"American Shakespeare"

2008-04-26T22:42:00.003-04:00

In doing research for my paper I came across this passage and thought it might be interesting to the rest of you as well:
"It has often been maintained, both in England and America, that in order to render faithfully Shakespeare's creations one must be of English stock, on th plea that the poet was himself an Englishman, and therefore could only bring forth personages endowed with English characteristics, which cannot be successfully grasped by any foreigners. This argument seems both narrow and disparaging to the genius of Shakespeare.
Many authors, either historians or poets, have perfectly understood, either by study and observation, or by intuition, sometimes better called 'inspiration,' the peculiarities of other nationalities or races. Why refuse this knowledge or intuition to Shakespeare?
We foreigners, born outside of the magic pale of the Anglo-Saxon race, place Shakespeare upon a much higher pedestal. We claim that, before being English, he was human, and that his creations are not bound either by local or ethnological limits, but belong to humanity in general."
-Helena Modjeska: Memories and Impressions, 1910

Shakespeare in a Context

2008-04-26T13:05:00.003-04:00

Gender and Such

2008-04-18T11:17:00.003-04:00

Hello everyone!

In researching my final project, I've come across some very interesting scientific research that I find so tantalizing that I thought I'd share it with you all.

What I found was a rather scientific book from 1998 rotting on the third floor of the Bobst Library. I say "rotting" with detest, as I am a closeted bibliophile and this book had only ever been checked out once; meaning that it has hardly been touched and that just boils my blood. Especially when the content of this book is so oddly fascinating. Essentially, this group of scientists suggest (based on research, blah, blah, blah; I skipped that part because I couldn't pronounce half the words in my head let alone with my tongue) that our perceptions of our gender--and of gender in general--are mostly derived from the hormones we are exposed to as fetuses... and those perceptions are then enforced, or in some cases contradicted, by society for the rest of our existence.

For me, this is a wild and radical notion--I had no idea this theory existed or could be backed up with cold hard meticulous modern science. I wonder why this wasn't publicized, on the news, something! It's gotten me to thinking that maybe the reason I'm very forward and blunt where most women would be "feminine" is because my mother did an intense amount of home improvement projects while pregnant, releasing more testosterone into the womb. Or, perhaps the reason my fiancee is so cuddly and girlish lies in fact that his mother practiced religious meditation while she was pregnant with him. Maybe these values of physical activity or religiosity were enhanced in us by the families we grew up in and that's why we view gender and gender roles the way we do--as something that's there, but fluid and indeterminate, something we can flip and flop as the situation moves us. I just think it's terribly interesting.

Thoughts?

Belated Responses: the rare, the valuable, and the unused

2008-04-11T15:12:00.003-04:00

I apologize for these belated remarks in response to Christie's, and partially the Morgan, but I have been unable to log into my account for the last couple weeks! So now that I am able to log in again, I am delighted to share with you all the following thoughts:

Setting aside my delight at sustaining such a close proximity to the very important collection of documents and books that we were privileged to see a couple of Fridays ago, as well as my delight at seeing such an incredible cultural New York landmark for the first time, I left Christie’s feeling a mixed sense of pleasure at the treatment and honor given to these objects. In my mind, it is indisputable that they are important and need preserving. But what our heated discussion left me questioning was “why?” Not “why” as in “why is it important,” but “why” as in for what purpose, or to what ends, do we preserve things of such importance?

Certainly I think I’m on the side of our argument that believes in the worth of an object not only for its artistic and intellectual merit but also for its historical, cultural, social-status significance. If I had enough disposable income, I can very much see myself paying millions of dollars for a particular edition of a book, a rare signature, or a particularly important series of handwritten documents from a favorite author, completely regardless of context (especially something like that incredible journal entry that we discovered in the Morgan Library & Museum, written by Tennessee Williams regarding his mishaps with a whore). However, what I cannot wrap my head around is what to do with said supposed object once it is in my possession!

In the actual library part of the Morgan, I was looking at the displayed Gutenberg Bible when an old man came up beside me and started ranting on the paper making process in an effort to convey the importance of proper paper preservation. His charming temper seemed to be absolutely flaring the more he spoke, as we stood there admiring such valuable literature, at the prospect that the Morgan would allow so much light on the pages. He practically started cursing as his adorable English accent berated their leaving it open for public observation for such a grotesque length of time. And impressionable as I am when faced with such a passionate and endearing foreign accent, I agreed with him. How could anyone not do anything and everything in their power to ensure as long a survival as possible for great and valuable works?

But last week, I realized that, in fact, my lines are much more fuzzy than that. There was immeasurable ecstasy in the moment my finger got to touch Charles Dickens’ signature…pristine ink, golden edged paper, crackling pages, old smell… a beyond thrilling sensation. Was it for its sake, or was it because touching this book with his signature was rare and normally would have been forbidden? I think both on some level. This really put into perspective for me the question between institutions owning these pieces and private collectors owning these pieces. As our venerable professor pointed out at some point, when a public institution possesses these artifacts, they are then available for us to see. But this unfortunately sacrifices the proximity you get to the artifacts. So, either a lot of people get to be far away from it but see it, or a few people get to be really close to it and do more than see it if they so choose. Now if I haven’t already admitted this to the world, I share Professor Smith-Howard’s secret desire to be a librarian (either in this life or the next) but for the first time in my life, I found myself rebelling inside and wanting to scream, “seeing it, knowing it exists- that is not enough!” My fingers ached for more fodder for my adrenaline. Everything I saw- especially the playbill for The Christmas Carol which somewhere expressed “overwhelming public desire for Shakespeare” that was occurring during that time period- which so excited me that it is probably safer that I did not touch it. My whole life I have had a love affair with rare manuscripts as they stare up at me from behind their pristine glass cages, now suddenly I felt as though I could not settle for less than touching and experiencing all of these things viscerally.

And what’s more, suddenly I had found something better than either a library or a museum: Christie’s is free and it lets me play! Don’t misunderstand me, I worked once in the preservation department of a music library, so I completely understand the importance and meticulous process involved in preservation, care and repairs of valuable manuscripts and the like. On a very basic level, protection from snotty teenagers who would happily scribe profanity on the sanctified pages; and on a deeper, less-though-of level, even us idolizers/well-meaners could transfer dangerous oils or germs from our hands etc, on the delicate sheets of paper. I get it. However, is it worth not getting to hold, handle or utilize the piece the way you may want to, EVER? To tell you the truth, I was a little miffed at the Morgan Library librarian for not letting us touch the first folio we saw- I mean, she wasn’t even wearing gloves or doing anything too special to handle it.

From an exceptionally young age, I was allowed by my mother to use her valuable, fragile, antique tea cups whenever we were having tea (which was frequently). She raised me to believe that it was not worth having something in the cupboard just to gather dust; it is better for something to get broken having made wonderful memories with you, than never having been utilized at all. She never feared the teacups being broken; that kind of faith in my ability to handle them, as well as that kind of anti-materialism made a lasting impression on me. So now I am forced to wonder the same things about these million dollar books: if we’re not preserving and selling them to use them, what are we doing with them? Is it enough to simply look at them; is it worth the sacrifice of not ever actually experiencing them in the way they were made to be experienced?

"Macbeth" On Broadway

2008-04-11T09:13:00.003-04:00

Hi everybody!

Re. Samantha's in-class announcement about how to see "Macbeth" for free by ushering, I thought I'd post some contact information for the theatre. Would anyone be interested in attending together and then discussing the show over dinner or something?

The Lyceum Theatre on Broadway
149 W 45th St
New York, NY 10036
(212) 239-6200

The Christies Conflict

2008-04-04T11:25:00.003-04:00

Last week's inappropriately heated discussion in the middle of the Christies viewing room left me with lingering thoughts about the ethics involved while dealing with such obscenely priced collectibles, specifically the Folio that sold for 6.5 million dollars in October 2001.
At first, I was really shocked and even upset at hearing this news. 6.5 million dollars for a book? Yes, it is an original and yes it essentially serves as a piece of art and not as much as a piece of literature-- so you aren't just paying an absurdly large amount of money for words that you could buy for $12.50, you are buying something special, something irreplaceable, and something that is obviously not priceless. This is what I expressed last week and Bertrum and I essentially teamed up to go up against the Shakespeare disciples who seemed to empathize with the tremendous purchase.
Over the week, I brought the subject up to several of my friends, one time with a friend of mine and his father, whose girlfriend actually just got a masters from Christies in England and is now working in the building we just visited. It was during this conversation that I realized I was being judgmental in a situations where is was not really my place. Some people in this world have unnaturally large amounts of money in their bank accounts. Some people give a lot of it to people who have far less than them, while the majority buy sports cars and other luxuries because...they can.
Everyday I am disgusted at the socioeconomic situation in this country, more specifically this city, that allows for people who have 6.5 million dollars to spend on an original Shakespeare to live literally right next to, but completely alienated from a family that cannot pay their rent in one of the cheapest neighborhoods in this city. I could never imagine spending 6.5 million dollars on a single item, and I hope that this sentiment remains if I ever become extremely successful. However, I could obviously never tell other people how to spend money that they or their family did earn at some point in time and I cannot quite empathize with the desire to obtain one of Shakespeare's First Folio.

I can, however, begin to empathize with this: http://most-expensive.net/guitar-in-world

How much do you think that will be worth in 150 years?

On Christie's

2008-04-04T11:09:00.003-04:00

I couldn't post my reaction to Christie's until now because I actually went to the Interiors Auction yesterday and bid on a few things. It was an experience. I'm now registered as a buyer at Christie's. I'm not sure what that makes me, but I suppose it's something.

My original intent was to go and bid on a pair of armchairs that were appraised at $200 a pop--which is cheaper than a similar, brand-spankin-new chair from Target, mind you. I was a little shell shocked when the bidding started at $800. I was shaking my head in disbelief when the chairs sold for $4,800. Over $6,000, with Christie's commission included. (lot 640) Now, THAT was silly. Five minutes previous, I'd seen a pair of table lamps go for a measly fifty bucks. What the hell, Christie's, what the hell?

If I had known that the object of my furniture fetish was going to go for so much, I might have actually challenged this old gentleman for a lovely butcher block worktable from the eighteenth century that would have looked great in my kitchen. Instead, I let him have it for $200 (lot 586). Such is life. Next time, next time....

But some good came out of my auctioneering extravaganza--I made friends with one of the receptionists! She informed me in whispers that there is a poorly attended, "rummage sale-esque" Interiors Auction (aka house cleaning) every August that features no reserves and over half the items go for fifty bucks or less. If any of you are in the market for some funky antiques or vintage furnishings, this is the mothership. It doesn't cost any money to register (you just need a photo ID and a check book) and sitting in the auction is also free. Any reason to use their restrooms again, right? :)

On Verdi's Otello at the Met

2008-04-04T05:45:00.002-04:00

Renee Fleming.

Enough said.

But if I have to say more, I was utterly fascinated by the interpretation of Shakespeare's Othello into opera. The 4 act structure is particularly striking because it seems somehow, uneven, or without a central point. Though each plot point of the story is pretty decently hit, the pacing feels drastically different. I suppose this is because the plot points become simply an impetus to get to the arias and quartets. I think, to some extent, this idea can be found in the original play as well. Soliloquies and intimately passionate scenes often stand out more prominently in Shakespeare than the overall story in which they are involved. In opera, their vocal equivalents seem to even more fully comprise the piece. Particularly in Otello, the arais seem to expound upon a theme, idea, or characterization, rather than story or plot. For example, a little recitative between Cassio and Iago (plot) launches us into Iago's "Credo in un Dio crudel," (I believe in a cruel god) a moment which seems to wholly absorb the act which encases it.

The opera comes off as pointedly dependent upon its source play. It's as if we the audience know the characters and events so fully, that the opera seeks to take advantage of our knowledge, taking us through songs to real illumination of moments where Shakespeare is more subtle. Two such moments stand out in bold relief. One in Iago's "Credo in un Dio crudel" (stated above) in which the blatant demonic nature of Iago is revealed to the audience early on and to a drastic extent. Shakespeare's Iago of "I hate the Moore"-a motiveless villain aligned with hell, and yet ever subtle in his nature, as if constantly eluding our comprehension- is literally given voice with the rich, deep, soaring melody in which he announces proudly "I am evil because I am a man; and I feel the primeval slime in me... Death is Nothingness. Heaven is an old wives tale!" The second moment comes at the close of the opera, in Desdemona's "Willow Song" and "Ave Maria." Here, the heroine seems fully aware of her death at a time when Shakespeare's heroine seems unprepared. Othello's line "have you pray'd tonight, Desdemon?... I would not kill thy soul," is given a resounding answer in the opera. Her prayer comes after a bitterly sad, and surprisingly quaint song of self awareness, aligning herself with a poor maiden forsaken by her lover. These songs involve mournful repetitions and brief dying bursts into the soprano's lightest range. Their poignancy, in part, derives from what we as an audience know of Desdemona's fate. She is given the last word that we wish she had in Shakespeare's play, where her passing seems so abrupt- "put out the light."

In both cases, the opera seems to grant us a kind of wish fulfillment while relying on the audience's knowledge of the text to support a dramatic moment. I was therefore surprised to read in my production notes that Italian audiences only became familiar with Shakespeare in the 19th century. (Verdi's Macbeth of 1847, it tells me, "predated the play's first Italian performance.") Reading on, I find that Verdi himself, however, was very familiar with Shakespeare, claiming "'I have had his works in my hands since my earliest youth. I have read and re-read him constantly.'" It seems, then, that it is perhaps the composer's wish fulfillment which finds realization in the opera- a wish for Iago to be a true demon unleashed from hell, and Desdemona an angel, allowed to say her final prayer and let the audience morn with her before she is gone. I count myself lucky that Verdi gave these wishes to us in more universal language than Shakespeare's English.

Also, Renee Fleming. I mean. really.

On Bryson

2008-04-04T04:58:00.003-04:00

I love Bill Bryson but didn't know he had come out with a biography of Shakespeare. How deliciously fitting to walk into the uptown Shakespeare Book Sellers and see Bryson's book, Shakespeare: The World as Stage, on display, ready for impromptu purchasing.

This came at the end of the day of the Christie's visit, and appropriately the first page mentions an auction held by the "London firm of Christie and Manson" which put up for sale the effects of the second Duke of Buckingham and Chandos from his house in Stowe. It was "among the furnishings of the house," Bryson explains, that the "Chandos Portrait," believed to be possibly of Shakespeare, was found in 1848. It is one of the few possible (varied and unsatisfying) likenesses of Shakespeare that we have. And on that note begins my new favorite biography of the man. Bryson manages to create a biography that contextualizes the author, and includes notes about when discoveries about him have been made and by whom. I was struck by the plethora of simple facts that I had never come across. For example, a lot of attention and praise is given to Shakespeare as a prolific writer, a fact I took for granted, but Bryson points out that compared with other writers of his day, he was decidedly not.

