Opening Doors: Libraries in the Community

This is Part IV of our four-part series on our interview with Richard Ovenden.
For more background information on who Richard Ovenden is and how he came to be Bodley’s Librarian please see Part I.
For information about how libraries and the Bodleian itself aim to tackle issues of accessibility, please see Part II.
For a discussion of the role of libraries moving forward into the digital age, please see Part III.


Last week we discussed the duty and future of libraries and archives especially with regards to the digital age. This week, in our final post of the Richard Ovenden Blog Post series, we will look at some examples of how libraries are able to collaborate and serve their various communities.

“we’re [not] just a supporting service … we are actually part of the University.”

As previously mentioned in our first post of this series, Richard Ovenden is Head of Gardens, Libraries & Museums (GLAM) as well as being Bodley’s Librarian. This is a post he took over from Professor Anne Trefethen early last year, “I became head of GLAM in February”, which Richard Ovenden has described as involving “trying to build on all of the work of my predecessors as head of GLAM in supporting the cultural and scientific collections in the University”. Following our interview, Richard Ovenden mentioned that he had a meeting with “the University and Strategy Plan Programme Board which is working on the University’s new strategy”. In particular, Richard highlighted his aim of emphasising the importance of libraries, and their contribution to the University of Oxford: “What I’m trying to do is to help the University develop a strategy that has these kinds of issues that we have just been talking about, as centrally as possible” libraries are “[not] just a supporting service” but instead “we are actually part of the University.

Uma, an Indian woman with grey hair cut into a bob stands smiling next to Richard Ovenden, a tall white man with short white hair. Uma wears a blue dress and orange and purple scarf around her nexk. She's holding a copy of Richard Ovenden's book. RIichard wears glasses and a navy suit with blue sweater underneath. Both are standing by red sofas in front of one of the windows in the Weston Library.
Richard and Uma Mahadevan Dasgupta at the Weston Library

Throughout our interview, Richard makes a point of discussing Libraries within the context of the communities that they serve. For the Bodleian that primarily encompasses the staff and students at the University of Oxford (although not insignificant are the various independent researchers and even members of the general public who may also interact with our collections). But each library will have diverse communities that they need to determine how best to provide for.

One anecdote in particular that stood out was Richard’s mention of Uma-Mahadevan-Dasgupta, a woman he met who is not a Librarian, but in fact “a civil servant in India … her whole raison-d’être is to build a public library network in rural India”. The community she serves in this process is one that is “disenfranchised from knowledge, if you like, and as part of their educational experience they don’t have those opportunities and that seems to me tragic.” But the work that she’s striving to achieve is “just incredible … it’s very, very simple stuff but it’s kind of transforming the opportunities for people in rural India – young people opening books for the first time, it’s just phenomenal.” Richard’s admiration for Uma and the work she’s doing is clear, and understandable. There are few library staff who wouldn’t see the appeal in getting to create, shape, and expand a new network of libraries across a nation with previously limited access to such resources. As Richard says, “she’s been one of the most inspirational people I’ve met in a long time, and just incredible.”

“Public libraries are on the front line serving their community in every possible way that they can.”

But one doesn’t need to travel all the way to India to see ways in which libraries can change to better serve their underrepresented communities. Richard mentions a recent trip to Berlin where he “gave a talk in a public library”. He describes the library itself as, “a very good public library with a children’s library section and books, but not many. Small, on a modest scale.” It serves “an area of Berlin that has a big immigrant community, they’re facing defacement and vandalism from the far right because they have services directed towards the Turkish” and other marginalised groups. These groups are just as fundamental a part of the local community as any of the other residents and these “public libraries are on the front line serving their community in every possible way that they can.” The talk Richard was giving was in fact directly intended to address the issues of vandalism faced by the library and the wider community, it was on the subject of “censorship and banning books” which shows just how much work even ‘modest’ libraries will put in to serve and protect its users. As Richard says, “they’re really standing up for [their community].”

Two older man stand in a room with yellow walls and wood panelled details. Behind them is a desk with chairs and a portrait of a man in a gilded frame on the wall. Both men have short white hair, wear glasses and dark suit jackets. The man on the left is wearing a grey sweter over a light blue shirt and jeans, whereas the man on the right wears a plain white button up shirt over dark suit trousers that match his jacket.
Richard and Achim Bonte, the Director of the Staatsbibliotek in Berlin

On the same trip to Berlin, Richard made a visit to the director of the Staatsbibliotek, or ‘Berlin State Library’. The Staatsbibliotek is a part of a wider organisation called the Stiftung Preussischer Kulturbesitz, or ‘Prussian Culutural Heritage Foundation’ which is “responsible for the museum and state libraries and state archives, state everything.” The Foundation is one of the largest cultural organisations in the world and “responsible for these amazing institutions.” Lucky for us then that Oxford’s Gardens, Libraries and Museums (of which Richard is the head) already have “an MOU” (Memorandum of Understanding – a non-binding letter that says the institutions will work together.) “with that organisation, which sits alongside the MOU between Oxford university and the four Berlin universities.” As Richard says, “this is a cultural and knowledge partnership alongside the academic partnership,” the opportunity for two such prestigious institutions to be able to work together on future projects is a wonderful opportunity for both parties. However, as this MOU was signed just before the pandemic “we haven’t really been able to do much collaboration.” Now that restrictions are loosening however, “we actually have an agenda for collaboration between the Bodleian and the Staats.” This agenda is hopefully one that will continue into the future as, “next year we’re re-signing the MOU with the Stiftung and GLAM.”

One can’t help but feel that this all harks back to the advice Richard gave in our first article. The importance of networks and connections between library staff is central, not just to developing one’s personal career trajectory, but also between institutions as a way of supporting global efforts to protect and preserve knowledge and serve individual communities. Libraries can only continue to do the fundamental work that they are engaged in if they cooperate, share knowledge, and support one another. After all, isn’t that really what libraries are all about?

We would like to thank Richard Ovenden for very generously giving up some of his time to meet with us. We really enjoyed our conversation with him and learned a lot by listening to his experiences of the library world. We hope these blog posts will be useful to those wanting to learn more about what happens behind the scenes at the Bodleian and the wider world of libraries!

 

Four people stand in front of a corner where a panelled wall meets a window. Outside the window is Christmas tree. The first person on the left is woman with light skin and short, dark curly hair. They're smiling widely and wearing a green patterned vest on top of a black turtleneck. To their left is an older man with gtrey hair and glasses. He's also smiling at the camera and wearing a dark suit with a blue sweater over a white shirt and dark tie. Next is a young woman with brown hair pulled back in a ponytail. She smiles and wears a blue jumper with a red and white crest and a blue plaid shirt underneath. On the far right is a smiling young woman with brown curly hair down to her shoulders/ She wars glasses and a multicoloured patterned sweater.
Richard Ovenden with Ruth, Alice and Léa, the trainees who worked on this interview

 

 

Database Spotlight: Victorian Popular Culture

The A-Z database list on SOLO can take you to many weird and wonderful places. Each database provides a window into a new personality. Will I be the person who knows an uncanny amount about Early Zoological Literature[1]? Or perhaps seleucid coinage[2]? It seems that even just a little light reading in these databases would get me ahead of the pack – though perhaps Oxford is a city in which that is not reliably the case…

As tempting as these avenues of identity re-invention are, I have a feeling that I would have to somewhat crowbar these topics into conversation. Talking a lot about coins is something that is a little less charming when you’re the one who brought them up… Perhaps, I thought, it might be sensible to choose something a little more mainstream. So, this month I decided not to start a new chapter of my persona, but revisit an old one. The topic I’ve selected for this month indulges a subject I was obsessed with as a child, and the database itself is one that finds the perfect balance between accessible and delightfully specific: the database of Victorian Popular Culture. A sprawling resource with countless entries, this database is still extremely navigable and filled to the brim with treasures.

 

Arriving at the Database

When first opening the database of Victorian Popular Culture, you are greeting by a well laid-out menu. The initial drop down tab is arranged into the sections:

‘Introduction’ to give users a sense of what they can do with the resource

‘Browse documents’ for broad umbrellas of research topics

‘Explore’ for the researcher just dipping their toe into Victorian waters (ideally they’d also be wearing a very fetching Victorian bathing suit to boot)

‘Visual sources’ for photographs, plates, cinema footage – the list goes on

‘Help’ – for a more detialed guide of how to make the most of the database and further information

 

Screen cap of the home page of Victorian Popular Culture, with the drop down menu open
The drop down menu will take you wherever you want to go!

