately, as far as Im concerned), we have no examples of hairwork in our collections. Most of the locks in our collections are simple affairs, either kept loose or bound with a small ribbon. Within the back of a Civil War-era diary found in the John D. Wagg Papers (Ms1992-048), however, may be found a rather fancily braided ringlet.

The intricate braid of this lock of hair found in the back pocket of a diary in the John D. Wagg Papers (Ms1992-048) suggests that it may have been intended for ornamental use.
The intricate braid of this lock of hair found in the back pocket of a diary maintained by John D. Wagg suggests that it may have been intended for ornamental use.

Within our collections from the Victorian era are many other locks of hair. The owners of these tresses are sometimes identified, but more often theyre not. And so were left today to wonder just who they were, these dead people with their clipped hair, and to be terrifiedokay, not terrified, but at least vaguely and mildly repulsedby the little pieces of themselves that they left behind.