Bryson manages to include details about Elizabethan society, even performance techniques and traditions, including the fact that sheep's or pig's organs "and a little sleight of hand made possible the lifting of hearts from bodies in murder scenes" (so it wasn't just stylized red cloth or corn syrup!) and the fact that admission money was "dropped into a box, which was taken to a special room for safe keeping- the box office." (word origin always fascinates...me, anyway.) But these details pepper the book, providing a constant stream of information both about and around Shakespeare, rather than comprising a separate chapter on, say, "stage conventions in Shakespeare's England." Bryson also spends a good deal of time on the First Folio (including a trip to the Folger in D.C) and details the process of its creation whereby one scholar "determined that no two volumes...[are] the same."

The biography finishes with a vehement argument against anti-Stratfordians in which Byson states that "one must really salute the ingenuity of the anti-Stratfordian enthusiasts who, if they are right, have managed to uncover the greatest literary fraud in history without the benefit of anything that could reasonably be called evidence, four hundred years after it was perpetuated." (I feel compelled to say that nothing but my own, personal agreement with that statement made me repeat it here. Also, Bryson takes the anti-Stratfordian argument apart, by both presenting and refuting each of its proponents very deftly- but you should read the book if you want to see how he does so.) I particularly enjoyed the fact that of the anti-Stratfordians in the early twentieth century, some surnames included: Looney, Sillimen and Battey.

Other than the opinion that Shakespeare was Shakespeare, (an opinion you'd have to be of to pen a biography- lets hope) Bryson is refreshingly un-opinionated (or at least, without some hidden intention) when it comes to Shakespeare himself. He is not creating a character (Greenblatt, Burgess) or imposing a value system (Bloom, Auden) but rather presenting how much we do and do not know about Shakespeare, the time in which he lived and the times which have embraced him since.

Next, I'm moving onto his A Short History of Nearly Everything.

On Christie's

2008-04-04T03:36:00.002-04:00

The first thought that struck me upon entering Christie's "Kenyon Starling Library of Charles Dickens collection" was that despite the collection's obviously precise and detailed presentation (from wall plaques to well placed lighting and a beautifully produced auction book) the collection itself was markedly...dull. As much as I love old books and letters (and I truly, truly do), I can't help but feel that these objects do not immediately scream "status" in the way that a Picasso or Tiffany lamp does. Seeing these bland brown and navy books lying in their taupe enclosures, I could only think of the ultimate presentation they would be given in their new homes. Would they be locked away in a climate-controlled safe? Or put in an equally bland and pointedly (even starkly) lit enclosure in some museum or stately home? The whole air surrounding Christie's is one that both caters to and represents "elitism." The effects could be directly felt in the Contemporary gallery where the somewhat pretentious pieces begged to be given equally pretentious homes. One is constantly aware that the people looking at these works (with an aim to buy) are doing so with an idea not just of love of something beautiful or historic, but of investment and display of wealth. A first edition of A Christmas Carol doesn't scream "wealth" across a room- if indeed it is visible at all. And displaying such "wealth" must be a difficult prospect.

I discussed my experience with a friend of mine who works in a gallery in the city and she seemed to prefer the idea of buying art over books- art is something readily legible and easy to appreciate. But her reaction to Christie's was not one that I expected. The idea of art being sold somewhere other than a gallery utterly disgusted her. She said it is very unwise to sell contemporary art through an auction house because often the auction houses don't take into account the status of the market. They don't take control over the number of pieces put up for sale- a fact that can directly affect the price they fetch. A gallery may hold onto work, displaying one or two items for sale at a time, calculating (or controlling?)when the market is ripe for display and sale. They can (try to) control or create the demand for the artist. Additionally, a gallery may court several museums or collections- pitting them agaisnt one another to create competition and guarantee that the work ends up where it will be displayed, maintained and available to the public. I hadn't thought while wondering through the Contemporary Art at Christie's that those artists may actually look "desperate" (her words) and that appearing at an auction house rather than a gallery may be somehow irresponsible, both in terms of the money the artist can make, and the collection their work becomes part of. The idea of commerce that imprisons everything at Christie's was furthter heightened by the remarks of my gallery-biased friend. It seems there is nothing that can't be given a price tag, but more than that, those price tags are being constantly manipulated, and people devote their lives to the best way to manipulate them.

In a nice little "full circle" moment, I visited the Anthropologie store at Rockefeller Center after leaving Christie's and found a brilliant piece of book-art. An enormous frame enclosed a giant cameo-esque portrait of a lady that seemed to be set on a patchwork background. Upon closer inspection, the patchwork revealed itself as book bindings flattened out and overlapping, and the portrait was comprised of lines of text instead of sketch marks or paint strokes. Though expensive (by retail standards) this piece of art seemed to appeal to the bibliophile in a much more pure and simple way then the first edition Dickens at Chrisite's. It was conventionally pretty and uncomplicated in its message. Its eventual owner won't buy it because of the artist's "name" ( I don't think the store even displayed it) or even the texts it incorperates. His or her primary intentions won't be preservation for posterity or display of wealth. Its owner will be a book lover, with a secure income and an aim to beautify his or her home in a manner befitting his or her taste. It's just odd to realize that the pieces on auction at Christie's may not eventually wind up in the hands of someone who loves them in the same way.

Then again, the facts that books aren't "pretty" may mean that they are more assured of ending up with someone who truly appreciates them for what they are historically and what they hold in their pages than how they display "wealth."

Oliver Twist = $229,000

2008-04-02T15:54:00.002-04:00

April 2 (Bloomberg) -- A first edition of ``Oliver Twist,'' Charles Dickens's tale of a scrappy young orphan making his way among a band of thieves in 19th-century London, sold for $229,000 at Christie's International in New York today, a record for the British novelist.

First Edition Oliver Twist = $229,000
Oliver Twist on Amazon.com = $4.99

You can buy over 45,000 copies from Amazon.com for the price of one!

Christie's Education

2008-04-02T15:53:00.001-04:00

Mamma Says Do Your Research

2008-04-02T15:30:00.001-04:00

Christies - rare books and roaring debates

2008-03-30T13:17:00.003-04:00

I've had a few days to marinate on our Christies visit. I was so excited to go mostly because I have seen Christies portrayed in so many movies. It's always viewed as this mythic place - filled with artifacts and treasures. It is that, of course, but it's also a place to separate 'the men from the boys'.

The people who go to Christies are people of status - as we've discussed. That lead to my asking the question "do you need an invitation to come to an auction?" and when the answer was that Christies' auctions were all open to the public, I was quite shocked. It seemed so counter intuitive to me. Isn't Christies where the intelligent and rich and esteemed people come to flex their muscles and satisfy their appetites for their preferred curiosities? Why would some 'normal' person come inside?

This point of view, I suppose, fuels the legend that is Christies. It feels so unattainable. But, it looked no different from any of the prestigious libraries and places we've visited thus far. And those places don't feel unattainable at all - they are places of education and as such give off an open feeling. Maybe that's what separates Christies - it's not an educational atmosphere as much as a financial one. A rich one.

All in all - I loved going to Christies because it gave me a chance to see a landmark in New York that I've long wanted to see. The rare book collection was great to see - that inscribed printing of A Christmas Carol was spectacular. But I really took in what everyone was saying about Christies in terms of the sheer amount of dollars that pass through it and the unethical aspects of it. I really had never thought about that previously. I just thought the whole thing was pretty kick ass. I now see all sides of the argument - and it's complicated. Really complicated.

Nerd Alert

2008-03-21T19:38:00.005-04:00

Without betraying too much of my nerdiness, I thought I might point out a fun little detail from the John Adams miniseries now showing on HBO. From the book American Shakespearean Criticism, reprinted in our reader:

"A number of the leaders of the Revolution owned copies of Shakespeare. ... At least three signers of the Declaration of Independence, John Adams, Francis Hopkinson, and John Penn, owned copies." (Westfall 38)

A quick google search turned up John Adams' personal library catalogued online at johnadamslibrary.org, which is actually a pretty neat site. Sure enough, Adams owned two separate printings of Shakespeare's complete works, one from 1748 and the other printed in 1761, which contains "the author's life; a glossary; and copious indexes."

All of which leads one to believe that the people who worked on this HBO production, especially the set designers, did their homework (via David McCullough) when they chose to hang the framed Droeshout engraving of the bard from the frontispiece of the First Folio on a wall in the Adams home in Boston.

It's hard to spot; I had to rewind to make sure I wasn't seeing things. But he was there! Hanging on the wall before someone slammed the door, walked out, or something similar. Now whether Adams actually owned a copy of the engraving is more of a stretch, but I was pleased by the inclusion of such a tiny detail, anyway.

The image in question:

2008-03-20T16:41:00.002-04:00

This is Rafe Esquith

http://www.youtube.com/watch?v=0TF3fn_Bm3I

Get this . . . in my research I found his email . . . I emailed him . . . and he called me back! I am going to have a phone interview with him next week!

I'm so moved by this guy, I think I might do my project on him instead.

Several Items

2008-03-14T11:23:00.004-04:00

I thought I'd upload this article I read for an anthropology class last semester. It addresses the myth of the "universality" of Shakespeare, something that I certainly encountered in high school but was surprised to learn in some of our readings that said notion of thought has since been challenged and rather died out. Anyway, although the article itself is a bit dated (I think the author penned this in the 50's?) it is very interesting. As an English anthropologist studying the lives of the Bushmen of Africa, she attempts to explain the story of Hamlet to several elders and receives some very unexpected reactions. I've uploaded the article in .pdf format to Mediafire, if anyone's so inclined: http://www.mediafire.com/?wz1jf9bhdzj. Hopefully that works for you all.

Also, I thought I'd throw my two cents in regarding the little defamation scandal we experienced earlier in the week (which was quite amusing, actually). Here is a direct quote from the Shakespeare Fellowship website:

"The goals of the Fellowship include bringing the Shakespeare authorship debate to a world-wide audience via the Internet and stimulating a wide-ranging dialogue on the relevance of Shakespeare to the 21st century."

It is interesting then that apparently in order to take part in this "stimulating" discussion with members of the Fellowship, one must be a card-carrying member of the Oxfordian theory. Hmm!

The Morgan Library & Museaum

2008-03-14T11:10:00.002-04:00

So, who else was floored by the photo exhibit at the end of the tour?! Elliott, I know you and I were.

I loved looking at the artifacts, the quarto and the folio with the pages misprinted, but I couldn't seem to get away from the photos at the end. I know I ranted at a few of you, but I'll do it again here because I'm just that passionate. Did any of you catch the portrait of Jorge Luis Borges? For those who don't know him, he's my blind Argentinean philosopher and was President of the National Libraries of Argentina for quite some time. He began to lose his sight in his 20's while studying in Europe and by the time he cam back and became involved politically, he was pretty much blind as a bat. Once the political climate settled down, he came to the forefront as an expert on Argentinean literature and poetry. I love his work and would recommend his poetry if you've got 5 minutes and want to read something breathtaking (my favorite might be "Poem Written In A Copy of Beowulf"). He would wait for students from the university serving detentions to wander by his office and snag them, forcing them to sit for hours and copy down the poetry he had written in his head. He once had some kind of organ-located-in-the-torso surgery with no drugs or anesthetic: he spent the 2 hour procedure lecturing the surgeons on the history of Argentinean literature. I just love this man.

He was kind of an odd duck. In a lecture called "Blindness" he said that what he missed most is the color red--the passion of it, the taste of it. He says blindness is not darkness but a sort of shifting gray pantomime, shadows of what really is. You can see it in his glazed, shifting eyes and drooping left eyelid, the way he leans his head on his cane as though waiting for an unfortunate student to dictate his verse to. You can almost see the cogs ticking behind his eyes....

Also, on an altogether unrelated note, Dali looked positively mad. Anyone else wild about this exhibit and/or tempted to go back on one of their free nights?

A quick little something...

2008-03-14T01:13:00.002-04:00

I ditched the rock/popular music focus on my study, opting instead to look at Shakespeare on film and how it's been accepted by scholars and the American public. I did look on YouTube for some good Shakespearean videos - the user ShakespeareAndMore has some excellent choices: Olivier's final scene in King Lear is vital viewing - and, speaking of Olivier, bumped into this little vestige of my previous route of study. It's Peter Sellers, from the TV special The Music of Lennon & McCartney, way back in 1965.

It may not be relevant, but it’s at least amusing.

2008-03-11T14:39:00.004-04:00

Apology

2008-03-09T21:07:00.002-04:00

Editor of "The Shakespeare Fellowship" website has removed item from their website and apologized for inaccuracy.

ASH

"Shakespeare Fellowship" Website Posting about American Shakespeare course

2008-03-09T21:01:00.004-04:00

Sage Readers:

Here is the posting from "The Shakespeare Fellowship":

Added 3/8/08

NYU/NYPL Shakespeare Course Requires Adherence to Stratford Party Line

It's official. To enroll in the NYU/Gallatin Interdisciplinary Seminar: "American Shakespeare" (Spring semester, 2008) students are required to be card carrying members of the Stratford cult.

The course description lists the two "requirements" for entrance as "1. A conviction that the plays of Shakespeare were written by Shakespeare" and "2. A belief that the works of Shakespeare constitute one of the cornerstones of world literature. "

The course, sponsored by will be held in the Humanities and Social Sciences library of the New York Public Library, is decribed as an opportunity to "discover the world of William Shakespeare at The New York Public Library. Ponder the textual problems of the quartos and folios. Explore various beautiful and unusual illustrated editions of Shakespeare' s plays and poems. Experience Shakespearean research for the 21st century through the Library's databases. "

What students obviously won't be doing in this course is asking any fundamental questions about Shakespeare, early modern literary studies, or the philosophy of inquiry in the human sciences. Those questions are forbidden: "fiat tenebras."

Thanks to Martin Hyatt for this news item.

Added 3/8/08

Shakespeare Diva defamed on the Web!

2008-03-09T18:42:00.003-04:00

Sage Readers:

I am not precisely sure what a "card carrying Shakespearean" is, but I stand accused of the high crime of 'public Shakespeare indoctrination' ...

http://www.shakespearefellowship.org/news.html

Setting the Record Straight!