 

Having a Browse

While all the headings in the ‘Browse Documents’ section looked tempting, I decided to look into Circuses. Once in the item list, I was met with even more (delightfully organised) drop down boxes. Not unlike SOLO or the Ashmolean Database (our previous database spotlight), here you can select the item type you’re looking for. Perhaps it’s ephemera, or playbills. At this stage you can also filter by the Library/Archive that holds the item. This is a great feature for those that wish to find items they can visit in person.

 

Screen cap of list of items with thumbnails by each entry

 

Deciding not to filter the results at this stage, I began scrolling through the items. With thumbnail images of each item, you get a pretty clear idea of the sort of thing you’ll be looking at when you select an item. As I scrolled, enjoying snapshots of photographs and sheetmusic, my eye was caught by a diving figure of gold foiling on the cover of Acrobats and Mountebanks by Hugues Le Roux (1890)[3].

 

Gold foiling of an acbrobat mid-flip on a dark blue back ground
An eye-catching front cover!

Acrobats and Mountebanks

Clicking into the item took me to the catalogue page with publication information and item type. For example, here I learnt that this text is kept as part of the National Fairground Archive at the University of Sheffield[4]. If I absolutely had to get trapped in an archive overnight, due to what I’m sure would be very legitimate and even likely circumstances, I could do worse than this one. (These are the kinds of scenarios you begin to ponder when you become a library graduate trainee…). If one database just isn’t enough, treat yourself to a browse of the NFCA and find materials on illusions, menageries, pleasure gardens and fairground rides[5].

The text of Acrobats and Mountebanks was digitized and I had the option of browsing the whole text page by page or navigating by chapter. I was struck by the high quality of the images, so entered into the world of the Victorian circus without a particular destination in mind. Weaving through the acts and attractions described in the book I could feel the the ghost of the author’s excitement; gorgeous illustrations throughout the text draw you into a world where horse drawn carriages carry ladies in smart dresses to the fair (p. 38), where ‘everyone is come for amusement and intends to get it’ (p. 39). In the preface it is promised that the reader will be led to ‘the threshold of an unknown world’ (p. vi) and I felt a little like someone about to attend the circus myself.

 

 

Further into the book, in the chapter titled The Private Circus, Le Roux writes of a certain number of people for whom simply attending the Circus was not enough. So allured were they by the world of the trapeze artist and conjurer that they would seek out and enter a very particular tent. It seems that during this period, it was possible for the circus itself to be a place that would not only dazzle spectators with the art of acrobatics, but teach them how to perform it themselves. With a suitably mythical turn of phrase, the transition from circus-goer to circus performer is described by Le Roux as a ‘metamorphosis’ (p. 308).

One such individual who engaged in this act of transfiguration was Lieutenant Viaud. A man of many military and literary achievements[6], he gains another string to his bow with his acrobatic endeavours:

‘One feels that in him exists that spring of elasticity which raises a body from the soil and wrests it from the laws of gravitation’ (p. 309).

Despite finding this text through such an ordered sequence of tabs, drop down menus and chapter links, the quality of the digitized images and the ease of navigation within the database made for an immersive reading experience. I was as drawn into the world of the Victorian circus as Lieutenant Viaud, though my forward roll may yet leave something to be desired.

 

London Low Life

Closing the flap of the circus tent for now, let’s creep a little further into to the back streets of Victorian London with a dictionary of slang[7]. This extensive resource can be found on the ‘London Low Life’ a sister page of the Victorian Popular Culture database. Here is where you can find all things ‘street culture, social reform and the Victorian underworld’. After the bright lights of the circus a little shadiness might do us good.

 

Screen cap showing entries under the letter 'A' in the London slang dictionary
This dictionary can be browsed in alphabetical order and similarly defined phrases are grouped together for ease of navigation!

 

Scanning through the entries, a few favourites jumped out. I particularly enjoyed ‘a pig’s whisper’ (a grunt) ‘a bantling’ (a young child) and ‘knights of the rainbow’ (waiters, footmen, lacqueys). Having topped up my slang vocabulary, I thought I would round off my venture into the world of databases with a hop across to the Oxford English Dictionary, or OED.

 

Oxford English Dictionary Online

Available through SOLO, the OED is an incredible resource: ‘the definitive record of the English language’[8], no less.

The OED serves as a guide to the meaning, history, and pronunciation of 600,000 words— including those that have dropped out of use – from across the English-speaking world.

Every entry has example quotations from across the period the word is/was used in, from literary examples to specialist periodicals, film scripts to cookery books.

 

Screen cap of OED entry for bantling
Entry for ‘bantling’

 

As you can see in the red text on the top right of this page from the OED, this entry has not been fully updated. The entries in the OED undergo constant revisions to stay up to date, each revision ‘subtly adjusting our image of the English language’[9].My deep dive into the word ‘bantling’ shows off some of its uses over time, both literal and figurative.

I hope this mini excursion goes some way to show how different databases, available both through SOLO and online, can work together to provide richer detail for whatever it is you’re researching. In my exploration into the world of Victorian circuses, I dipped into the database of Victorian Popular Culture, the National Fairground Archive and the Oxford English Dictionary. Knowledge breeds knowledge! So many potential rabbit holes showed themselves on this digital journey, and I can’t wait to keep digging – right after I’ve perfected my acrobatic routine.

 

References:

[1] http://www.animalbase.uni-goettingen.de/zooweb/servlet/AnimalBase/list/references?digitzed_only=true%20target=

[2] http://numismatics.org/sco/

[3] Don’t have a SOLO log in? No problem! View the book here instead  https://www.gutenberg.org/files/45587/45587-h/45587-h.htm

[4] https://www.sheffield.ac.uk/nfca

[5] https://www.sheffield.ac.uk/nfca/collections/subject

[6] https://www.britannica.com/biography/Pierre-Loti

[7] https://www.londonlowlife.amdigital.co.uk/research-tools/a-dictionary-of-slang

[8] https://www.oed.com/ In a recent bid for my heart, it seems, the OED published their word for 2022: ‘Goblin mode is our 2022 Word of the Year, recognising our desire, particularly as we emerged from the pandemic, to engage in ‘unapologetically self-indulgent, lazy, slovenly, or greedy’ behaviour that typically ‘rejects social norms or expectations’.’ Powerful stuff.

[9] https://public.oed.com/about/

Opening Doors: The Future of Libraries in the Digital Age

This is Part III of our four-part series on our interview with Richard Ovenden.
For more background information on who Richard Ovenden is and how he came to be Bodley’s Librarian please see Part I.
For information about how libraries and the Bodleian itself aim to tackle issues of accessibility, please see Part II.
For a look at how various libraries are able to collaborate and serve their individual communities, please see Part IV.


We’ve previously discussed Richard’s own career in librarianship and the impact of mentors and varied experience on his career trajectory. We’ve also talked about issues of diversity in librarianship and how the Bodleian aims to address these. This week, we will be addressing the duty and future of libraries and archives especially with regards to the digital age. We’ll look at the threat posed by wealthy individuals to libraries, information and public knowledge, and the importance of archiving and preserving information found online.

A banner in grey at the top of the page reads: "Trump Twitter Archive V2". Below, all in black text on a white background, is a search bar with filters for retweets, deleted items, dates, device and an export button. The site lists 56,571 tweets and lists them in reverse chronological order.
A screenshot of the Trump Twitter Archive

We spoke with Richard Ovenden about the problems created by social media, which allows individuals to share, edit or delete a wealth of information at just the tap of a button. Indeed, Richard raised the example of Donald Trump: “he didn’t need a whole army of PR people, he just needed a phone and a Twitter account to dominate global politics through that media. Richard highlighted the extent of Trump’s engagement with social media, and his ability to edit or remove information from public knowledge: “He tweeted 26 thousand times in his presidency, but he deleted 1300 tweets shortly after sending them – or someone in his office did”. Richard Ovenden compares Trump’s actions with Elon Musk, a more recent example of a figure able to change a platform of public knowledge “at a stroke” when “he took over Twitter” last year. As a result, developing archival strategies to capture and preserve the digital history left by “prominent individuals in public life” on social media, websites and other online platforms “in case it disappears”, is “the kind of thing we need to engage in across libraries” as “part of our democratic function”, according to Richard Ovenden. Richard emphasises that “we have to do more in the digital sphere, particularly as more knowledge is created in digital formats”.