2008-03-09T18:06:00.005-04:00

Dear NYU Shakespeareans and Sage Readers:

My recent posting informing you all of a then up-coming Shakespeare research session at NYPL, has prompted a flurry of reactions from readers beyonds the confines of our humble class. My email inbox has been flooded recently by a number of inquiring missives expressing concern over the issue of "free thought" in this course, as it relates to the question of Shakespeare's identity, personage and authorship.

The source of this consternation is the following passage that was lifted from the course description for the NYPL Shakespeare research session:

"Requirements: 1. A conviction that the plays of Shakespeare were written by Shakespeare. 2. A belief that the works of Shakespeare constitute one of the cornerstones of world literature."

I hope to here address, once and for all, that:

a.) These words are NOT mine, they were in fact lifted directly from the NYPL website/course catalog.
b.) Students in the NYU American Shakespeare Seminar are not required to hold any specific views of any kind, on 'Shakespeare' or any other subject
c.) The NYPL Shakespeare Research session was an optional course event, and is not in anyway connected to the NYU "American Shakespeare" seminar.
d.) The facilitator of the NYPL Shakespeare Research session is in no way connected to the NYU "American Shakespeare" Seminar, and his statements do not express the views of The Shakespeare Diva.

The Shakespeare Diva has always been a proponent of "free thought," and being a proud product of the X-Files generation advocates and promotes active questioning and healthy debate in all circumstances!

When time permits, after the ides of March, The Shakespeare Diva will muse upon the authorship question, or rather her favorite aspect of the authorship question, i.e., her near obsessive fascination with leading anti-Stratfordian, Delia Bacon.

Bardily yours,
Alycia Smith-Howard, "The Shakespeare Diva"

Historical Society and Morgan

2008-03-08T17:01:00.002-05:00

When Professor Smit-Howard told us that a librarian is worth his/her weight in gold, I hear her but I didn't really take it into account. After visiting the Historical Society and the Morgan and hearing our tour guides' knowledge and expertise in all of the subjets we discussed, I must say - I was floored. The Historical Society gave me such insight into the past, and what it must have been like to see early productions as well as the great fire of the theater. I have a much greater appreciation than I did before the visit.

The Morgan was so huge, that I got extremely overwhelmed by the books - art - music - and photography collections. It seemed like an endless structure. What I liked most was the combination of old and new integrated together. To have the Morgan buildings that were actually residences... and to see the studies of those brilliant collectors was so... COOL! I also loved the class atrium. It was the perfect relatable structure for a New York City audience. It gave me an understanding of the magnitude of such a place.

When I asked my question about personal collections, I was surprised at the answer I got. I went on a trip to Las Vegas with my family some years ago and Steve Martin was showing his vast collection of contemporary art in the Bellagio, I believe. He had an introdcution recorded for the viewers that basically stated how selfish he felt keeping this priceless art all to himself. I have to agree with him. I feel that private collectors are a bit selfish in their pursuits to own original works of art that should be accessible to all people. What good is a Picasso painting when only a few people get to see it every day? I suppose it is correct that those who are private collectors DO take care of their collectables, but no one could possibly have greater expertise than historians and preservation experts. It just seems wrong to me. Oh well... to each his own, I suppose.

All in all - both visits were truly fascinating.

2008-03-04T16:43:00.002-05:00

Broadway . . . Here He Comes!

2008-03-04T16:43:00.000-05:00

"The acclaimed production of Macbeth — which casts stage and screen star Patrick Stewart in the title role — is heading to Broadway."

Full article: http://www.playbill.com/news/article/115402.html

NY Historical Society of Worthy Individuals

2008-03-03T19:29:00.002-05:00

From the beginning of this class, I have to say that your (Professor Howard) obsession and near- idolization of librarians has made a strange impression on me. Mainly, because I never really realized the work that went into being a librarian, beyond knowing which aisle to go to for comedy and which for non-fiction, and therefore never gave them the respect they deserved (in my mind) . From the second you said you had a degree in "Library Sciences" I realized there was something I was missing. Now, after hearing the archival work and labor that goes into the life of a librarian, specifically someone who works at an institution as concerned with preserving the present and past as much as the New York Historical Society, I feel guilty for the lack of credit I have given them. Recently, as I go through my daily life and am constantly buying and throwing things away, I keep finding myself wondering which of these everyday items would be useful to save, maybe even preserve? What things that we use and take for granted will be able to give future generations insight into the lives of people in 2008. It's a really interesting and non-American (where everything is always concerned with the next thing to come) mindset to have, and I feel as though it would drive me insane to have to seriously consider these things for a profession.

The thing that really stood out to me about our visit to the NY Historical Society was the obsession with the wealthy citizens over the normal ones. It seemed as though it was far more important for historians of the time to record and report on the elite of society rather than the impoverished or even middle class. The two most obnoxious books that I can recall were the "Who's Who in America," essentially a list of people of some sort of stature in society in the early to mid-1900s, and the class favorite list of Wealth in New York, which actually listed off the net-worths of the richest people of the time. I was disgusted and fascinated by these collections in the best possible way.

OH MY GOD! KEVIN SPACEY!!!!!

2008-03-03T19:19:00.002-05:00

First off, I would like to apologize for my lack of posting on this fabulous little online get together. It was due to technical difficulties and I’m excited to finally be participating. Let me begin with my reaction to ‘Looking For Richard’. My first reaction was surprise at the fact that I had never even heard of a movie with such a star-packed cast. The purpose, made abundantly clear from the start of the movie, is for this gang of Shakespeare bullies to get everyone to really see what the big deal is about this guy Shakespeare. Yes—everybody knows the “To be or not to be’s” or the fact that 10 Things I Hate About You was modeled after Taming of a Shrew, but this is not enough for Pacino and his boys (and girl). They need to bring Shakespeare to the streets and get people excited about William Shakespeare for the right reasons and not just because it’s hip or considered to be something that should be common knowledge.

Though people have tried in the past to make Shakespeare more accessible to the general public (i.e. through movies like 10 Things I Hate about You and the 90s remake of Romeo and Juliet), the unique aspect of Pacino’s mission seemed to lie in the fact that he was primarily concerned with the words of Wiliam Shakespeare and not his main idea. He wants people to see the beauty in these words that he, his actor friends, English teachers around the world, and general Shakespeare enthusiasts everywhere see; the elegance and magnificence of language that often gets thrown to the curb by our blog-obsessed generation. This was intriguing to me as I was really curious to see how he would approach it. Yes—the language and emotion in his words are extremely powerful, but I believe it’s more of something that one must develop their own interest in and pursue, more so than something that can be shoved in someone’s face. So intrigued I was and on I watched, and honestly, I was kind of disappointed.

Yes- bringing Shakespeare to the people! What could be better? Taking it down from his pedestal of eloquence and intimidation and served in a harmless McDonalds bag that people have been eating from since their childhood, right? Not quite. On this point, I agree and disagree with Sara’s feelings toward the movie. While watching it, all I was thinking about was how much I like Kevin Spacey, and I was really enjoying it. I think he’s fantastic and seeing him in the cast really did draw me in. Until I realized what was going on. Yes, the only way in which he really makes the play accessible to American audiences is by casting famous American actors. Now, realizing what was happening, I felt betrayed by the movie. I do disagree with Sara, however, when she says that he is underestimating Americans and not giving us enough credit. I will admit that when I signed up for this class I thought it was a class studying Shakespeare and his works and as the class has progressed I have felt more and more like I know nothing about Shakespeare and everyone else came in with an extensive knowledge of his life and works. I feel unprepared to say the least. So, obviously, it is possible that he was not giving us enough credit as Americans, but from my perspective it seems as though we really do have a very superficial understanding of Shakespeare’s works. I have studied a few of his plays and put on an 8^th grade production of Romeo and Juliet, but I would definitely classify myself as having a “pop” impression of Shakespeare. Therefore, I think, for myself, I would classify Pacino’s mission as failed. I appreciate his effort, but all he really did was show us his passion for Bill and essentially say, “Get it now?” And no, Mr. Pacino, I’m afraid I don’t.

Much Ado About Nothing - Gene Frankel Theatre, March 2008

2008-03-03T13:32:00.002-05:00

Dear Shakespeare Scholars:

Just spotted a notice for this production of Much Ado at the Gene Frankel Theatre. I'd like for us to see this.
I think it will offer us a nice counterbalance to our visit to BAM for Macbeth. I think it will also give us an example for our further exploration of Sarah and Bahar's excellent points about 'mediation' and adaptation.

Best,
ASH

http://www.wideeyedproductions.com/muchado.html

Rafe Esquith Changes Lives With Shakespeare

2008-03-02T16:23:00.004-05:00

My quick response to Looking for Richard turns into a full-blown essay.

2008-02-28T21:21:00.005-05:00

Like Shakespeare himself, I learned of the video Looking for Richard before I saw it - much in the same way so many of us know of Shakespeare before I read or watched anything of his. we are told that the work is good until we want to like it, decide to see it for ourselves, and find whether or not we are satisfied. The difference is that at this point, Shakespeare has at least lived up to my expectations.

I thought the acting was top-notch and would have loved to have seen a full-length adaptation of Richard III. In fact, a proper adaptation of the play alone would have sufficed to accomplish Pacino's mission of accessibility - to make it accessible through the acting and directing, and otherwise let the play speak for itself. Of course, the insight of the British and some American actors was extremely good; they know their stuff well. I think this Richard III travelogue would have been outstanding if our tour guide had been Gielgud or Branagh or Redgrave (their being British would have downplayed the "American" aspect of the study, but would have enhanced the "Shakespeare" aspect).

Unfortunately, with all due respect to Al Pacino - I still consider him a skilled actor - he leads us with a ninth- or tenth-grade understanding of Shakespeare. It would be wronge to accuse Pacino of talking down to his viewers; this can't be helped if he himself needs to be talked down to. My qualms that Pacino does not do Shakespeare full justice are certainly not helped in the scene where, in trying to make the play accessible, he decides to change the line in the opening soliloquy from "G of Edward's heirs" to "C of Edward's heirs." This is no mere superficial bastardization; Shakespeare chose the letter G for a reason - a reason that comes about explicitly and almost immediately afterwards with Clarence's "Because my name is George....[King Edward] from the cross-row plucks the letter G,/And says a wizard told him that by G/His issue disinherited should be;/And for my name of George begins with G,/It follows in his thought that I am he." Even changing the aforementioned line to "George of Edward's heirs" would have clarified the line in and of itself, while still maintaining the connection to Clarence's spiel.

This film is, of course, not entirely without merit. While I find myself somewhat aligning with Sara on my verdict on this, I agree with Bahar's comparison to the film to the NEA video. Looking for Richard is an introduction to Shakespeare, rather than an intense study of Shakespeare. Many audiences - i.e. the high school students and "common folk" Pacino addresses throughout the film - demand a simple spoonfeeding like this, rather than, for instance, a nutcracker and snow crab legs. I would probably be praising Looking for Richard had I been viewing it in the eighth or ninth grade, when to hear something like an explanation of iambic pentameter would have been useful to me. In this context, it is a much better idea to introduce Shakespeare through something like Richard III, rather than a "greatest hit" like Hamlet or Romeo and Juliet.

Apropos to this class: the film even serves a great purpose to the whole intellectual, college-educated, Shakespeare-scholar crowd many of us fall into. It is more of a record of the first, rather than the second, word in the phrase American Shakespeare. Whether Pacino ever knew it or not, his film serves as a document on how, in America, Shakespeare is deified, with little or no understanding of his works, to those who do not understand him, or could care less about him. It is a sketch on the almost inevitable and sometimes necessary condescension and hackneyed explanation involved with the teaching of Shakespeare. I couldn't help thinking of an old piece from The Onion that illustrates excactly this point, albeit in a far more intentional, exaggerated manner:

"Shakespeare Was, Like, The Ultimate Rapper." - from The Onion, August 24, 2005.

Trieste 1910
Brooklyn 2008

Give us some slack!

2008-02-27T19:50:00.002-05:00

Sara, you said: "As far as making it more accessible to American audiences, I think he is insulting American culture by claiming we can't access it without his help."

You also have to realize that not everyone is as educated and well-versed in Shakespeare as you guys. I would like to consider myself an educated individual, but I have very little understanding or appreciation of Shakespeare. I have no where NEAR the understanding or appreciation that you guys have. That's why I'm taking this course.

Someone like me, who is obsessed with mainstream actors, can easier connect with a movie like this.

There is an audience for every kind of "mediator". Professor - would you consider this movie successful?

(P.S. No hard feelings Sara - just playing devil's advocate)

What about the video we viewed in class?

2008-02-27T19:46:00.002-05:00

My question to Samantha's blog is . . .

Then how do you feel about the video we viewed from the NEA ???

2008-02-23T12:21:00.002-05:00

I'm surprised to hear positive feedback from Looking for Richard. I was rolling my eyes throughout most of the movie. Towards the beginning, Pacino says that his mission is to "translate our passion and what we've learned to portray how we think and feel today." Why is this unique to Pacino? Don't we still perform Shakespeare today because the plays are passionate and relevant to what we think and feel today? Granted, there are antiquated, dispassionate productions done with overt pretense, but who is Pacino to 'save' us from these productions? After he makes this claim about making it "relevant today," there seems very little in the rest of the movie to accomplish this goal. His production is no more modern and interesting than the many BBC produced classical Shakespearean productions. As far as making it more accessible to American audiences, I think he is insulting American culture by claiming we can't access it without his help. It's even more insulting that, as far as I could tell, the only thing he did to make it more accessible to the American public was cast American actors-himself [of course], Kevin Spacy, Winona Ryder- bankable stars that make a film accessible to the public, not necessarily Shakespeare. Many of these performances (especially Ryder's) had be convinced that his counterargument was correct: American actors can't handle Shakespeare.

The most illuminating parts of the film, I felt, were the interviews with the English actors who are Shakespeare veterans. Vanessa Redgrave in particular supplied a lot of insight. But Pacino is placing these actors on a pedastal. I would have been interested to hear Pacino interview American actors who frequent Shakespeare and how they managed to bridge the gap between the American culture and this allegedly British tradition. Instead, Pacino spent most of his time interviewing people on the street who have nothing illuminating to say; most of them just seem excited to be talking to Al Pacino.

By the end of the film, I had written in my notes "WHAT IS THE POINT OF THIS MOVIE?" It was poorly planned with no conclusion. Pacino did not make Richard III accessible, but he hurt his cause by speaking for American actors and producing this mess of a film. The film seemed nothing but self-indulgence from an actor who can afford to be self-indulgent. The documentary side of the film's disarray suggested to me that halfway through filming, Pacino realized he had no relevant footage and just threw together the nonsensical, pretentious arguments he did have in a pathetic attempt at a narrative. At one point, Pacino is trying to explain one of Shakespeare's lines and then dismisses it by saying "it's very confusing. I don't even know why I'm bothering." Neither do I.

The finding of articles... a TOUGH prospect

2008-02-22T11:55:00.002-05:00

I never thought using a database would end up being so difficult! When we went over it in class, I was so excited to actually show off my SKILLZ in finding the best articles. Well... when we were asked to find a review for Pacino's "Looking for Richard," I had to think long and hard about what to pick... and then I found it!! Anyone who wishes to see it, go to town.

Art & Performance Notes
Shakespeare to the People
Looking for Richard
Al Pacino
Review author[s]: Emily C. Bartels
Performing Arts Journal, Vol. 19, No. 1. (Jan., 1997), pp. 58-60.
Stable URL: http://links.jstor.org/sici?sici=0735-8393%28199701%2919%3A1%3C58%3ASTTP%3E2.0.CO%3B2-L
NOTE: This article contains high-quality images.

THEN - the hard part happened. I had to get the article about new methods of teaching Shakespeare in America. I hope I'm not the only one who found this difficult... I tried almost every search keyword I could think of, and still most of the articles were useless to me. Then I found "Determined to prove a villain": Criticism, Pedagogy, and Richard the III by Martine van Elk. The idea is to overlap textual classroom analysis with performance. This isn't a new idea, of course, but the approach has an edge to it. Also, if you'd like to read it,

Title:
"Determined to prove a villain": Criticism, Pedagogy, and "Richard III"
Personal Author:
Van Elk, Martine
Journal Name:
College Literature
Source:
College Literature v. 34 no. 4 (Fall 2007) p. 1-21
Publication Year:
2007
Abstract:
This essay offers suggestions for teaching William Shakespeare's Richard III, using a pedagogy that combines a historically aware, text-based exploration of the play's treatment of subjectivity with a performance-oriented approach. Concentrating especially on the play's famous opening speech, I explain how students might be encouraged to engage productively with the text's intermingling of competing, overlapping, and mutually enhancing models of identity. The play's representations of identity derive from the early modem period's secular humanism and metaphysical views of selfhood, but also present us with less clear-cut reflections on psychology and theatricality. The essay ends with an analysis of three modem film versions of the speech, showing how these can be used to help students learn to recognize the ways in which our own perspectives on identity are themselves the product of a long, complex, and often contradictory historical development. Reprinted by permission of the publisher.
Subject(s):
Identity (Psychology) in literature; Villains in literature; Speeches, addresses, etc. in literature; English literature/Early modern (1500-1700)/Study and teaching; Shakespeare, William, 1564-1616/Works/Richard III
Peer Reviewed Journal:
Physical Description:
Bibliography
ISSN:
0093-3139
Language of Document:
English
Works:
Richard III [Drama]: Shakespeare, William
Document Type:
Feature Article
Update Code:
20071106
Database:
Humanities; Education
Accession Number:
200728803831005
Persistent URL:
Click to copy the HTML full text article link Click to copy the PDF full text article link

I think the difficulty of this assignment was what I found most fascinating about it. There were so many options and so many errors I could make. I found myself wandering around the databases. I wasn't able to focus my energy and go overwhelemd. It seemed like such a juvenile problem, and I really felt very stupid. I've learned, though, that the database can't do everything for me. I have to help it along a bit. It will just give me everything I ask for, and that's why I have to be careful about the questions I ask.

2008-02-21T23:07:00.003-05:00

Yes, Bahar is correct the reviews from Fedderson, Richardson and Bartels do point out that when I walked out from Bobst after viewing "Looking for Richard," I did feel that Pacino was a successful mediator between the text and the audience. Pacino makes Shakespeare ours, it is American, it is something that we can gasp onto, hold onto. Richard III is something that we can now see as being related to American actors, and the American streets, the American language and maybe even American history. But when the issue of whether Pacino is a great mediator or not is put aside, I have to admit that I still have that weird feeling in the pit of my stomach after this weeks reading just as I did after the reviews and after the screening. Because "In this cautionary tale about coming to America, Pacino not only hijacks the bard, but then he also audaciously offers him for sale back to his original owners," and I do not know that I am okay with that (Fedderson 2).

If '... the holy grail was lost and found and renewed, recovered in effect, by the modern hero, Al Pacino," is that okay? Is that the right thing? Was Shakespeare REALLY lost ... was it our place as an American to find him and be the modern day hero in relation to it? "Pacino, the dramatized director-as-character within the film's fictional space, offers himself as the new keeper of the text, the man who can make Shakespeare accessible once again to Everyman" (Fedderson 3). I guess I am just left asking why? Why did he need to do that? Why do we as Americans, to listen to the documentary, feel that we understand more, possess more and can then say that "Pacino sets aside a weighty old, leather-bound edition of the Complete Works for a more malleable and contemporary Folger Library paperback version," and say with certainty that's a good thing?

"Pacino himself argues that Richard is just like the American-style gangsters with whom he made his reputation" (Fedderson 5). Why do Americans feel that we need to make it ours? Why not just be satisfied we can connect to it, like Folger Library, like the kids who in connecting to it, make or have a better life? Why is it ours to save, to change, to want to rewrite language to or to make universal? Be creative, do what you want with it, be artistic, but ... is "looking for Richard" just artistic or is it something else? Why do I feel like I need to preach to the choir about asking America's relationship to Shakespeare? Why could I sit there and watch the movie and be entertained and smile and then read Fedderson, Richardson and Bartels' review and become so hot headed and frustrated? Has this become our relationship to Shakespeare, we NEED to connect to it, feel that it is ours, sell it back to the people who kind of gave it to us in the first place? Or maybe this was just, is just, my relationship with Shakespeare ... maybe this is what my relationship to Shakespeare has become, just a bunch of questions for the moment.

Sorry if I am rambling or ranting,

Samantha

I Am The Virgin Shakespearian

2008-02-20T23:43:00.002-05:00

NYPL Shakespeare Research Session: From Stratford-upon-Avon to NYPL

2008-02-19T11:28:00.001-05:00

The following is a notice for an upcoming Shakespeare Research Session given by The New York Public Library.
Here are the details -- taken directly from the NYPL website: www.nypl.org

"Shakespeare: From Stratford-upon-Avon to the New York Public Library"

02/21/08 THU 2:15 PM 3:15 PM Classroom B
Humanities and Social Sciences Library
5th Avenue and 42nd Street
New York, NY 10018-2788

Description: Discover the world of William Shakespeare at The New York Public Library. Ponder the textual problems of the quartos and folios. Explore various beautiful and unusual illustrated editions of Shakespeare’s plays and poems. Experience Shakespearean research for the 21st century through the Library’s databases. Requirements: 1. A conviction that the plays of Shakespeare were written by Shakespeare. 2. A belief that the works of Shakespeare constitute one of the cornerstones of world literature.

Prerequisites: Participation in all classes assumes a basic level of computer skill and experience.

Subject Area: General Humanities Research Skills

Registration Information:

Classes are held in The Celeste Bartos Education Center, located in the new South Court building. Enter South Court from Astor Hall on the first floor of the Humanities and Social Sciences Library.

All classes are free. Classes are limited in size.

No reservations are necessary. Seats are available on a first-come, first-served basis. Classrooms will be opened 15 minutes prior to class starting.

Participation in all classes assumes a basic level of computer skill and experience. For help in learning how to use computers, visit our Branch Libraries.

It may be odd- but it is also common

2008-02-18T17:00:00.000-05:00

In response to "an odd finding": I can't really speak for other countries, but I know that here in America you can find no end of both script and story interpretations of Shakespeare's works like this one you've displayed. Such an enormous precedent, I think, argues both for and against the need for this particular edition. My reaction to it, however, is much more mixed than yours is. I have to say that I personally have a wealth of "children's interpretations" of most of Shakespeare's plays- and they are quite exquisite. Skillfully broken down into the most basic plot and supplemented with funny or stunning illustrations, some of these shortened versions of his works really impress me. It seems to me that it is unfair to be overly critical of any attempts to make Shakespeare more accessible to the general American public. I am an obsessive text nerd- someone who lives by the first folio, and worships the words (probably to a fault), so I completely understand the desire to approach Shakespeare with a belief in the sacred, untouchable nature of his writing. However, as a Shakespeare supporter, how can I not believe in something that can assist people's understanding of his plays? Were it not for these "Shakespeare for Dummies" versions, I may never have known Shakespeare at all because it was reading these versions as a child that gave me the basis for the love and knowledge of the "original" versions that I possess today. And what's more, the ongoing debate of authorship along with his universalized adoration these days, argues to me that we have every right to reduce, rewrite and recreate Shakespeare's plays according to our over-changing modern world. If books like these are the best or only- or even just one- way to reach a larger audience, then I have to consider supporting it! The trouble comes in when you create something like this as a supplement or introduction, but it becomes used as a substitute (i.e. CliffsNotes and SparkNotes, which are so often used to get out of school reading assignments). But I truly believe that the risk of that is worth the pay-off of getting even one more person to overcome intimidation or boredom and begin to love and know Shakespeare the way all of us do.

An odd finding...

2008-02-14T13:24:00.003-05:00

So, this doesn't really have to do with anything said in class thus far, but it certainly has to do with the interpretation of Shakespeare. A good friend of mine gave me a book last night that he said reminded him of me. The book was a collection of very short, narrative summaries/outlines of most of Shakespeare's dramatic works. None of them are more than 5/6 pages long.

I didn't really know what to make of this...I was obviously grateful that a friend went out of his way for me, but at the same time I found it a bit insulting that this author (Marchette Chute- I looked it up, an American author) thought that it was A) appropriate B) necessary and C) possible to sum up the craft of what has come to be the institution of Shakespeare in these little cliffnote style featurettes....it was just very bizarre. And I thought I would share in case anybody has any comments or insights.

Emily

2008-02-09T08:23:00.000-05:00

Welcome, 2008 American Shakespeare Scholars!

2008-02-09T08:13:00.000-05:00

Welcome, 2008 American Shakespeare Scholars!

Please use this site as a forum for continued discussion and reflection.
In addition to your class reflection papers, please also post here your thoughts, comments and observations of other instances and occurrences of "Shakespeare in America".

Best regards,
A.S.H. - The Shakespeare Diva

The Gutenberg Bible at NYPL

2006-12-11T20:13:00.000-05:00

After our visit to Christie’s last Friday, while deciding if I should be ambitious and continue the culture-fest at the Frick or head home and watch old movies, I took to wandering down 5^th Avenue. Despite the crowds, Rockefeller Center and the store windows along 5^th got me into a sickeningly cheerful mood (I am so corny), so I decided I might do some Christmas shopping. The shopping was unsuccessful (my family is impossible to shop for—if only I had the money to bid on all of the wonderful items at Christie’s…), but in my wandering I suddenly found myself beside one of the lions flanking the entrance to the New York Public Library. What a perfect opportunity to be a good student, I thought.

I perused the surrounding cases before getting to the Gutenberg Bible, which stood alone in the center of the room in comparative darkness. Seeing the closely-spaced text filling the pages brought me back to our typesetting workshop with Mindy Belloff. The workshop allowed me to appreciate the meticulous care that was required to bring this book into being. The highlight of the trip for me, however, was the small case behind the Bible, featuring a few Christmas-themed items. The copy of A Christmas Carol was what first caught my attention: a prompt book used by Dickens himself for one of his readings. I thought this must have been a neat artifact to look through; alas, only the open pages were available for viewing to most of the visitors. Other items of note were Christmas cards from James Joyce and e.e. cummings as well as a letter from Jack Kerouac featuring a rather odd drawing of a pieta. I don’t know how long this collection of items was showing, but I was glad to catch sight of it on such a particularly Christmas-y day.

Shakespeare to see tomorrow

2006-12-07T16:18:00.000-05:00

FYI --

There are three lovely Shakespeare prints on offer in the upcoming Christie's auction. Three watercolor illustrations by Arthur Rackham: "The Meeting of Oberon and Titania," Midsummer Night's Dream and The Tempest.

Cheers, ASH

Hurrah, indeed!

2006-12-06T23:10:00.000-05:00

Hi Parisa:
When do you leave for L.A.?!!!!
Good luck! And yes, bean casserole always wins. ;)
We HAVE to come up with a cool "Am Shakes" catch-phrase for you to use, that won't make you seem to odd or weird.
"Bean casserole" might be too strange for you to repeat a lot... (You DON'T want to be known as "bean casserole girl"...) :)
We will be thinking of you, and toast you in our last session on the 15th!
Cheers,
ASH

Hooray for Comments!

2006-12-06T23:03:00.000-05:00

I just want to say how nice it was to read everyone's posts and Aly's comments; I think we all deserve pats on the back for being so openminded and generous enough to share! That's my two cents :)

all the best,
Parisa

Buying Culture, or a morning at Christie's...

2006-12-06T20:28:00.000-05:00

I planned my outfit for weeks.

And COULD NOT believe that I woke up late on the day.
As I dashed in the brisk morning air to catch the BDVF from West 4th to Rockefeller Center, I had no idea what to expect on the other end. Although my life has been far from sheltered or mundane -- I know which fork to use, and have had morning coffee with Prince Charles -- yet, I have never attended a live auction before. So, still, debutante that I am, I was giddy, yet apprehensive. (Would it be like CLUE? Or these really odd country auctions you see on TV, where the auctioneers mumble loudly, rapid fire, sounding like evangelical preachers on speed, speaking in tongues?)

Then, I remembered, "Its Christies!" And realized all would be well. And indeed it was.
I whizzed past direction-less tourists looking for the "NBC Rainbow Room," and sprinted -- in heels -- through the revolving doors. The chaos of a bustling and brimming NYC morning gave way to the serenity of Christies. I was met by the very friendly staff who assured me I wasn't late. I sighed relief, caught my breath, and enjoyed every minute of sashaying up the Christie's grand staircase...

I sauntered into James Christie auction room, acting like I belonged there. Upon finding a seat in the back row, and glancing around the room, I realized I did in fact belong there. Of course there were the "usual suspects": well-dressed, well-heeled, older men... But on the whole, the small, but enthusiastic, crowd was a vivid array of collectors, book dealers, tourists, students and general bibliomaniacs. There were in fact far more women present than I had expected, both as buyers and as auction staff. I found this very encouraging. One does not have that impression generally.