“We have to do more in the digital sphere, particularly as more knowledge is created in digital formats”

One group aiming to preserve information shared online, Richard points out, is “an activist archivist group” who “set up an automatic screenshotting for all of his [Trump’s] Twitter history to capture all of his deleted tweets and pass them to the National Archives for the Trump presidency”. Richard explains that the Bodleian is aiming to do something similar: “At this very moment, we’re figuring out an archival strategy for the Twitter profiles of the Bodleian Library, various University Twitter feeds, prominent people in the University who use Twitter as a platform for communication [and] various prominent individuals in public life”. Last October, the trainees had the opportunity to attend the UK Web Archive Conference with talks about the Archive of Tomorrow Project, the Queen Elizabeth Platinum Jubilee Collection, the Climate Change Collection and many more, exploring ways in which online information has successfully been picked, collected and preserved by members of libraries and archives across the UK. Attending the UKWA Conference, coupled with listening to Richard Ovenden speak about archival strategies, has highlighted the positive effects of libraries and archives working together on preserving information found online.

However, whilst it was important to Richard that we dispel the myth of libraries as nothing more than big old buildings full of books, “we can’t not do all the stuff in the physical world that we’re already doing.” The need for the physical space still exists, “look at people walking into the Bodleian … it’s incredibly busy”. The buildings themselves are still being used as “a place for convening – a knowledge space. So, we need to do both of these things and that’s one of our biggest challenges.” Unfortunately for libraries “it’s not an either-or situation.” Resources need to be expended both on maintaining our physical presence and expanding our digital one.

But with all these demands pulling on their resources, it doesn’t surprise anyone to learn that Richard believes “libraries are under threat”. The danger is that the gap that libraries are currently doing their best to try and fill in the digital sphere is being taken up by “big tech companies”. Richard’s fear is that the “knowledge sphere becomes increasingly commercialised – and public knowledge is the product of that commercial entity”. Not only are technology companies increasingly making profits off of public knowledge, they’re additionally taking potential revenue away from key public services like libraries. Richard argues for an “attack on the profits of the big tech companies to come back to the library sphere”. As far as he’s concerned, “some of that [money] needs to be ploughed back into the true knowledge sphere: libraries and archives”

Ground floor of the Weston Library, called Blackwell Hall. There is a reception desk stationed on the right-hand side, and above it a floor with shelves of books.
The Weston Library’s Blackwell Hall, where we Interviewed Richard Ovenden, includes a tearoom open to the public

Not all this is the fault of big tech companies, however, librarians themselves share some of the blame. “Libraries tend to be very good at their customer relations … But we’ve been less good I think at working with our clients, and we have just tended to take things on the chin”. This willingness to pull-through means that as a sector, libraries have sometimes been overlooked, particularly since “other parts of the society have been much more aggressive about defending their patch.” Of course, fighting for proper funding is never easy, “it’s very difficult, particularly at times … when the budgets are under pressure.”  When asked which key areas Richard feels we need to be most vocal in as an industry, the answer is quick: “Library funding. Public libraries. School libraries.” However, he has got plans in place at the Bodleian to ensure that our collections will be available for generations to come, regardless of the willingness of other people to recognise the importance of libraries. We need to be “trying to diversify our audience and diversify our income streams – like drinking coffee and eating cake,” he gives a playful nod to the hot drinks and sweet treats sitting on the table in front of us, “the profits of which get ploughed back to the Bodleian bottom-line.”

But even with these new income streams in place, work still needs to be done on ensuring libraries maintain their relevance. Richard believes there are a “senior echelon of decision makers” who “benefitted from libraries when they were young but then have stopped and then moved and accessed things online and don’t think that libraries are important.” This issue is not unique to high-level decision-makers. “Even in this University when I talk to certain colleagues … some think ‘Oh, well I haven’t walked into a library for 20 years, I get everything online’ as if that has got nothing to do with the Bodleian.” Unfortunately, as Richard points out, “some of that misconception is actually our fault because we have not done enough advocacy in the past decades. Particularly, with communities [such as] the lab-based sciences … where the library has come to them rather than them going to the library.” Whilst this is fantastic in terms of providing an excellent service to our users, we are seeing ramifications in the way that libraries are perceived as a dying industry, when in fact we’re an industry in the midst of radical change. Richard describes this birth of the digital information age as “the revolution that happened 25 years ago”. However, he notes that “our predecessors at that time did not do enough to build those connections with those communities.” So today, those who benefit most from our services are often those who are least aware of them.

“We need to be more assertive. Perhaps even aggressive, about the work that we do and the difference that we make”

The issue with this lies not only in funding, but also in a fundamental understanding of the way libraries work. “[A]s school libraries become defunded, the danger is that we end up with universities with plenty of students who have no experience being in libraries. Particularly, actually, middle-class students whose parents can afford books and things.” Whereas previously this might have been one of the demographics where you’d expect to see a high level of understanding of libraries and the services they provide, today things look very different. But although the issues facing libraries today are myriad and complex, Richard sees one clear solution that comes up time and again. “We need to be more assertive. Perhaps even aggressive, about the work that we do and the difference that we make.” He believes the onus is on us as librarians to provide the rallying cry and make people aware of the value of our services. “We need to be more self-confident about the role that we play in society,” and “we need to engage more in the policy sphere, in the political sphere to argue the case. And to form allies and to be more public about it.” This advocacy needs to be done, “at all levels of society – both age and class and so on.” Without greater societal support libraries won’t be able to emerge out the other side of the digital age and continue their important work of preserving and protecting knowledge for generations to come.

Opening Doors: Accessibility and Diversity in Libraries

This is Part II of our four-part series on our interview with Richard Ovenden.
For more background information on who Richard Ovenden is and how he came to be Bodley’s Librarian please see Part I.
For a discussion of the role of libraries moving forward into the digital age, please see Part III.
For a look at how various libraries are able to collaborate and serve their individual communities, please see Part IV.


Last time we spoke about Richard’s early career and how he was supported by mentors and colleagues as well as having a solid grounding in a variety of different libraries and library jobs. This time we focus more on one of the biggest issues facing librarianship as a career: accessibility.

Accessibility issues are a wide topic for discussion, encompassing not just physical accessibility of, in many cases, listed buildings, but also the accessibility of the profession to people who are members of certain marginalised groups. “If you look at the make-up of the Bodleian staff it doesn’t reflect society as a whole.” Richard acknowledges. For him part of this issue is “how can we change that when – the make-up, particularly when you go up the organisational structure it’s increasingly white.” And race isn’t the only issue, “there are other forms of diversity that are slightly better represented but still not adequately represented.” One of the more recent comprehensive surveys of the LARKIM (Libraries, Archives, Knowledge and Information Management) industry backs this up. It found that the lack of ethnic diversity within the profession is pronounced and whilst we are a female dominated profession, there is still a significant gender pay gap.

“This is one of the major issues for our industry at the moment.”

A statue of a man standing on a dais between two columns. There is pigeon mesh stretched in front of the statue and windows on either side.
The controversial statue of Cecil Rhodes which still stands atop Oriel College

For Richard Ovenden, accessibility is “one of the major issues for 
our  industry at the moment.” An issue that he acknowledges is not unique. “We share that across the museums and the cultural and scientific collections at Oxford. Particularly thinking about Oxford as an institution that has been … very implicated in empire and all of what that entails.”  It’s a legacy that will take more than a few years to undo, but the Bodleian is in the process of addressing at least some of the issues it caused. This impetus for change is coming from the very top. Richard mentions a “Bodleian strategy to address diversity and equality” and looking at the Bodleian Libraries Strategy for 2022-2027  you can see that the drive to improve diversity runs throughout the objectives laid out, as well as being explicitly stated as one of the core Guiding Principles in delivering the strategy.

Pre-dating this strategy, however, is an ongoing project called ‘We are our history’. The project involves several teams working on a variety of key issues related to improving diversity. One aspect of this is metadata, or the information we keep about the items in our collection. This can range from something as simple as the title and author of a work to descriptions of the item, its provenance or even how and when it was printed. With so much information to consider there are many ways in which we need to pay mind to the language we’re using and how we’re using it. As Richard puts it: “is our metadata fit for purpose, and how do we change that?