As I took my seat next to a rather distinguished looking gentleman, I sudden realized that this was one of the most thrilling events I have ever witnessed! The energy is incredible! Part theatre, part temple: the atmosphere is like nothing I have ever experienced before. The symbolism is uncanny and quite powerful. The auctioneer (our friend, Francis Wahlgren) stood high above us at the rostrum, like a great master delivering a lecture or a sermon to his faithful followers. This iconography is not wasted, in many ways, Christie's is a temple, a great temple of Art and Culture. Where "culture" is bought, sold, and arguably preserved.

In contrast to his appearance and fraught state in the "First Folio auction" video that he shared with us, Francis was this morning completely at ease. He had an affable and amiable style that exuded charm and professionalism. He had a relaxed, jovial rapport with the buyers and his staff, and smiled and joked with them throughout the auction. Despite the quicksilver pace of the proceedings, it was remarkably lighthearted.

I was gleeful as "familiar friends" such as works by Jane Austen and Charlotte Bronte appeared on the auction screen. These works were familiar to me not just as treasured reads from adolescence, but I was actually personally familiar with these particular texts being sold, as I had come to Christie's two days before this auction for the "pre-sale viewing." And yes, what they say is absolutely TRUE! You are free and able to touch, hold, sniff, look at whatever items you like that are up for auction. This concept had of course seemed "too good too be true" to me, so when I came for viewing on Saturday, (I channeled my inner "Parisa") (SMILE) and asked to see what I thought was the most "untouchable" item available. An edition of Izaak Walton's Compleat Angler (1667). [The Shakespeare that was up for auction was a 19th C. edition. Ended up selling for $8K.] And true to their word, when I asked to see the Walton, the case was opened and the treasured little volumes placed in my warm little hands...It was a breathtaking moment that I will never forget.

My breath was taken away by the Izaak Walton works once again, when this set appeared on the auction screen. The gentleman seated next me, suddenly became very agitated. As Francis started the bidding at $60,000.00, I noticed the man sitting next me nervously begin to wave the white bidding paddle in his hand. Francis acknowledged his bid, and the game was afoot. A another gentleman, several rows in front of us, twisted abruptly in his seat to see the face of his new adversary. The man seated next to me swallowed hard as the bidding began in earnest. Francis guided these two stealthful competitors smoothly through the complicated dance of desire and defeat: "one better, one better, one better..." is the steady, though unheard mantra.

As the bidding hit the 100K mark, the man near the front paused to breathe (as did we all). In that pause -- for the collector seated next to me -- was life and death. He had flown all the way from England to obtain this prize. Then, in a heartbeat, as Francis slammed down the hammer: Victory. He had won his treasure. Once he came back down to earth, he revealed that he was a private collector who collects books and manuscripts about fishing. He had expected the bidding to go much higher than it had, and he had been prepared to pay double the amount of his winning bid to secure the item. (He had expected to bid at at least $226K.) So, not only had he won. But it turned out to be "a bargain." Remarkable.

The energy is electric and positively dizzying. (Another exciting moment was the cat-fight that ensued over a 1st edition Wuthering Heights. Francis opened the bidding at $6,000.00; and after the dust settled, Catherine and Heathcliffe had been nabbed at $120K.) It was an incredible experience, and Francis has invited our class to attend the upcoming "Children's Literature" auction on Wednesday, 13 December 2006, and I certainly hope we can make this happen. Details below. Note also the "Viewing times" -- it really is worth doing. I feel very strongly about this given our many discussions over the course of this extraordinary semester about issues of class, culture and commerce. Ah, Shakespeare, where you have led us! :)

Until soon, cheers,
ASH

www.christies.com

Children's Literature
Including Original Illustrations
Sale 1740
13 December 2006, 10:00 am
20 Rockefeller Center, New York

Viewing
7 0December 10:00 am - 5:00 pm
8 0December 10:00 am - 5:00 pm
9 0December 10:00 am - 5:00 pm
10 December 01:00 pm - 5:00 pm
11 December 10:00 am - 5:00 pm
12 December 10:00 am - 5:00 pm

Sale Contacts
Francis Wahlgren
fwahlgren@christies.com
Thomas Lecky
tlecky@christies.com
Ian Ehling
iehling@christies.com
Melanie Halloran
mhalloran@christies.com
Tel: +1 212 636 2665
Fax: +1 212 636 4928

Bid Department
Tel: +1 212 636 2437
Fax: +1 212 636 4938

More Shakespeare up for auction!

2006-11-24T20:47:00.000-05:00

Dear American Shakespeare Scholars:

The major book auction that Francis Wahlgren mentioned during our visit to Christie's is scheduled for 5 December 2006.
This auction is a sale of Fine Printed Books and Manuscripts, including Americana. (The selection is breath-taking!)
No First (or Third) Folios this time around, but there is a lovely 19th century Shakespeare set on offer.
(And an early edition Alice under a $1000., which would make a remarkable Christmas present for a certain professor you all know!) ;)

Auction details:

5 December 2006, 10:00 am
20 Rockefeller Plaza, New York

Viewing:
1 December 10:00 am - 5:00 pm
2 December 10:00 am - 5:00 pm
3 December 01:00 pm - 5:00 pm
4 December 10:00 am - 2:00 pm

The catalogue is available online at: http://www.christies.com/promos/dec06/1770/overview.asp

Perhaps -- we might consider a quick viewing trip after class on Friday, 1 December...

Hope you all had a restful Thanksgiving!

Cheers,
ASH

"Christies Comments" from Oriana

2006-11-17T08:24:00.000-05:00

Oriana Calman
American Shakespeare
November 8, 2006

Christie’s

Each time I walk east along the broad streets near Rockefeller Center, I sense a kind of holiday, film-like cheer that resides permanently within the raucous traffic, sidewalk steam, and Fifth Avenue suits walking briskly to and from lunch. Since I can remember, this journey east has been unfailingly the same, boisterous and elegant, annoying and glimmering, and I love and loathe it every time. However, this particular trip down the same nostalgic, big city road was a little different in that I entered an interior space that mirrored much of what I experienced outside. This space was Christie’s New York.
When I first walked into the auction house (an effortless transition from outside to inside with the help of a doorman pushing the revolving door for me) I thought that perhaps I had mistakenly waltzed into a hotel. There was a large desk with several smartly dressed, young men and women, answering telephones and assisting patrons, a scene very appropriate for a busy hotel. Yet, this was Christie’s, as the large and proudly displayed Estate Sale announced to my right. I turned around, hoping to find a little corner where I could wait for the rest of our group, but could not refrain from gawking like a buffoon at every other person milling about. I have never been inside an auction house before, and I was extremely fascinated to either confirm or cancel my pre-conceived notions about such an establishment. When I saw several older gentlemen in tweed suits and horn-rimmed glasses walk by, I could not help smiling. I wanted to join them on their hunting trip (for it looked as though that is precisely what they were about to do), but I followed the rest of our group into the exhibition spaces housing Impressionist and Expressionist works that were to be auctioned the following week.
I wanted to relinquish myself from feeling slightly out of place, but I was extremely aware of the other patrons or buyers, looking at these works as if they were items in a store. As soon as I saw three Schiele pieces, the magnitude of what was taking place at Christie’s became very real to me. To view these works with a price tag as their main descriptive accompaniment was like no other experience I have had. This dramatically changed my perspective of viewing art, for the discourse surrounding much of these works was financial rather than aesthetic. I felt unsettled by this presumption and at the same time, extremely eager about the possibilities of such an environment.
After looking at several works on canvas and paper, we met with Francis Walhgren, who was extremely enthusiastic and accommodating. As I have found for most of our trips, the people whom we meet and interact with are usually the ones who enliven these institutions by being so welcoming and informative. Mr. Walhgren was fantastic in that he really wanted to share his experience of auctioning the Berland Shakespeare Folio with us. He had materials available for us regarding the layout of the Folio’s history and condition, and he told us about the inner workings of the Book Department at Christie’s. Mr. Walhgren put it beautifully when he stated that what he represented was the merging of the scholarly with the business field. Though I am still deciding whether or not this kind of merger could be a harmonious balance for me, I find a great deal of what Mr. Walhgren spoke about very appealing. He informed us that Christie’s acts as an intermediary between the owner and buyer of a work or object, implying that there is a very strong degree of exposure to all worlds and contexts within which the item has existed. I love this idea very much. He also shared with us the kind of cataloging and history tracing that he and his colleagues have the opportunity to do. This segued into the realm of comparing Christie’s to a library, and the kinds of differences and similarities that make up both institutions. I found it extremely interested when he said that Christie’s took the stance of preserving works just as they were found. I agree with this on a certain level, but I also agree with the library stance, which more often then not, is concerned more with mending the work and stabilizing it so that it may continue to service the needs and queries of patrons. This issue is a very difficult one to take sides on, for in an ideal world, both methods would be terrific.
After speaking with Mr. Walhgren, and after having the pleasure of experiencing the tension and excitement of such a monumental moment in auction history when we saw footage of the auction, we left the conference room and traveled down the same set of stairs with, what seemed to me, a sense of ease, whereas only a short time before, we had ascended with nervous and anticipatory doubts about Christie’s as a whole. Walking out of Christie’s I felt that I had indeed cancelled out all of my previous notions about the institution.

Friday, 16 November

2006-11-17T08:22:00.000-05:00

Hello American Shakespeare Scholars!

Please check your email.
We are back at Mercer Street this afternoon. We shall start there and then head to the library together for reseacrh sessions.
I am soooo looking forward to seeing how you are all getting on with your incredible work!

All best,
ASH

Columbia's Rare Book and Manuscript Library

2006-11-10T18:09:00.000-05:00

Getting off the 1 train on 116th street, it wasn't difficult at all to find Columbia's campus. Since it was around lunch time, I decided to eat my $3 lunch (omelet sandwich and a Snapple from a street vendor, yum!) on the steps of their main library, the Low Library. Columbia's campus truly is a beautiful place, yet a part of me realized that I get the same peaceful feeling while sitting in Washington Square Park. In a way I guess, Columbia represents the Ivy League campus life that I'm not sure if I wanted or not.

Anyway, getting into the Butler Library itself was also an easy process. To get in, I just had to get a non-Columbia patron card, which allows you to have reading access to the library for three months. With this in mind, I found the Butler Library to be a lot like the NYPL research libraries in the sense that I have reading access to them for free. The building itself also gave off a traditional air that I often associate with the NYPL system, with its large columns and marble floors. Even the elevators (when I finally did find them) were traditional in the sense that the floor indicator was a rotating arrow pointing to the floor numbers in a clock-like fashion. Whereas Columbia, as an Ivy League school, embodies tradition with its grassy closed campus and orderly library, NYU in a sense is the opposite "postmodern" embodiment with the crazy architecture of Bobst and our open, un-traditional campus.

Once I reached the Rare Book and Manuscript Room, I once again had to go through procedures similar to that of NYPL. The polite attendant at the desk had me fill out a paper with my information to register me as a researcher, and afterwards, I was told to sit at one of the desks for one of the librarians to give me the book I requested (the 1611 printing of Spencer's "Fairie Queen"). Before sitting down, I also had to check in my bag and my coat for security purposes. After a few minutes of waiting, I was greeted by the friendly smile of Jennifer Lee with "The Fairie Queen" in her hands. She laid it out on a green foam book stand for me to read it on, and then left me to enjoy it. I was surprised to see that I wasn't required to wear gloves, but as I looked around the room, I noticed that none of the other patrons had gloves on either.

Although it isn't as cool as personally looking through the first folio, leafing through "The Fairie Queen" was still a fun experience. Despite a few imperfections (a few repaired tears, some pencil marks, dents in the paper, and some stains), the book was very readable and visually pleasing. As I read through a few of the cantos, it took me a while to get used to the old English writing (using "f" for "s", "v" for "u", etc), but after a while, I noticed that my mind began to instantly fix the words into modern English.

What I found really fascinating about the edition was the engravings. In addition to the beautiful images on the title pages, at the beginning of each canto there were four different engravings that were rotated throughout the book. One was of two falcons, one with a sword and the other being burned in a fire, another showed the lion and the griffon of the royal crest holding flags, another showed the lion and the griffon writing, and the fourth showed two cupids amidst roses and thorns. These engravings were also visible in the second part of the Fairie Queen which contained books 4, 5, and 6 and was printed in 1613. The only difference between the two parts was that in the second, the first letter of each canto was enlarged and embellished, which I thought gave the work a nice touch.

The only visible printing mistake that I saw as I went through the book was in the second edition, in Canto III of the forth book. In this canto, the griffon in the title engraving had been rotated 90 degrees to the left. This small mistake shouldn't be too surprising, considering the large length of the book, as well as the printing methods used at the time. As I looked through the book, thoughts about our session with Mindy Bellof frequently came to mind. If it took us three hours to set less than ten lines of text, it must have taken these printers years of time and patience to set the type for this large edition.

Overall, my experience was a good one in the sense that it allowed me to get in touch with my inner book geek by interacting with a book that existed so many centuries before me. Now that I know that I have reading access to the library, I may take advantage of doing some studying at Columbia in the future.

About Columbia's Rare Book and Manuscript Library

2006-11-10T10:14:00.000-05:00

Hey guys, I talked with Jennifer Lee via email the past week, and it's basically set in stone that the only way that we can see the first folio is through the glass case. However, if you make an appointment with Jennifer, you can get an equally rare document to interact with if you want. For example, she suggested that I should reserve the 1611 edition of the Fairie Queen, which I agreed to. They also have a first folio of the Works of King James, an early printing of Ovid's Metamorphosis, and a bunch of other stuff that is equally cool to see.

Columbia's Rare Book and Manuscript Library

2006-11-09T15:57:00.000-05:00

Going to Columbia's Rare Book and Manuscript Library was like a field trip. While we've traveled to various niches of Manhattan, Columbia is so far uptown, it's almost like you're not in Manhattan anymore! My voyage started at Columbus Circle, yet another part of the city that is so vastly different than the village. Columbus Circle is modern and shiny and crowded. I was sidetracked on my way to the subway and peeked my head into the Time Warner Building - I suggest you all check it out, it's reminiscent of the malls back home with a touch of New York City opulence. The Time Warner Building screams commercialized cosmopolitan chic - I overheard a woman in Sephora mention that Britney Spears had been there twice since yesterday. Like the village, this part of town seems to attract the rich and famous as a place to be and be seen. On to the subway ride uptown!

I took the 1 train up to 116th street and as I stepped out, I was greeted by young, sweatshirt clad co-eds. This is Columbia. For some reason the kids here (especially the men)look like they belong on a j.crew catalog - typical ivy leaguers. The weather was nice today and the sprawling lawn was covered with young boys throwing frisbees and footballs. I felt like I was on a REAL campus; it was very refreshing considering the concrete that consumes our campus. I found the Butler Library with considerable ease. It's on one side of the huge field and on the other side is the main library, which looks like a national monument that belongs in Washington or Massachussetts or somewhere historic. I know New York is filled with historic institutions but I felt like it was a bit much for a bunch of college students in New York City. Even entering the library as a non-Columbia student felt very "normal"; I'm accustomed to glass protector walls at Bobst and invasive security checks every time I step into an NYU building. I must also mention that the outside of the Butler Library is gorgeous. It has the names of "world authors and US statesmen" (http://www.columbia.edu/cu/lweb/indiv/butler/walk.html) carved around the building, and yes, Shakespeare is on there, alongside Cervantes, Milton, Voltaire and Goethe. I found it very interesting that Shakespeare was categorized with Voltaire and Goethe. I proceeded inside and received a visitors library card for the semester (so I can come back and not have to check in!) and went upstairs to the 6th floor. The Rare Book and Manuscript Library is at the end of a hall that looks like an ordinary college hall way but when you reach the glass doors that read "Rare Book and Manuscript Library", you feel as if you are walking into a government secured operative like the CIA's Rare Book and Manuscript Library. There is a lot of glass and doors and a long hall way surrounded by more glass and cases that leads to the help desk. Along the way I saw other works in the glass cases and noticed that there was an entire room (the rare book reading room) that was open to staff only. Columbia seems less "tight" than NYU but there are very definitive lines between what is "allowed" and what is not. I asked to see the First Folio and inquired about Jenny Lee, however, she was busy (I should have made an appointment, try to make one before you come all the way here) but I was shown the First Folio anyway. It's in a glass case. It's open to a page with Shakespeare's picture and looks 500 years old, as it should. It also has information on the history of this piece and how it was acquired by Columbia, like we saw at the Morgan Library. I asked whether we were allowed to see it outside of the case and whether seeing Jenny would make a difference and I was told that it would not as the committee decided in August that our class would have to settle with seeing it in the glass case. I'm not sure how set in stone that actually is or if talking with Jenny would at least get me more information on who is allowed to see it (just post-graduate Shakespearean scholars?) or if they resolved not to take it out ever because of the frailty of the book (I was informed that it was 500 years old by the lady at the help desk, she was very friendly). And so my trip to Columbia to see the First Folio concluded by browsing around the rest of the floor and seeing a piece by Chaucer in another of the glass cases.

Columbia is absolutely breathtaking as a campus, I recommend you all get up here while the weather is still considerably nice and take advantage of the library as an alternative to Bobst to get your work done. It's cushier and the ivy league air works much better with the Shakespeare culture and attitude versus that of Bobst and the village.

The Hampden-Booth Theatre Library

2006-11-08T22:05:00.000-05:00

From the moment I walked through the doors of the Hampden-Booth Theatre Library, I found myself overwhelmed by the extraordinary weight of history bearing its delightful imprint upon us. To have access to an institution which not only houses works, memorabilia, portraits, and texts collected and preserved by Edwin Booth and fellow Players, but an institution which reflects a vital piece of New York social history at a time when social acceptability among the upper class was very difficult to acquire and maintain, is truly an honor.

As we made our way from room to room and floor to floor, accompanied by Mr. Wemmlinger’s informative narrative, I found myself taking note of small details within the structure of the brownstone itself. The stained glass, for example, immediately stirred within me a desire to know more about Booth’s conversation with the architect, Stanford White, and what it was exactly that Booth wanted the images within the glass to signify. Along the staircase was a series of tiles in a horizontal row, each one depicting a different scene or moment in performance history. What was it about these scenes that made Booth want to capture each moment in such a meticulous and delicate medium? Hanging beneath grand portraits of various players were playbills and announcements of several productions either performed, or about to be performed. If time had allowed, I would have liked to study each one closely to see differences in styles and layout. While looking at these playbills, I pondered Mr. Wemmlinger’s point about Booth and his fellow players having altered Shakespeare’s work to appeal to generational changes. This in turn led me to think more about the issue of semiology and Shakespeare in American society and how choices of print and type styles reflected changes in societal taste, the introduction of new materials, and industrial advancement. Who initiated these choices?

The library, however, was without question, the most awe-inspiring room for me within the Hampden-Booth library. I was so intrigued when Mr. Wemmlinger divulged to us that scholars and biographers were entitled to sit in this space and explore thousands of correspondences and texts written and collected by Booth. I too would love the opportunity to view rare source materials and works written and published centuries ago. Standing in this dimly lit room with shelves upon shelves of texts and bindings inspired me to pursue my interest in researching print history as a textual foundation for the shaping of American Shakespeare.

Our excursion to the Hampden-Booth Theatre Library was an amazing introduction to the different contexts and mediums that celebrate and nurture American Shakespeare, recognizing both its past and its present as vital to its future. There were so many objects within the library that fueled my desire to know more about their histories within the context of American Shakespeare. Booth’s writing desk in particular triggered my curiosity about the notion of travel culture and Shakespeare out West. Participating in an expedition to uncover what inspires each of us within the expansive realm of American Shakespeare is a process that I feel much more confidant about after having toured Booth’s library.

The New York Public Library Exhibit of the Gutenberg Bible

2006-11-08T22:03:00.000-05:00

“What a classically crisp Fall New York day it is,” I thought to myself upon exiting the subway at 42nd street on my way to the New York Public Library. Although I was met with the usual tourist traffic and bright neon signs glowing fervently even in broad daylight, I could not help but fall in love with New York again. I walked briskly toward the library, knowing that the craze of the city would soon dissipate and meld into the quiet energy of Bryant Park and the library. As I walked through the park and around the side of the library to the main entryway, I was pleasantly surprised by how many tables and chairs occupied the space, inviting anyone and everyone to take advantage of their purpose. This was quite a different setting than that of the Hampden-Booth library, for it beckoned to passersby to enter the library. By setting an inviting tone, clearly hinted at by the library’s function as a public space, the level of accessibility became less of an issue.

After sitting on the steps leading to the main entryway for a few moments, I entered the library and, after having passed through bag inspection, went to the third floor and found my way to the Edna Barnes Salomon Room which housed the Gutenberg Bible. The space of the library itself was architecturally and aesthetically breathtaking, making the experience of walking through the McGraw Rotunda almost like walking through an exhibited work of art, with its rich mahogany walls and pristinely waxed floors. Much to my surprise, however, the Edna Barnes Salomon Room was also host to a much more extensive exhibit, A Rakish History of Men’s Wear. I thought it peculiar that the Bible was placed in the center of the room with little advertisement save for its explanation, but after spending some time with it, this factor began to make little difference to me as a visitor. I began to like that it was so unpronounced within the larger exhibit. This almost felt like a secret that I had stumbled upon, but one that did not hide itself purposefully.

Perhaps due in goodly part to the fact that the Bible was so unassuming in its space, I had a great deal of time to really examine the exhibited work without feeling rushed. The display case of the Bible was illuminated in such a way that really allowed one to see the gloss and intensity of the binding of the book, as well as each and every detail on the surface of the open pages. I was amazed by how vibrant the ink (in blue, red, and black hues) was after so many years. After taking a general survey of the book, binding, cover, pages and all, I turned my attention to the written explanation about the history and specifications of the Bible. I found this explanation very well written and informative. It greatly enhanced my viewing experience, for I felt in tune with certain technicalities, and viewed the work with an informative eye. The text also went into some detail about the evolution of the Bible and the way in which production of this work advanced years later, by placing it within an historical context. For example, to create and produce letters, Johann Gutenberg found a way to print typographic characters that could be transferred to vellum paper, but and align with the margins of the paper correctly. He developed a movable type several years after printing the first folio, which is quite remarkable. I also found it very interesting that between 158 and 180 copies existed within the court of Frederick III.

I found that many of my initial observations of the Bible were also observations in the text accompanying the exhibit. The ink, for example, retains its vibrancy because it is oil-based. However, I wonder why the number “262” is written in pencil at the bottom right hand corner of the Bible’s right page. Who penciled this in? Why is it there? I began to think about the issue of preservation, and the choices one must make in preserving a work’s authenticity. At the center of the left hand page was what appeared to be a stain. Was it a deliberate decision to leave it there, or would it be impossible to remove?

After leaving the exhibit, I had an urge to go directly across the hall into the circulating room and utilize its resources to try and make light of some of my unanswered questions. Perhaps I may follow this same vein and place it within the context of American Shakespeare. Visiting the Gutenberg Bible at the New York Public Library was a very successful and wonderful experience.

The Classical Theatre of Harlem Presents “King Lear”

2006-11-08T22:01:00.000-05:00

Little did I know that as soon as I entered the Classical Theatre of Harlem, I would be transported to ancient Mesopotamia to partake in the unfolding of King Lear’s demise. This was certainly the last setting I would expect for a work concerned with English royalty. For the next few hours, however, I experienced every emotion projected from the audience, the actors, and the characters, along with my very own, so much so that the exhaustion I felt at the completion of the play may be equated with the loss of a few nights’ sleep. It was only until the actors stepped away from their characters and presented themselves to us as professionals did I feel as though some conclusion had been met and the uncertainty that I experienced during the entirety of the performance was somewhat softened by this action.

What I found of particular interest, and this may not have affected anyone else, was my conscious awareness of how contemporary this production was in all of its physical and conceptual faculties. I do not mean that the production was unbelievable, or that Alfred Preisser’s directional choices were insincere, I simply mean that I was very aware of myself as an audience member watching a production of a work set in ancient Mesopotamia within the larger context of the year 2006. This was extremely prevalent in certain phases of the performance, most notably with the Goneril and Regan’s contempt for one another over Edmund, and Lear’s verbally abusive dismissal of friends and family. The actuality of these two examples are not unique to us, for they have been our concerns for years, but the way in which the issues evolved in the performance was extremely familiar, for all that was unheard and unexpressed verbally is really the essence of human nature. This essential self-awareness was so evident throughout the play because of the way in which the director and actors chose to reveal their identities through physical movement and silent interactions fueled by telling glances. In this respect, the work itself was contemporary and perhaps a little self-conscious of its surrender to judgment and vulnerability.

The perpetual anxiety and anticipation of what would happen next was finally lifted during intermission, but only for a moment. When the second act ensued, the tension and energetic destruction of most of the characters, and sometimes the actors, who were taxed by their exertion, spiraled into such frenzy that I had some difficulty keeping up. This may be due in goodly part to the fact that I was not familiar with King Lear, which leads me to wonder how other audience members experienced the performance. I believe, however, that this production was concerned not so much with the finite details of Shakespeare’s Lear, but more so with the relationships and underlying intentions behind these relationships related to still very contemporary standards of morality – truth and deceit, loyalty and unfaithfulness, love and hate, redemption and persecution, among others. Although I myself cannot closely identify with what may be drawn from these relationships, I recognize the limitations of these moral standards. The success of the production, therefore, lies within the universality of individual choices and the consequences of these choices.

As soon as King Lear took his last breath, I looked around me to see if anyone else was wondering what would happen next. What could happen next after so much unraveling? The answer I had so readily sought to this absence of resolution, I later felt, did not matter. I began to wonder less and less about the next course of action for those who survived like Edgar and Lear’s Herald, but more so about the transition from stage to street. What issues addressed in this production of “King Lear” could transcend the confinement of the stage and waft out of the theatre with the audience into the cool evening air?

The New York Historical Society with Nina Nazionale

2006-11-08T21:59:00.000-05:00

Perhaps it was the rain, or perhaps it was the warmth of being indoors, but the New York Historical Society library was one of the most welcoming libraries that I have ever entered. This in itself is very surprising considering the fact that it is home to thousands of archival materials preserving years and years of American history. One would assume that it would be very rigid, let alone accessible to anyone and everyone.

As we entered the library and set ourselves around a long wooden table laden with publications, journals, and broadsides relating to Shakespeare, I was very aware of myself in relation to this space. I felt as though I was invading this space with my close proximity to the works themselves. Clearly this was unfounded, and I soon realized this when Nina Nazionale began to speak with us about the library and the materials before us, but it definitely took me a moment or two to fully realize this.

One of the most poignant moments for me was when we were told to take a closer look at the material, while Nina went to retrieve the Poole’s Index from the closed stacks. Not only did she leave us to our own devices, she actually implied that we could handle the works. I do not think I fully grasped this inference until someone turned a page of the 1844 printed edition of Shakespeare in full illustration. A chill went through me, for it hit me that at that moment we were actually in the library participating in preserving history with works that are themselves living preservations. This is a very interesting concept, and one which I have been thinking about a great deal. How do we preserve works yet honor their intended functions by making them accessible to others? I would be so interested in working with the New York Historical Society, for it seems as though this is a mission that the library intends to fulfill.

The level of accessibility of this library far outweighs that of any of the other institution we have visited as a class. The fact that Nina was so eager to share works with us dating back hundreds of years revived my spirits, for the barrier of privilege and research access, which may deter many from exploring what is available, diminished greatly after last Friday’s excursion.

I am extremely excited about returning to the library to do research on Shakespeare in print in America. I have browsed the available materials at the historical society library through bobcat and have found several intriguing works, such as The Calendar of American Chronology illustrated with Shakespeare quotations. The fact that I can access what is behind the closed stacks at the New York Historical Society library is, in itself, completely fantastic.

Type-Setting with Mindy Belloff at Studio on the Square

2006-11-08T21:57:00.000-05:00

Walking into Mindy Belloff’s studio on Saturday morning, I knew right away that this is something I want to pursue. Type-setting, Letterpress, and Printing techniques combined with book art all resided within this little space bubbling with resources and creativity. As soon as we gathered together, Mindy sat with us and gave us a brief history of the book and printing. We touched upon Guttenberg and the Guttenberg Bible, and she informed us that the Bible might also be viewed at the Morgan Library. She told us a bit about parchment as well, and showed us some of the printed work that her students had completed. The heart of our discussion, however, lay in sharing the Shakespeare Sonnets we each brought in. What was remarkable was the way in which she listened to the sonnets through visual means. As beautiful and lyrical as one sonnet might sound, another sonnet might actually look better printed on the page. This kind of viewpoint triggered in me something that I shall carry with me whenever I read a line or word, for the idea of how it is visually represented is perhaps another means of understanding how the word may be expressed. Visual grace should correspond to the oral grace. This became clearer after going through the process of setting type.