Another aspect that Richard mentions is “How do we diversify the collecting of books?” The Bodleian libraries are of course one of six legal deposit libraries in the UK, meaning that we are entitled to a copy of every book published here. But as Richard points out, “we’re one of the great libraries for the study of Sub-Saharan Africa – are we buying books from African publishers, are we supporting the book trade in Africa? Or are we just buying books because it’s easier and cheaper to do it from library suppliers in the UK?” Being aware of where we source our collections and the potential biases that might entail is crucial to ensuring we have a strong and diverse body of knowledge available to our readers.

A large black sign lists the exhibition title. Attached to it is a strip of Union Jack bunting that connect to one of the exhibits. There is a display case on the wall behind with books and labels and a small interactive screen tucked next to the entrance sign.
Part of the “These Things Matter” Exhibition at the Weston Library

But it’s important also to consider how we present that knowledge to the wider public, to “look at our exhibitions” as Richard explains. We’re sat with him in the main hall of the Weston library and he gestures behind him, “as you can see here at the moment”. Currently the newest exhibition at the Weston is ‘These Things Matter’, a fantastic collaboration between the Museum of Colour, the Bodleian, and Fusion Arts. The exhibition examines items from the Bodleian’s collection that illustrate the horrific legacy of colonialism and slavery, and invites seven artists to interpret and respond to the material in a variety of mediums, including sound, art installations and digital displays.

Beyond even the collections, however, we also need to think about our staff. Richard points out that biases can creep in “even in how we advertise our jobs”. He wants to strive for job postings that are “easy for people who might not have thought about working at the Bodleian – from communities who do not usually send their members to work in university libraries.” Unless we are able to employ a diverse staff, these projects become more difficult to carry out, and less impactful.

It’s got to be part of our everyday business”

Whilst all these initiatives under the ‘We are our history’ project are fundamental to addressing these issues of accessibility, Richard warns against becoming too complacent. “Funding has allowed us to get a project manager to help co-ordinate that but really, it’s for my senior colleagues in the library to take the responsibility for that. So, it can’t just stop when the funding for the project has run out. It’s got to be part of our everyday business.” Until we make accessibility and diversity as intrinsic to libraries as the books themselves we cannot really say we have made true progress. And as Richard rightly points out, “that project’s really looking most at race and ethnicity but there’s also gender, equality, sexuality, even disability to think about.” Libraries are meant to protect and preserve information to be accessed by everybody, and unless we consider the different needs of some of the myriad groups who, arguably have greater reason than many to make use of our services, we’re falling short of the basic requirements of the profession.

Opening Doors: The Journey to Bodley’s Librarian

OPENING DOORS WITH RICHARD OVENDEN BLOG SERIES:

Richard Ovenden is the Bodleian’s 25th Librarian and has been in this position since 2014. In addition to being Bodley’s Librarian, Richard holds several professional roles including Head of Gardens, Libraries & Museums, President of the Digital Preservation Coalition, Director of the Bodleian’s Centre for the Study of the Book, Board Member of the Council on Library and Information Resources as well as a Member of The Academic Advisory Board at Deutsches Literaturarchiv [1]. All in all, a very busy man!

Richard has delivered numerous talks about the delivery of e-content by libraries in the UK and the US, the role of libraries and archives, and the 2018 Tolkien: Maker of Middle Earth exhibition at the Weston [2]. He has also written a number of articles, essays, research reports, and is the author of ‘Burning the Books: A History of Knowledge Under Attack’ [3], which was shortlisted for the 2021 Wolfson History Prize.

Last year a few of us trainees had the very exciting opportunity to speak with Richard Ovenden at the Weston Café over tea (and delicious cakes). Throughout the next few weeks, we will be sharing what we discussed in a series of blog posts, beginning with Richard Ovenden’s journey to Bodley’s Librarian – his interest in librarianship and where it came from

[1] https://www.bodleian.ox.ac.uk/about/media/richard-ovenden-head-of-glam

[2] https://solo.bodleian.ox.ac.uk/permalink/f/n28kah/oxfaleph021143627

[3] https://www.balliol.ox.ac.uk/richard-ovenden-0


Opening Doors: The Journey to Bodley’s Librarian

This is Part I of our four-part series on our interview with Richard Ovenden.
For information about how libraries and the Bodleian itself aim to tackle issues of accessibility, please see Part II.
For a discussion of the role of libraries moving forward into the digital age, please see Part III.
For a look at how various libraries are able to collaborate and serve their individual communities, please see Part IV.


After settling down with our beverages and cakes, we asked Richard how his journey into libraries began.

A red brock building sits at the corner of two streets. It has large paned windows on three floors and the college crest carved in stone on the ground floor. Further terraced houses continue up a slight hill to the right along a tarmacked road with a few braches of a tree poking out from the far right. To the left a cobbled road continues down perpendicular to the other.
St Chad’s College Durham, where Richard Ovenden began his library career

For him, it started early, “being taken to my public library with my mum when I was about three. So, borrowing books from one of my public libraries, and then, when I was a teenager, going by myself and reading.” This kind of memory may be familiar to many, but over the years, Richard made the change from reader to staff member after becoming a student librarian at his college library in Durham. The role was fairly typical, “mainly tidying – nothing very exciting”. But it was in his second year there when an opportunity arose that seems to have lit a spark in the young Richard Ovenden. The construction of a new college bar meant that he was offered the chance to move the secondary sequence “which was basically a basement room full of mouldering books” and told that if he stayed over the summer holidays he would be paid for his trouble. As Richard recalls, “this was great. I was the first from my family to go to university so my parents thought this was great as I was being paid.

 

“For the first time, I could see myself doing a job.”

Whilst working on this book move, Richard came across some early books, “15th century things”. Not knowing what to do with them he went over to the University Library “to ask someone some advice – literally walking up to the enquiry desk”.  The staff there “pointed to this door that had a brass plaque on it, which said: ‘Keeper of Rare Books’, which I thought was quite cool. There was a wonderful holder of the office called Beth Rainey, and she was incredibly kind and generous and patient and helpful, and I thought – wow, this is really good. For the first time, I could see myself doing a job.” After this revelation, he then stayed on as a trainee librarian at Durham with three others. “We moved around different departments of the university library and then went to library school”. For Richard, the event that really shaped his future in libraries “was really that moment – becoming a student librarian and meeting lots of serious professional librarians.

After leaving the traineeship at Durham, Richard’s career progressed through a number of library jobs. Notably, at one point he became a member of what is now ‘The Rare Book and Special Collections Group of CILIP’ a title equally as impressive to impressionable young graduate trainees as the grand ‘Keeper of Rare Books’ must have been to Richard. But through all of his inspiring career moves, he credits his colleagues as being key mentors who were instrumental in his path towards becoming Bodley’s Librarian.

Whilst he was a member of the special collections group at CILIP, the chair of that same committee, Barry Bloomfield, “was a very senior figure in librarianship. He was just, again, very kind and helpful.” Another key figure in Richard’s early career was Ian Mowat, Chief Librarian at Edinburgh University Library. “He was a fantastic leader,” Richard reminisced. “Just working with him for four years, I learnt a huge amount. Not that he taught me but just watching him – I absorbed it.” After Ian Mowat died young, Richard felt the need to move on. “I couldn’t think of staying there and not working with him. So, I came to Oxford.” Whilst there Richard had the opportunity to work under his two predecessors in the role of Bodley’s Librarian. First was Reg Carr, who was instrumental in the integration of the departmental libraries at the Bodleian. Richard recalls that he “was also very involved in digital things and JISC – in the old days of JISC. So, he was great.” Then Richard’s direct predecessor Sarah Thomaswas a very different character, and I learnt a huge amount from her – I worked very closely with her. So, that was like a masterclass.

“The variety of libraries continues to be a source of joy and wonder.”