The experience of working intimately with a small group to produce something of aesthetic and personal value was wonderful. Each of us knew very little about setting type, and I think our timidity and carefulness toward the act of setting-type heightened our ability to seize the task and pay close attention to each detail and step involved. Each of us decided on a line and then moved to stations throughout the studio where we embarked on orienting ourselves with the cases of type, setting them in holds, securing them, and then passing them onto Mindy who set them upon the press. This was like solving a puzzle, for each piece involved fit precisely where it needed to. While I was trying to place an “o” in my hold, I realized, that this “o” was slightly different from the others, but I could not tell why. When I asked Mindy, she told me that it was in fact a bold “o” and not a regular Bodoni “o”. I love how everything about this process requires care and precision, for it really makes one aware of their consciousness.

After I finished my line, I was asked to help Adrianna finish a second line that she had been working on. I thought about how wonderful this was, after making the prints, to be able to see evidence of our collaboration upon the page. I noticed that although there is uniformity to the process of printing, individual personalities are slightly hinted at between words and lines. This is an ever so slight, perhaps far-reaching observation, but it is at least very interesting to think about the personal imprint upon the printed page.

This entire process and experience really put into perspective the amount of time and patience it took for texts to be created and then made accessible to the public, for it took several hours to print less than a page. The beauty, however, of the printed page, far exceeds any amount of time spent on the work, for it is truly amazing that a refined craft such as this is still within our reach. I am so excited at the prospect of working further with Mindy in the spring. Setting type is so enriched with history and having the ability to parallel this history with contemporary practice is so exciting.

The Morgan Library and Museum

2006-11-08T21:55:00.000-05:00

Sitting outside of the Morgan Library and Museum Staff Entrance, I wondered about what kind of tour we were about to experience. I imagined that others were wondering similarly about the tour, each with their own projections about the interior space. Though I had never been into any of the exhibition halls, what made this anticipation so great was the fact that prior to this tour, the only other time I ventured to the Morgan was when I met with the director of the library’s conservation department. Here I was, at the very same door, excitedly awaiting entry into a new sphere of academic and visual experience. I wanted very much to see the work of the conservation lab displayed for public viewing. It would be fascinating to quietly map out or illustrate the dialogue that may have taken place between the exhibited work in the before and after process. As soon as security granted us clearance, and as soon as Anna Lou Ashby greeted us and issued out little purple library pins, we walked through the newly structured glass doors into the main body of the library to begin out tour.

Before I go on, I must admit that I was a little skeptical of Ms. Ashby’s stance on the tour, but I was soon dissuaded of any concerns when it became clear that she was just as enthusiastic about the history of the library and exhibits as much as myself. Before entering into what was once the main entryway to view the exhibited books on print, we spent a few moments with Ms. Ashby in the bustling main hall (newly designed by Renzo Piano). It was here that she gave us a very in depth and concise history of the Morgan Library, spanning its various collections such as printed books and fine bindings, and music manuscripts and books, in conjunction with the history of the Morgan family. She also discussed current curatorial issues, and illuminated upon the interdepartmental exchange as the backbone for the cohesiveness of each exhibition. I found this very interesting, for after touring the library, it seemed very evident that each department contributed to individual exhibits. I really like that not only is that there is this kind of exchange and receptivity between all facets that make up a cultural institution, but that it is visibly evident if one chooses to look at the displays with that concern in mind.

It was very difficult for me to not stray behind, but as the library was quite busy, we had to move along quickly. (I shall have to go back soon to get a closer look at Blake’s Songs of Innocence and the Mozart and Fragonard exhibit, as well as the library itself). Each book exhibited was breathtaking and historically unique. I thought the displays were executed very tastefully, and were very informative in terms of offering dates, materials used, purchase history, and publication history. It was extremely interested to hear Ms. Ashby discuss the problems of exhibiting a work and the many conservation factors that must be dealt with for each exhibit. She cited lighting and temperature as two key components in maintaining the quality and honoring the delicacy of the book when it is set in a cradle to be displayed. This kind of decision-making became evident when Ms. Ashby looked for Mary Shelley’s annotated Shakespeare, and realized that conservation may have taken it out of the exhibit. This may have been due to the fact that it could only have been exhibited for a certain number of days because of its condition.

We moved briskly along through the rest of the museum. I shall not gush about how in love with the library I am, though I cannot help but say how much I would love to walk into the library on a snowy evening, pick up a book from one of its many shelves, and settle in for a cozy read. I do not think I would get much else done if that were at all a possibility. Since it is not, I should like to touch upon the issue of accessibility in conjunction with our other excursions. Aside from the fact that only graduate students and scholars with letters of recommendation may gain access to the Morgan Library’s Research Library (I cannot wait to graduate), I thought the library was both architecturally and materially inviting. However, I also think this is so because of our time with Anna Lou Ashby. I do not know if I would have had the same thoughts about the library had I not heard Ms. Ashby’s thoughtful and inviting words. I remember being greatly intimidated by the library when I first went, and I recall being slightly less intimidated when we first entered as a group, but in retrospect, I think this intimidation is useless and takes away from the experience of seeing wonderful works of art. It was funny to hear Ms. Ashby talk about the pretentiousness of the library, but I also wondered why this reigned heavily upon the institution.

I am still trying to decide whether or not I am at ease with the notion of an institution for a “higher” more “cultivated” patronage. I think whatever assumptions one may have about this library upon entrance are unfortunate, but there must be some truth in these reactions. Is this important? I think what is of greater importance is the fact that so much care and attention is given to preserving art objects and books that are enriched with history. Perhaps it would better serve the library if more of Ms. Ashby’s insightful words and energy could reach a greater breadth of patrons, but the Morgan Library and Museum is what it claims to be, and I am content with that.

Joseph Papp, New York’s Public Theatre Marks 50 Years

2006-11-08T21:50:00.000-05:00

It had never occurred to me to listen to NPR broadcasted from the NPR website until I started working in the Conservation Lab. Just yesterday I was telling my roommate how enjoyable it is to work in the lab while listening to NPR. Prior to this discovery, I would listen to the radio only while cooking, since my radio resides in my kitchen. So, it is with this fresh discovery and quaint coincidence that I settled into a chair with tea in hand, and listened to Jeff Lunden’s Weekend Edition program, Joseph Papp, New York’s Public Theatre Marks 50 Years (Saturday August, 20, 2005). I found this interview very enlightening, for not only did it touch upon several issues that we are addressing as a class, but it seemed to foreshadow, eerily, some events and issues that have come to light in the past year.

A theme that resonated with me throughout the interview was the contemporary application of Shakespeare and public ownership used by Papp to explain his inspiration behind the Public Theatre. This issue came to light when Lunden offered listeners snippets of Joseph Papp’s words about his convictions behind the founding of the Public Theatre. Papp strongly stated that one of the reasons why he began to offer free productions of Shakespeare in 1956, later known as Shakespeare in the Park, was that he felt that Shakespeare had become the property of “academics” and was therefore waning in the public sphere. Papp wanted to revive what had once been popular among the masses, which led him to fight against the Parks commissioner of Central Park and establish the Delacourt Theatre to host annual summer Shakespeare productions that were free to anyone and everyone.

Learning the story behind the building of the Delacourt Theatre and the establishment of Shakespeare in the Park (sadly I did not get the privilege of going this past summer because Mother Courage was rained out) was really wonderful, mostly because of Papp’s personal history, which, I believe, substantiates the issue of what is “American” and who should benefit from something inherently un-American within an American sphere of privilege and accessibility. Lunden introduces Papp’s familial history to listeners, stating that Papp grew up in Brooklyn, speaking Yiddish as his first language. This I found extremely interesting, for we can see the ground upon which Papp tread in regards to his desire to have his voice heard through Shakespeare’s work. It seems as though Papp was highly concerned with transcending and neutralizing social and cultural boundaries for the purpose of bringing everyone together under one umbrella devoid of stricture and isolation. Shakespeare was this umbrella.

Lunden’s interviews with Papp’s widow were also of great interest, for she illuminated further on Papp’s quest for making Shakespeare accessible. She referred to Papp’s decision to create multi-ethnic casts as a way for reflecting the location in which his productions took place. She noted Papp’s production of Two Gentlemen of Verona, in which entire sections of the play were performed in Spanish, in response to Lunden’s remarks about Papp’s desire to bring Shakespeare to all locations in and out of New York. Papp strongly believed that performances should talk to their environment by mirroring cultural specifications unique to that environment.
Although I believe in Papp’s sincerity, and although I believe in his idealistic vision of free accessibility, I find myself struggling with his mission to centralize Shakespeare under the guise of “Americanism,” especially when he said that he wanted to devote himself to training American actors how to speak and, essentially, how to “act” Shakespeare with a proper accent, clarity, and emotion. This statement seems so self-contradictory, for in Papp’s quest to re-familiarize the public with Shakespeare, he is limiting himself by trying to authenticate these productions.

Throughout the program, Lunden referenced other productions tied with Papp and the Public Theatre, such as Bring in Da Noise, Bring in Da Funk, Hair, and, A Chorus Line. This was a great surprise, for I had no idea that such Broadway staples as these productions could have originated with the Public Theatre. This information addresses the conflict facing the inherent hierarchy of performance and genre within the world of theatre. Papp himself reflected upon this issue when he confessed that in order to provide free performances, he had to give himself over to Broadway for funding. When he mentioned A Chorus Line as being one of the biggest financial successes for the Public Theatre, I immediately thought of the article in the New York Times about the conflict surrounding the current revival of the production. The article, Chorus Line Returns, as do Regrets Over Life Stories Signed Away (Campbell Robertson), discusses the issue of ownership rights. The production’s writer, Michael Bennett, drew his inspiration from a series of recorded interviews with Broadway dancers and performers sold to him for one dollar a piece in 1975. These dancers are now receiving little to no compensation for the revival. A digression, I know, however I think it is very pertinent to the concept of contemporaneous issues resurfacing again and again fueled by similar themes of ownership. Listening to Jeff Lunden’s Weekend Session program almost a year after its broadcast was fascinating because of the fact that so many issues touched upon in that program are still very prominent today.

"Rule No. 1: Don't Yell, 'My Kid Could Do That'"

2006-11-08T21:44:00.000-05:00

Hi Everyone,

Oddly and appropriately, there was a pretty large article in this weekend's Times about Christie's and Sotheby's. It is pretty interesting.

(http://www.nytimes.com/2006/11/05/arts/design/05alle.html?_r=1&oref=slogin)

Best,

Ori

Christie's

2006-11-08T21:40:00.000-05:00

American-Shakespeare-NYU

Each time I walk east along the broad streets near Rockefeller Center, I sense a kind of holiday, film-like cheer that resides permanently within the raucous traffic, sidewalk steam, and Fifth Avenue suits walking briskly to and from lunch. Since I can remember, this journey east has been unfailingly the same, boisterous and elegant, annoying and glimmering, and I love and loathe it every time. However, this particular trip down the same nostalgic, big city road was a little different in that I entered an interior space that mirrored much of what I experienced outside. This space was Christie’s New York.
When I first walked into the auction house (an effortless transition from outside to inside with the help of a doorman pushing the revolving door for me) I thought that perhaps I had mistakenly waltzed into a hotel. There was a large desk with several smartly dressed, young men and women, answering telephones and assisting patrons, a scene very appropriate for a busy hotel. Yet, this was Christie’s, as the large and proudly displayed Estate Sale announced to my right. I turned around, hoping to find a little corner where I could wait for the rest of our group, but could not refrain from gawking like a buffoon at every other person milling about. I have never been inside an auction house before, and I was extremely fascinated to either confirm or cancel my pre-conceived notions about such an establishment. When I saw several older gentlemen in tweed suits and horn-rimmed glasses walk by, I could not help smiling. I wanted to join them on their hunting trip (for it looked as though that is precisely what they were about to do), but I followed the rest of our group into the exhibition spaces housing Impressionist and Expressionist works that were to be auctioned the following week.
I wanted to relinquish myself from feeling slightly out of place, but I was extremely aware of the other patrons or buyers, looking at these works as if they were items in a store. As soon as I saw three Schiele pieces, the magnitude of what was taking place at Christie’s became very real to me. To view these works with a price tag as their main descriptive accompaniment was like no other experience I have had. This dramatically changed my perspective of viewing art, for the discourse surrounding much of these works was financial rather than aesthetic. I felt unsettled by this presumption and at the same time, extremely eager about the possibilities of such an environment.
After looking at several works on canvas and paper, we met with Francis Walhgren, who was extremely enthusiastic and accommodating. As I have found for most of our trips, the people whom we meet and interact with are usually the ones who enliven these institutions by being so welcoming and informative. Mr. Walhgren was fantastic in that he really wanted to share his experience of auctioning the Berland Shakespeare Folio with us. He had materials available for us regarding the layout of the Folio’s history and condition, and he told us about the inner workings of the Book Department at Christie’s. Mr. Walhgren put it beautifully when he stated that what he represented was the merging of the scholarly with the business field. Though I am still deciding whether or not this kind of merger could be a harmonious balance for me, I find a great deal of what Mr. Walhgren spoke about very appealing. He informed us that Christie’s acts as an intermediary between the owner and buyer of a work or object, implying that there is a very strong degree of exposure to all worlds and contexts within which the item has existed. I love this idea very much. He also shared with us the kind of cataloging and history tracing that he and his colleagues have the opportunity to do. This segued into the realm of comparing Christie’s to a library, and the kinds of differences and similarities that make up both institutions. I found it extremely interested when he said that Christie’s took the stance of preserving works just as they were found. I agree with this on a certain level, but I also agree with the library stance, which more often then not, is concerned more with mending the work and stabilizing it so that it may continue to service the needs and queries of patrons. This issue is a very difficult one to take sides on, for in an ideal world, both methods would be terrific.
After speaking with Mr. Walhgren, and after having the pleasure of experiencing the tension and excitement of such a monumental moment in auction history when we saw footage of the auction, we left the conference room and traveled down the same set of stairs with, what seemed to me, a sense of ease, whereas only a short time before, we had ascended with nervous and anticipatory doubts about Christie’s as a whole. Walking out of Christie’s I felt that I had indeed cancelled out all of my previous notions about the institution.

Christie's - Parisa

2006-11-06T23:29:00.000-05:00

Christies 11/3/06

I took the BDFV to Rockefeller Center. The walk through Rockefeller Center leading up to the entrance of Christie’s was very different than any of the other places we have visited. Midtown Manhattan has an opulence about it that is much flashier than Gramercy Park and more modern than the Upper West Side.