Part of the strength of Richard’s career history is not only in the calibre of colleagues he has had the pleasure of working with

A large Elizabethan house with grey stone walls and a red tiled roof sits in golden afternoon sunlight. The lawns surrounding the house are green and dotted with snowdrops.
Chawton House, containing a library focussed on early women writers thanks to its connection with Jane Austen

over the years, but also the sheer variety of roles he has undertaken. In Richard’s own words, “the older I get, and the more I look across the profession, I think the variety of libraries continues to be a source of joy and wonder.” Obviously he has a strong background in academic libraries, and he admits, “I’ve worked in university libraries most of my career” but as mentioned above he also has experience “in National Libraries and in parliamentary libraries” as well as being “involved in various ways with other special libraries as a trustee, like at the Chawton House Library which is for Rural Studies and has rural literature.

Richard’s opinion is that “it’s good to be involved with all those different aspects because there are commonalities between them all, but their variety is partly what makes life interesting.” Beyond just keeping the spice in life however, he also makes the point that “they all serve their communities differently,” a sentiment which rings true for many of us in the library world.

We finished our interview by asking Richard Ovenden if he had any final pieces of advice for those looking to pursue a career in Librarianship. Ever the generous boss, he gave us two: Firstly, “just try and visit and talk to as many libraries and archives as possible. Just seeing the work of a diverse range and talking to professionals of a diverse range is just really good.” And finally, “your network – your own network. My network has in the past and continues to sustain me in different ways. I utilise it to ask questions and see who I can get to come and speak and see who I can connect my new colleague with to help him or her and the problem that they’re trying to solve. So that network that you’re building now – think about it as you are doing it. Collect people’s business cards, capture their profiles in your contacts lists, follow them on social media, go on LinkedIn – it’s really, really important. Nurture it and curate it and stay in touch with each other.”

Our hope is that the advice and information provided by this blog will help those of you out there who are also interested in pursuing a career in Librarianship and can serve in some small way to kickstart your own network of information and contacts. Anyone who is interested in connecting with other people at the beginning of a career in Libraries should check out the ECLAIR (Early Career Library & Information Resource) Community.

 

Promoting an Exhibition

One of the exciting projects we can get involved in as trainees is preparing for and promoting library exhibitions, whether open to the public or exclusively to university staff and students. For LGBT+ History Month, New College Library will be putting on an exhibition on Queer Love & Literature in our collections on 25th February. We have a display case in the main library for small, longer-term exhibitions of about ten items, accessible to college members only. However, this is not suitable for large exhibitions like this one. We therefore book a room in college with enough space for long tables, which also allows us to open our exhibitions to the public. The downside is the room is not secure enough to leave any of our rare books and manuscripts overnight, therefore our large exhibitions are open for one day and one day only! This involves a lot of preparation to make sure we can set up and take down the exhibition as quickly and securely as possible on the day.

Exhibition in Lecture Room 4

 

However, without people coming to see our wonderful collections, all our preparation would be in vain. For this exhibition, we’ve used some successful promotion tactics from our previous exhibitions as well as some new ones to usher as many people as possible through our doors on the day. First of all is the fun bit, designing a poster for the exhibition on Canva, with a uniform logo we’re using on all of our social media channels. We then sent the design off to a print company to have it printed in A2, A3, and A4. We “launched” the news of our upcoming exhibition on the 19th January on our social media, and sent an email out to the OLIS, Oxford Libraries Information System, mail list. I also changed our Twitter and Facebook profile headers to advertisements for the exhibition. Thanks to my fellow trainees, I sent out some posters to go up in other libraries and increase awareness of the exhibition throughout the university. I also go on a wander around college putting up posters in common areas such as the café/bar and the JCR. I’m also trialling some QR codes, linked to the event page on our website, displayed around the library.  The LGBTQ+ Officers for the college’s JCR and MCR do a great job of organising their own events throughout the year such as queer drinks and LGBTQ+ formals, so we let them know about our exhibition so they can spread the word around college.

QR Codes around the Library
Designing the Exhibition Poster

 

 

 

 

 

 

 

 

 

 

 

 

 

 

As our exhibition is for LGBT+ History Month, a campaign founded by Schools OUT to increase the visibility of queer people’s histories and experiences, we added our event to their public calendar. However, we’ve found social media is the most effective method to reach a wider audience outside just New College and the University. On our Instagram, Twitter, and Facebook, we’ve been further teasing our exhibition by posting some of the items we’ll be displaying on the day with our exhibition banner underneath to make sure our followers don’t get sick of the same poster over and over again. I have scheduled a sneaky motion graphic to go out in the week before the exhibition, just to add a little spice. We also asked the Lodge to let us put a poster in an A-frame outside the college entrance on Holywell Street on the day to draw in any walk-ins and notify visitors where the exhibition actually is, as New College can be a bit of a maze. We’re quite lucky that our collections speak for themselves, including a 15th-century manuscript copy of Chaucer’s The Canterbury Tales, early printed books relating to King James VI and I, Oscar Wilde’s Ravenna inscribed by the author, and a first-edition copy of Virginia Woolf’s Orlando. There might be a few surprise additions on the day as we continue compiling the labels, but we’re hoping to show at least 30 items of queer literature.

@newcollegelibrary Instagram Feed
Motion Graphic

 

 

 

 

 

 

 

 

 

 

 

 

 

 

We’re quite a small library and our exhibitions only last one day, so we don’t have the same resources and following to generate as much hype as some larger libraries’ incredible exhibitions, such as those at the British or Bodleian libraries, but we try our best! We’re also looking into putting on online exhibitions, so that our collections can be viewed digitally for longer, as it’s a shame they’re only on display for 6 hours at a time. This is the first of our exhibitions that we’ve put in this much work to promote, particularly on social media, so only time will tell if it works.

 

 

Database Spotlight: Not all those who wander (in the Ashmolean) are lost

Despite having visited it on many a rainy Sunday, I always seem to stumble across new rooms in the Ashmolean every time I go. Perhaps through a form of architectural respawning, or maybe just my poor sense of direction, many of the permanent exhibitions in the museum remain shrouded in mystery for me.

Picture of a staircase in the Ashmolean. Tall windows dimly light the area, silhouettes of statues stand in the alcoves.
Shot of some mysterious lighting in the Ashmolean to help prove my point.

 

I was scrolling through the databases available through SOLO while thinking about what I would write this post on. There were many that caught my eye – perhaps I could plunge into ‘Religion and Urbanity online’, or maybe enter the world of the Utrecht Psalter…tempting as these avenues were, when I spotted the Ashmolean online Catalogue, an idea began to form.

Perhaps this post would be my chance to get to the heart of the museum, once and for all. No more oohing and ahhing over the textile gallery (or the cakes in the cafe) on the lower ground floor. No more slumping in awe on the (rather too comfortable) velvet couches in the cast gallery right next to the entrance. This time I was going to overcome every eye-catching obstacle and make it all the way to the top floor. Using the database as my guide, I would make sure to select objects from  parts of the museum I’d never before stepped foot in.

 

The Database

The Ashmolean is the University of Oxford’s museum of art and archaeology and it holds a collection that spans over ten thousand years. In recent years, they have been working on digitizing their collection. The Digital Collection programme was established in 2015[1], and as of now, you can now browse or search 200,000 of the treasures of the Ashmolean online.

With this catalogue at my fingertips, I felt sure I held the key to the most enlightening yet efficient visit to any gallery ever before experienced.

 

The plan

My plan, as it stood, was simple:

  1. Choose the items I want to visit from the data base.
  2. Plan a route.
  3. Get cultured.

 

Familiarising myself with the database

Whether you’re looking for something specific or just there for a fun like I was, the online collection is a fantastic resource. You can search items based on object type, date, artist/maker, material…the list goes on.

In a moment of weakness, I was in the mood for some 17th century sculpture, so that was where my hunt began.

 

Screen shot of the Ashmolean database page. A grid with object type and date is showing.
Selecting preferences on the database

 

Once you select object type and date, you can filter your results in the ‘sort by’ drop down. Here is where you could select a specific artist, place, etc. if you so wished. I went for ‘random’, as beyond my predilection for something early modern, I was happy for the database to surprise me.

A feature I found helpful for my purposes was the database showing you whether an item is currently on display or not – if you can visit it in the museum, there with be a small eye icon next to the entry on the online catalogue.

Another great feature for those with a thirst for knowledge in all its forms is the ‘further reading’ section. Catalogues that feature the item you’re looking at will be linked to the page for your convenience. There’s also a ‘reference URL’ so you can easily save the page you’re looking at for later! Perhaps you wish to share this particularly handsome fellow with a pal over coffee (https://collections.ashmolean.org/object/95623), or muse over what Ethel might be thinking of on your commute home after a long day (https://collections.ashmolean.org/object/383401).

 

Choosing my victims

Once I had settled on date and object type, it was as simple as choosing the items that caught my eye. A mix of small and large, intriguing and classic slowly filled up the top bar of my laptop screen as I opened many a background tab.

After a rigorous selection process (click on the thing that looks cool – patent pending) these beauties made it onto my list:

Items:

  • One of a pair of Fowlers – 17th century bronze figure

https://collections.ashmolean.org/object/746352

 

  • Sword hilt – mid-17th century

https://collections.ashmolean.org/object/746315

 

  • Mystical ring – 16th – 17th century

https://collections.ashmolean.org/object/349813

 

  • And finally, as this is a library blog after all, a magnificent book case, literally named ‘The great Bookcase’. Mid 19th century

https://collections.ashmolean.org/object/351723

 

Items selected and museum locations jotted down, I was ready to embark on my mission.

You’ll note that some of these items are not quite sculpture – one is even a book case! My search was also bolstered by the Ashmolean podcast Museum Secrets and some of the fascinating items that are discussed in the bite-sized episodes. The database was a fantastic resource that allowed me to see instantly whether the objects that featured in the episodes were currently on show.

 

Visiting

Wall of busts at the Ashmolean
Wall of busts at the Ashmolean

With a plan of action, I felt close to unstoppable. With only my poor sense of direction hindering me, I set out on my mission to get cultured. Item list in hand, I was ready to boldly go where most Oxford inhabitants have gone before…the Ashmolean!

Despite having a slightly humbling few minutes of dithering at the bottom of the what I thought were the stairs to the second floor (but, alas, were not), having a list of the rooms I needed to visit made me feel like something of a consummate gallery-goer. I strode through great halls and corridors with a feeling of purpose, only ever so occasionally getting distracted by the odd shiny thing…

 

 

 

 

 

 

 

Items

Small bronze sculpture of a man crouching with a brace of birds on his belt
sculpted by Italian Renaissance sculptor, Giovanni Bologna

The first stop on my self-made tour was the second floor, gallery 46. Here I was searching for two of the items on my list: the bronze sculpture of a fowler, that is, someone who hunts wildfowl, and the sword-hilt.

I love the tiny details on this first piece! The clothing, the birds hanging from the belt, the barbs of each feather etched into the surface…also I am jealous of his stylish little hat.

What I first noticed first in this gallery, but also throughout my visit, was that going into a space and being on the hunt for specific objects really changed the energy of my experience. It was less of a passive dander, waiting to be impressed by something amazing, but a pointed search, engaging with each item in order to find what I was looking for.

It was also really cool to see the objects I’d looked at in isolation on the database in the context of some sculpture housemates. Looking at these sculptures in the Ashmolean, you see the object not against a plain background as when photographed for posterity, but amongst other bodies.

 

 

In my photographs of the ivory sword hilt you can spot the pair of Fowlers posing in the background. Different materials colour the back drop, the deep red gallery walls lending no small amount of drama.

 

My next stop was the ring display in gallery 56. Here I was looking for the rather murky toadstone rings.

A glass octagonal case with rings in each frame.
The glorious ring case on the second floor

Toadstone, or bufonite (bufo being Latin for toad), was thought to be great for protecting against poison. Not just a moody fashion statement, toadstones have a history of being worn as a protective amulet or charm[2]. It seems that the logic went as follows: toads are poisonous, therefore toadstones (believed to be formed in the heads of toads) protect against poison and even detect it. Please do not bother any of your friendly neighbourhood toads – this origin of the toadstone does not boast the electrifying acclaim of being peer reviewed. Fun fact – toadstones have nothing to do with toads at all, but are actually the fossilised teeth of an extinct genus of ray-finned fish![3]

Toadstone was allegedly most effective when worn against skin. A lot of these rings that have toadstone in them have open backs so the stone is always in touch with the wearers hand. It was believed that the stone would alert its wearer if they were ever poisoned by heating up or even changing colour. They were seen as something of a cure all, used in treatments for countless conditions and were even thought by some to protect ships from getting wrecked at sea.

Despite all these rather delicious claims to fame, the rings don’t particularly stand out in the display. In fact, I had to lap the jewellery case a couple of times before spotting these mystical little beauties. If you want to take a look for yourself, there is a helpful catalogue of the rings in the display case in folders that are kept near the case in gallery 56.

 

Toadstone ring, no. 115

 

For the final item we step away from the 17th century and into the Victorian age – peeking round the door of the office of William Burgess, a famous designer and architect of the gothic revival persuasion.[4]  Made to hold Burges’s art books, this elaborate bookcase had 14 painters contribute to it –  many of them being big names from the pre-Raphaelite movement. Edward-Burne Jones, Dante Gabriel Rossetti and Simeon Solomon were among the artists involved.  Each one was handsomely rewarded at £5 apiece.

 

Large ornate bookcase. Trimmed with gold and with a red background, this bookcase is covered in paintings of different people, animals and plants
The Great Bookcase in all its glory!

 

The external decoration relates to the books that would have been housed on that shelf so there is a great variety in the decoration. Biblical scenes mirror stories from ancient Greece and Egypt, and the entire piece is covered in depictions of animals and plants.

 

 

This piece is part of the spotlight trail at the Ashmolean, so you can scan the QR code and listen to some of the background of its creation.

 

With their target of making 25% of their objects available to view online by 2020 reached, the Ashmolean is continuing to make even more of its collection accessible. Collections currently being digitalised include the Egyptian collection and portraits from the collection of Revd F. W. Hope.

What I enjoyed most about this experience was the difference between browsing online to searching for my chosen objects in a physical space. I think I felt more connected to the pieces because I had sought them out. This is not to say I had laser focus…Drifting from room to room in the Ashmolean is a process of delightful distraction – you walk through different exhibitions to reach your destination and charming and unexpected pieces unavoidably catch your eye.

 

 

These bonus pieces are not unlike side quests that enhance your journey to your true aim: immunity to everything via proximity to a toadstone. I plan to visit it once a week for the rest of my days in order to experience maximum benefits.

I hope to bug my friends some weekend soon with this makeshift tour – why not put one together yourself with the Ashmolean online database!

 

[1] https://collections.ashmolean.org/collection/about-the-online-collection

[2] Listen to Lucie Dawkins’ podcast Museum Secrets here for a great mini-podcast in which Matthew Winterbottom, curator at the Ashmolean, discusses toadstones and other magic jewellery at the Ashmolean! https://www.ashmolean.org/museum-secrets

[3] https://www.ashmolean.org/museum-secrets, at the 5:00 minute mark exactly

[4] https://www.britannica.com/biography/William-Burges

Marking Holocaust Memorial Day at Christ Church Library

‘What is abnormal is that I am normal. That I survived the Holocaust and went on to love beautiful girls, to talk, to write, to have toast and tea and live my life – that is what is abnormal.’ Elie Wiesel, survivor of the Holocaust

Holocaust Memorial Day takes place on the 27th of January every year, marking the anniversary of the liberation of Auschwitz and to remember the more recent genocides which followed in Cambodia, Rwanda, Bosnia, and Darfur. The Holocaust Memorial Day Trust website provides life stories, information and resources: https://www.hmd.org.uk/ 

We put together a display at Christ Church library to mark the day. This post shines a spotlight on three of the books in our display: a graphic novel, a memoir and a collaborative autobiography.

 

Maus, Art Spiegelman

Photo of book cover. Maus in red font, two cartoon mice cowering in eachothers arms together under an image of a cat drawn to resemble HitlerIn Art Spiegelman’s graphic novel, Spiegelman interviews his father, Vladek, a Polish Jew who survived the Holocaust. The comic moves between the father and son’s conversation and depictions of Spiegelman’s father’s memories. Throughout Maus, as the title hints to, characters are depicted as animals rather than people, and specifically depicts Jews as mice and Nazis as cats. This novel combines biography, autobiography, history and fiction in a piece that became the first graphic novel to win a Pulitzer Prize.

Maus comes from humble beginnings, originally published in serial form in Françoise Mouly and Art Spiegelman’s eclectic comics anthology ‘RAW’ in the 1980s. Chapters one to six were later published in ’86 in a volume titled Maus I: A Survivor’s Tale and the latter five chapters were published in 1991 as Maus II: A Survivor’s Tale: And Here My Troubles. The text in our display contains both these volumes.

RAW Magazine began life in whirrings of a living room printing press in the house that Spiegelman and Mouly still share[1]. (Each publication was adorned with its own cheeky subtitle, two of my favourites being ‘Required Reading for the post-literate’ and ‘Open wounds from the cutting edge of commix’). This set up goes a little way to paint a picture of the world Spiegelman was living in. He was working in the underground comic scene, the predecessor of which he had grown up on in ‘60s New York. It was from Justin Green, a fellow alternative cartoonist whose work was often featured in RAW Magazine, that Spiegelman learnt:

“confessional, autobiographical, intimate, unsayable material is perfectly fine content for comics.”[2]

 

Maus shows how the medium of comics can be one that communicates harrowing themes and strained relationships in a way that feels both sensitive and charged. The experience of reading Maus is one of constant stock-taking. You have to sit with the often-disturbing images, move back and forth between them as you progress through the novel. Spiegelman’s conversations with his father about his experiences in Auschwitz not only frame the recollections, but also often intrude upon the narrative. The form of a comic works exceedingly well as something that can interrupt itself. Embodied memories barge into the present as Spiegelman plays with comic strip borders and ratios. In an interview with Alexandra Alter for the The New York Times, Spiegelman says of the cartoon format, and particularly of depicting the people in the story as animals, that:

 

“For me, it was powerful just because it allowed me to deal with the material by putting a mask on people. By reliving it microscopically, as best I could, moment by moment — it allowed me to at least come to grips with something that otherwise was only a dark shadow.”[3]

 

An Underground Life: Memoirs of a Gay Jew in Nazi Berlin, Gad Beck

“For them I was a boy from outside. Why? I was visiting theatres, I was dancing, even ballet dancing.”[4]

Gad Beck and his sister Margot were born in Berlin in 1923. An Underground Life recounts the story of how Beck was able to escape the Nazis and stay living in Berlin throughout the duration of World War Two. Being both Jewish and gay, Beck was doubly at risk of persecution from the Nazis. Nazi conceptions of race, gender and eugenics very much shaped the regime’s aggressive policy on homosexuality. Repression commenced within days of Hitler becoming Chancellor. In spite of all this, Beck’s voice throughout the memoir is playful and unbelievably positive.

Beck decided to actively resist Nazi persecution, taking on a principal role in the Chug Chaluzi Jewish resistance group. The Chug Chaluzi (circle of pioneers) was an illegal group founded on the day that all Jewish forced laborers were arrested and most of them deported. The group was as small as 11 members when it started, but had grown to around 40 by the end of the war.

Jizack Schwersenz was the director of a Jewish youth group that Gad Beck attended in Berlin. In a letter from March 1942, Schwersenz writes about how Erwin Tichauer responded to the continued deportations during a secret gathering of the group in 1942:

“Then one of our members, Erwin Tichauer, stepped forward—at first we had no idea what he was about to do —and read to his group the names of all those who had been taken from us during the past months, since the deportations had begun, and as he read each name the members replied as one: ‘Here’, that is to say, that even those who were missing were with us on this occasion, for we are always with them in our thoughts, just as they are surely with us in their thoughts…”[5]

The United States Holocaust Memorial Museum holds a very precious item in its collection – a handmade book made by a boy that Gad fell in love with, Manfred Lewin[6]. In the same way that the youth group remembered those that had been deported, Gad remembered Manfred through this gift. Small enough to fit in a pocket, this book and Beck survived the war.

Beck and Lewin met at the Jewish youth group in the build up to the war. Clumsy illustrations in green felt tip pen populate the pages of this token of affection, depicting shared memories and private jokes. Slightly underwhelmed with the gift at the time, Beck recollects thinking ‘It’s very simple book, booklet, very simple … and he’s not an artist’[7]. I hope the thoughtful Beck we meet in  An Underground Life was on duty that day, and he managed to keep these thoughts to himself…

With time, and the outbreak of the war, this gift took on a new significance.

‘Dear, kind Gad, I owe you a present, no, I want to give you one, not just so that you get something from me that you can glance through and then lay aside forever, but something that will make you happy whenever you pick it up.’[8]

 

What is the What: The Autobiography of Valentino Achek Deng Dave Eggers

‘Since you and I exist, together we can make a difference!’[9]

I had only encountered Dave Eggers through his short stories up until this point, so this novel felt like something of a departure for me.

While nominally a novel, the experiences recounted in this book are true. Written in 2006, What is the What is based on the life of Valentino Achak Deng. Deng was a child when the second Sudanese Civil War broke out, a civil war that was to last twenty-two years. Deng was able to immigrate to the United States through the Lost Boys of Sudan programme[10]. Escaping conflict required moving through war zones, however. Named ‘lost boys’, many of these children spent years in life threatening circumstances. Many lost their lives due to hunger and dehydration. Travelling to Ethiopia and then Kenya for safety, around 10,000 boys between the ages of eight and eighteen arrived at the Kakuma refugee camp, ‘a sprawling, parched settlement of mud huts where they would live for the next eight years’[11].

Deng and Eggers came together through Deng’s desire for his story to reach a wider audience. He says that he sees his mission as being to help others ‘understand Sudan’s place in our global community’[12]. While having told his story to many audiences through public speaking, he felt a book about his experiences would reach more people.

‘Dave and I have collaborated to tell my story by way of tape recording, by electronic mailings, by telephone conversations and by many personal meetings and visitations.’[13]

This collaboration has resulted in a gripping read – Deng’s story, communicated to Eggers through so many different modes, finds a fluidity on the page that you can’t help but be engrossed by. As with Maus, the story moves back and forth between past and present. At the time of recounting his story to Eggers, Deng is ‘trying to survive an altogether different struggle: assimilation into a culture defined by its short-term memory and chronic indifference to the world beyond its borders’[14].

I hope this starting point will encourage you to follow Elie Wiesel’s model from the top of this post for a normal life – make yourself some toast and some tea and get reading – just remember no food in the library.

 

[1] https://www.nytimes.com/2022/12/27/books/art-spiegelman-maus-breakdowns.html

[2] Ibid.

[3] Ibid.

[4] A quotation from an interview with Gad Beck from the United States Holocaust Memorial Museum, https://www.ushmm.org/collections/the-museums-collections/collections-highlights/do-you-remember-when/page-2

[5] https://www.ushmm.org/collections/the-museums-collections/collections-highlights/do-you-remember-when/page-6

[6] Find a page by page break down here: https://www.ushmm.org/collections/the-museums-collections/collections-highlights/do-you-remember-when/cover

[7] https://www.ushmm.org/collections/the-museums-collections/collections-highlights/do-you-remember-when/page-1

[8] A translation of the first page of Manfred’s book

[9] What is the What: The Autobiography of Valentino Achek Deng, Dave Eggers (Penguin Books: London, 2006) p.xv

[10] https://www.rescue.org/article/lost-boys-sudan

[11] https://www.rescue.org/uk/article/lost-boys-sudan

[12] What is the What, p.xiv

[13] Ibid., p. xiv

[14] https://nymag.com/arts/books/reviews/23147/

 

 

The Alpine Club Library

Outside my day job as a graduate trainee librarian, I am a keen climber with an interest in climbing and mountaineering history and literature. In the past, I served as the Librarian of the Oxford University Mountaineering Club and the editor of its journal, and I spent long days paging through the OUMC’s rich guidebook collection, dreaming of working in a specialised library. When I first started my library traineeship and was encouraged to see various libraries, arranging a visit in the library of the Alpine Club was one of the first things on my to-do-list.

I do not suppose many of our readers will be familiar with arcane mountaineering terminology, so a bit of a background: the Alpine Club is the oldest mountaineering club in the world, founded in 1857 to facilitate access and exploration of the mountains of the world. Since its inception, its members have been the leading mountaineers and explorers of their generations, including household names such as George Mallory, one of the first mountaineers to attempt to climb Qomolangma (Mount Everest) in 1921, 1922, and 1924. Today, the Alpine Club is based in Shoreditch, London, and houses one of the most extensive collections of mountaineering literature in the world: over 30 thousand books, magazines, photos, and other archival material. Truly an exciting place for a budding climber-turned-librarian.

 

12 book spines in vibrant reds, greens, blues and browns. Many of them have gilt detailing or other decorations.
Pretty bindings in the Alpine Club Collection

 

To organise the visit, I reached out to Nigel Buckley, Assistant Librarian at Balliol College (my DPhil home) and the former Librarian of the Alpine Club. Nigel very kindly agreed to travel with me to London to show me around on a particularly sunny November Tuesday.

Upon our arrival to the hip borough of Shoreditch, the first of our two stops was the Library itself. Full of excitement, I foolishly did not take many photos, so my description will have to do. The Library, located in the first floor of the club house, is a small room with a handful of reading spaces, full up to a brim with all kinds of mountaineering literature: guidebooks, maps, biographies, historical accounts of climbing, or magazines. I even spotted the issues of Oxford Mountaineering Journal that I edited! After some time ogling at the shelves, Nigel showed me the digital catalogue that he created during his appointment using the free library management software called Koha.

The second stop – the basement – proved to be even more exciting than the Library. It houses all kinds of material, from journals, outdated climbing guidebooks, and historic collections, to paintings, photographs, and all sort of mountaineering paraphernalia. Ice axes, ropes, compasses, tents, you name it. At one point, Nigel opened a random drawer, and there was a pair of solid leather mountain boots!

What were some of my favourite objects? I fell in love with ice axe that used to belong to Dorothy Pilley (1894-1986), a pioneer British female climber who established many routes in Wales as well as further afield in the Alps. Although hundred years old, this tool seemed much lighter and sleeker than my own modern ice axe, and it has probably seen more action in the mountains as well.

 

 

An ice axe with smooth wooden handle and metal pick. It is held in someone's hands over its storage box which lies open underneath and contains book bound in black textured leather surrounded by tissue paper.
The ice axe of Dorothy Pilley

 

I also want to mention a couple of illustrations. The 19th-century edition of Edward Whymper’s Scrambles Amongst the Alps made me excited for its excellent illustrations and lovely Victorian binding. Whymper (1840-1911), the first ascensionist of Matterhorn in 1865, was an engraver before he was a mountaineer, and his illustrations are an absolute joy. Furthermore, I loved the book plate of The Ladies Alpine Club (founded in 1907 and merged with the Alpine Club in 1975) which seems to capture the spirit of mountaineering very well.

There are many more books, paintings, and objects that Nigel showed me that day, but these should be enough to showcase the atmosphere of the library and the collection. We eventually made our way back upstairs to see the archives, and then moved towards the bar to finish our tour off with a pint. There was a lecture planned that evening – the cutting-edge British mountaineer Tom Livingstone spoke about his latest ascents in the Himalayas – so we stayed in London until about 10pm before catching the train back to Oxford.

I have enjoyed the visit tremendously, and I encourage you to make use of the Alpine Club collections if you are in the slightest interested in mountaineering and climbing. Many thanks, of course, go to Nigel Buckley for taking the time to show me around and chat about librarianship and mountaineering.

 

A black and white line drawing depicting four men on a mountain. The first man is falling off an icy overhand, his guide rope still attached but flying loose in the air. Below him three men stand on a ridge watching. Two simply lean against their sticks and observe, the third has sunk his ice axe into the ground beside him and has his arms wide in shock.
Illustration from Edward Whymper’s “Scrambles”
A decorative bookplate with a picture of a mountain scene. Below it texts reads: "The Library of the Ladies' Alpine Club" Above their moto reads: "per aspera as astra" with a small semi-circle containing seven stars right at the top. Around everything is a thin checkered border.
Bookplate of the Library of the Ladies Alpine Club

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

A Day in the Life at the Oxford Union Library

10am – 12pm: Careers in Libraries

Tuesday (17 January 2023) started with an online conference organized by Emma from the Bodleian Staff Development Team. Open to public, the conference introduced various career paths in the field of librarianship. I gave a short talk as a current trainee, sharing my day-to-day experience at the Union Library. I was happy to see some familiar faces and listen to my colleagues describing the projects they had been working on. I appreciate the Bodleian team for organizing these career events. Last year, as a student, I attended a similar event during which three Bodleian librarians shared career tips and personal insights.

 

Poetry Room: a room with a view and lots of fiction, but no poetry

12pm – 1pm: Isherwood Lecture

Access to free lectures is a huge reason why I love working in a university environment. At the beginning of each term, I check out the courses offered by the English department, a habit/hobby developed during my undergraduate years. Since I work evening shifts on Tuesdays, I could rearrange my hours to create a 90-minute window in the middle of the day to attend a lecture on Christopher Isherwood and have lunch afterwards (will explain how this works in more detail below*).

Reading literature is, in a sense, my way of constantly reaffirming my decision to go into librarianship. The pay is okay for now, as I don’t have kids or other expensive hobbies (but every once in a while, I also want to go to London and re-watch The Phantom of the Opera!); the work itself is not stress free (as a kid I imagined librarians just sitting at the help desk with a cup of tea and reading novels all day. Very naïve). But every day working at the Union Library has proven that the company of books and book-loving people is just priceless. Isherwood, for one, was an author I encountered while shelving books. I love books—if I haven’t mentioned this already. I love wiping dusts off their covers, putting them back on shelves next to their cousins, discovering bookmarks (and all the weird things people use as bookmarks) between pages. Who left you there, little pack of contraceptive pills?

 

1pm – 1:30pm: (Almost) Free Lunch

As a Union employee, I receive a £4 lunch allowance at the Union bar every day, and lunch at the Union bar is priced at, yes, £4.50. The coronation chicken baguette is delicious though, definitely worth that 50p.

 

1:30pm – 2:30pm: Random Small Tasks

Emailing.

Sorting out paperwork for the library committee meeting. The library committee members meet every Monday to discuss new books they’d like to buy and old books they’d like to get rid of. I take notes during the meetings and write some reports and agendas afterwards.

 

2:30pm – 4pm: Book Display

Reading List Poster

The Union is, after all, a debating society. During term time, the students here organize a debate every Thursday evening. This Thursday’s motion is:

‘This House Believes that the Future is Post-gender’.

The library staff put a few books on display based on the topic every week. This week, I searched for books on gender studies and queer theory, trying to find relevant materials for both sides of the argument. To prepare a book display project or a reading list, I usually begin by brainstorming relevant books I know. In this case, Judith Butler’s theory of performativity proved to be a good start. Then, I’d search on Google and SOLO for key words – it turned out that Rutgers had a very comprehensive reading list on queer theory, thanks, Academia. To narrow down my choices, I’d read the abstracts of the books and sometimes skimming through those that seem particularly interesting. This time, I settled on the following:

  • Undoing Gender by Judith Butler
  • Bodies that Matter: On the Discursive Limits of ‘Sex’ by Judith Butler
  • Gender Queer: A Memoir by Maia Kobabe
  • No Future: Queer Theory and the Death Drive by Lee Edelman
  • Invisible Women: Exposing the Gender Bias Women Face Every Day by Caroline Criado Perez

I also create a simple poster to go along with the books. Here on the right is a poster I am especially fond of, designed for the Winter Reading List last year.

My hope is that these reading lists will give readers a glimpse into an area that may be new to them. This is certainly true for me personally. I find library work to be, in a sense, the opposite of academic research: in the latter you end up knowing a lot about one particular area, while in the former you learn a little about a wide range of topics.

 

4pm – 5pm: Shelving

Fun and satisfying work for someone with an obsession for orderliness.

 

5pm – 7pm: Evening Shift

Apart from sitting at the help desk and answering reader enquiries, I was mostly working on a blog post (not this one). The Union is about to launch its own blog soon. The article I have been working on is about a fascinating episode that took place in the 1960s at the Union.

 

*Normally I work from 9:30am to 5pm with a 30-minute lunch break; on Tuesdays I have evening shifts, so I work from 11:30am to 7pm instead. On this particular Tuesday, however, I started 90 minutes early at 10am, so that I could take some time off at noon to attend the Isherwood lecture. This Tuesday is rather unusual, but I chose it for my ‘Day in the Life’ post so as to show the blog reader the variety of activities you can engage in as a Bodleian trainee.

 

Old Photo of the Union in 1909