We arrived an hour early and noted that many of the other visitors were old men wearing expensive looking scarves. Even the air in Christie’s smelled expensive. During our wait we were invited to look around. We saw mainly impressionist/modern paintings and paper drawings. Some of the names that stood out were Picasso, Renoir, Matisse and Chagall. Again, people there were predominantly over 50 and male, very affluent and men accompanied any of the women there.

Mr. Wahlgren was very warm. He first showed us the skybox that is reserved for very private clients. I could understand why a place like Christie’s that sells pieces for millions of dollars on a regular basis would have options for certain clients to preserve their privacy and security. If I was bidding millions of dollars on a painting, I may or may not want the world to know this piece was in my possession or sitting in my home. The fact that Christie’s caters to their clients shows how much business dominates the art world. Mr. Wahlgren actually emphasized the fusion of business and art at Christie’s. One of the rooms we walked through held $100 million worth of paintings alone.

We learned more Mr. Berland’s Shakespeare collection that Mr. Wahlgren auctioned off himself. When Mr. Berland began to have the means, he started collecting Shakespeare and then bought the First Four Folios from John Fleeming in New York in 1962. One of the mentioned aspects of selling collectibles is that the world sees you as a collector when you sell your pieces and you become a part of the catalog of owners. Berland sold his collection while he was still alive because he wanted to know to whom the pieces were going to. The entire collection sold for $13.5 million and made it to the Top 10 of book collections. Among book collectors, the First Folio is the cornerstone of great literature. It comes up every ten years at an auction. Christie’s holds the record over Sutheby’s. Their copy was missing a leaf and that damages the value. It may have been imperfect from its publication, but it sold for £3.5 million, which came out a little under the dollar record held by Christie’s five years ago. The sale took place three weeks after 9/11. Because of the timing, they didn’t know if people would be in the state of mind to buy such material. Mr. Berland came to both houses, Sutheby’s and Christie’s to look at the collections and they had to come up with a proposal of how they would market the auction (they tour it around the world, it gets press and is celebrated when it’s shown by Christie’s). A sale typically takes six months to prepare for. The catalog was prepared for the proposal. Wahlgren informed us that the rarity of Shakespeare is in its completeness because so many copies have missing leaves at the beginning and end. The bidder that eventually won this copy was on the phone with the Christie’s staff and the under bidder in the room was from a dealer from the west coast called Heritage Books.

According to Wahlgren Librarians know the significance of the books but at Christie’s they know the value and the “numbers” of the books. Librarians always insist on wearing gloves but the auctioneers prefer to use clean hands because you’re more likely to drop or rip pages because you exert more energy when wearing gloves. Regarding preservation/conservation: they’ll usually just have a box to protect a piece. They keep it in a glass jewelry case and if a potential buyer wants to see it one of the staff will come and take it out. It’s then stored in a room temperature-controlled vault downstairs. The binding is desired in its original form and the Provenance (list of owners) is very important.

Regarding the sale of pieces: If the price is too high, they scare away customers with “sticker shock” but if it’s too low, the seller gets upset. The Second Folio is more common than the Third Folio so it’s worth $80-120,000, whereas the Third Folio, even through published at a later date, went for $500,000. In order to research the history and value of books they consult New York Public Library and they are close with the Grollier Club and now they do a lot of work online. They also have book catalogers on staff. John Wolfson, one of the three owners of the First Folio in North America is a curator of the Rare Books collection at the Globe Theatre in London. The First Folio made up for half of the sale of the Berland collection at $5.6 million. The sale was $6.1 million because the buyer and seller pay commission. There is a 15% commission on the buyer side.

This was my first visit to Christie’s and one of the most memorable parts was entering one of the rooms of impressionist/modern art and feeling exhausted and overwhelmed by all the visual stimulation. One of the rooms actually had so many paintings crammed side by side that it looked like a well lit storage room! That Christie’s auctioned off one of Shakespeare’s First Folio’s for $5.6 million demonstrates that Shakespeare really is in a strata of art and culture revered by and reserved for the wealthy and elite.

Morgan Library

2006-11-06T16:30:00.000-05:00

Morgan Library 10/27/06

Anna Lou Ashby is a curator at the Morgan that gave us the tour. It is an independent research library with a very strong museum function. Pierpont Morgan was one of the great collectors of the 20th century. J.P. Morgan was a banker and collector. They wanted to establish an institution for public use. It holds works primarily from Western civilizations. They have old master drawings but they do not buy paintings. Morgan collected paintings but when he died, he decided to give them away to other museums. Pierpont was President of the Metropolitan Museum of Art. They also have old watches and sculptures. They have a strong interest in art so they continue to buy drawings but not paintings. There is a major collection of printed books. Printed type started in the West with Gutenberg in 1450. Morgan collection of 15th century printing is the biggest in the country. Incunabula’s (implying the “infancy”) were printed between 1455-1500. 1501 starts the 16th century. The Morgans fine-bindings collection is the best in the world. The Morgans were great collectors and the have great curators so they continue to acquire. They have a collection of children books in the form of chap-books. Chap men sold cheap books on the street. The market for children books started at the turn of the 18th century. Pictures were produced for children. They are very concerned about the intellectual content, but they look at books as objects. Today they buy education toys and games. The early children’s books collection is part of that.

She is working on the early women writers collection. One of the writers she is featuring is Margaret Fuller and her comments on the role of women in the modern world. Fuller died in a shipwreck off of Long Island and they have a letter of hers to Emerson when she was coming back from Italy and it said “watch out for a shipwreck.” There is an “At Home and Abroad” compilation made by her brother of reports send to New York newspapers. She was one of the first transatlantic reporters. There are also a lot of European writers featured in this collection.

The library also holds original Austen, Dickens and Bob Dylan manuscripts. Friday night from 6-9 pm is free. We had admission to all the exhibitions. There are also some science manuscripts (like the first editions of Galileo and Copernicus). This library tries to build its collections by things that relate. They have Near Eastern cylinder seals made out of semi-precious stones.

Music manuscripts include Mozart, Schubert, and some modern composers as well as a Mozart show itself. We were shown the Marble Hall and asked to be sensitive to the doorways. The Marble Hall used to be the entrance but now the entrance is on Madison Avenue. The Medieval Manuscript Department holds Dante’s Inferno and roman architecture by Aliberti. The labels tell you what the work is at the top and when/how it was acquired at the bottom. Ms. Morgan Jr. collected books on gardening and architecture and her sons donated her collections.

1485 – Le Morte d’Artur: there are only two copies of this book left; the other is in England. It was purchased by Pierpont in 1911. The manuscript of Book I of Paradise Lost by John Milton (1608-74) was purchased by Pierpont in 1904. They control the light and temperature in the glass cases because collections in paper have chemicals that are affected. The first printed edition of William Blake’s “Songs of Innocence” (1789). Blake printed it himself and etched the plate, controlled the color and writing on it. He was trained as an engineer. This copy was printed by Blake for his friends in 1794.

Photographs of Native Americans by Edward Curtis (1868-1952) to preserve what he knew about Indians. The Morgans helped pay for this project. It was purchased between 1907-1930.

The copy of King Richard II, owned by D.H. Lawrence, has comparative notes with his girlfriend, Jesse Chambers (1907). Research libraries hold these because of the special annotations that serve as research material.

We saw:
Byron’s manuscript of Don Juan, autographed (1818-1820).
The typed script of Oscar Wilde’s “An Ideal Husband” (1894).
Drawing books by Jean de Brunhoff (1899-1937) of “The Story of Babar” that show the creative process.
Galileo’s manuscript on the back of an envelope from the 14-25 of January, 1611.
Jonathan Swift’s Gulliver’s Travels (1838) with French illustrations of J.J. Grandville.
Thoreau’s journal from August 1852 to January 1853.
Lewis Carrol’s “Through the Looking Glass and what Alice Found There” with 50 illustrations (1872).
Ibn Bakhtishu, Manafi al-Hayawar (“Uses of Animals”) in Persian between 1297-1300.
The Hours of Cardinal Alessandro Farnese are images like those on Sistine Chapel. The curators used this to refer to when trying to work on the Sistine Chapel to authenticate colors because the “Farnese Hours” was the last great Italian Renaissance manuscript.

The center of the library is glass encased. The walls and ceilings were designed by Piano and completed in April 2006. The back of the building is 100 years old, designed by McKim. The reading room is upstairs with cherry tables and has natural light coming through and lamps on each of the tables. Piano’s idea was to make a piazza “town square” where you can look up at the surrounding buildings. The Morgan library was built by Charles McKim. Morgan had so many books they had to add two uppers rings before the construction finished. It’s reminiscent of Renaissance art. The muses indicate the genre. McKim, Mead and White is the firm that worked on it. Morgan was not just an anglophile. His French and German collections are huge and he was interested in Egypt and Italy.

In the East Room (library): There is a copy of the Gutenberg Bible from 1455. Morgan has 3 copies of 50 survived copies today from 180 prints (2/3 are in paper, 1/3 in vellum). There is an engraving of Adam and Eve by Albrecht Durer (1504), a collection of prayer books and an edition of the Koran. The columns are covered in lapis.

Morgan died in 1913 and his wife died in the 1920’s. The house was torn down and J.P. rebuilt the 1926 building. Spencer and Aaron’s collections are at the New York Public Library. They came to New York to work on 18th century works collection then went to New York Public and then to the Morgan.

The West Room (the study): the wallpaper has arms of Renaissance Chigi family. The books are first printings of British authors. The ceiling is made of wood with old details but colored design is not original. The original renaissance paintings are on the walls. The First Folio from 1623 and 1632. The little room in the corner is a safe room.

The reading room is for graduate students and scholars only. They need a letter of recommendation to justify that you are a serious scholar. It’s an issue of access and preservation. I also noticed that the majority of the people at the Morgan were elderly. Compared to the New York Historical Society that had visitors of all ages and backgrounds, the Morgan’s visitors were predominately white and old. Observations like this made me question the divides that reserve Shakespeare for the “elite” and convince everyone in the periphery that Shakespeare is intangible.

Christie's -- Adrianna Borgia

2006-11-05T16:54:00.000-05:00

Overall, our visit to Christie's gave me yet another perspective of the art world. Rather than view old manuscripts and books from a conservation or informational perspective, Christie's made me think about them as a collector or a business man would. In some ways, this felt a bit strange. As I stepped into the building, I felt that I was both in an art museum as well as a corporation. Not only was there a description printed next to each painting, but also a price range as well. This felt a bit strange to me, putting a monetary value to art. In some ways, it made me feel that I'm really not very knowledgeable when it comes to the art world. It seemed that every painting that I felt was really beautiful or provoking was worth a lot less than others that I found merely "okay."

I feel that the value of a painting or any type of art (visual or literary) greatly depends on who created it. As Frances Wahlgren stated, a sketch that took Picasso an afternoon to make could yield thousands, even millions of more dollars than a rare manuscript. He told us that overall, it's rare for a book or manuscript to make over two million dollars. We should ask why then that Shakespeare's first folio alone was auctioned off for 6.1 million dollars? Part of the reason could be what I stated before: it is because of who wrote it. Like Picasso or Monet, Shakespeare is a universally recognized figure. In a way, his image and status in both the American and international mindset is what allows his work to "sell itself," ever at the price of over 6 million dollars.

I found the overall atmosphere of the place to be friendlier than I expected as well. From the receptionists to coat room (believe me, I've met many disgruntled coat room people, and luckily, Christie's had none), everyone was very accommodating and friendly. I was also pleasantly surprised with our host, Mr. Wahlgren as well. I was worried that he would be a little uptight like the main librarian of the Hampden Booth library, but as it turned out, he was the complete opposite. He was very energetic, amiable, and overall likeable guy. Not only did he show us the catalogue for the folio sales, but he also went through the trouble of getting us copies of the pages describing the volumes, which was thoughtful of him. I also thought it was cool that we got to see the video of the first folio sale, because it was interesting to see both the tension between the buyers, as well as the tension that Mr. Wahlgren was feeling as well.

His comparison between an auction house and a library definitely showed how business and conservation take different views on rare books. Whereas in a library like the Morgan, one can only touch a special text with gloves and a recommendation, in an auction house like Christie's, anyone is allowed to interact with it, whether it be the first folio or an early edition of Alice in Wonderland. In a way, an auction house is a like a museum where you can touch things. Though this concept may be a conservationist's worst nightmare, in the business world, it makes sense. If you're asking people to buy a rare book for a large sum of money, they want to be sure that what they're buying is intact and in good condition. In a way, after observation the conflict of conservation between different library settings, it was interesting to see a different institution in which touching something as sought after as the first folio is acceptable.

"Folio, Where Art Thou?"

2006-11-02T20:17:00.000-05:00

Dear American Shakespeare Scholars:

In lieu of our visit to Christie's tomorrow to meet with the man responsible for the $6.1 million dollar of a Shakespeare First Folio in 2001, please have a look at the following article from Smithsonian magazine, October 2006.

Cheers,
ASH

p.s. Just click on the blue question mark to get to the article.

"To be or not to be Shakespeare" - Smithsonian Magazine, 0ctober 2006

2006-11-02T20:05:00.000-05:00

Dear All:

Please click on the following link/point (the blue question mark below) and it will take you to a very interesting Shakespeare article that just appeared in the Smithsonian magazine.

Cheers,
ASH

p.s. Thanks to Ori for spotting this piece!

Morgan Library/New York Historical Society- Lea

2006-11-02T00:01:00.000-05:00

Hey- finally figured this thing out! Here are me two latest reactions...

Lea Rose Emery
American Shakespeare
Professor Smith-Howard
3 November 2006
The Morgan Library and Museum Reaction
My first thought in regards to the Morgan Library is simply overwhelming. The idea of so many priceless materials belonging to one person, or even group, was just too much for me to conceive. I think the most shocking aspect of it was the library. The number of amazing resources just sitting on the shelves was not only impressive, but frustrating. I have issues with my mother and her husband wasting money on houses, cars, and jets, and this seemed to follow along the same line, but slightly different. Most people with excessive wealth have material goods that others cannot achieve. The materials in the Morgan Library, however, are ones that should be available to the public. For me personally, I was in awe of the First Folio just sitting on the shelf, but than began to wonder why it wasn’t in some place where more people had access, instead of buried in a pile of books in the corner of a study. That book held particular interest to me because of my interest in Shakespeare. Yet there were other books on those shelves that I’m sure would have the same significance to those interested in other fields. Although these books are, in theory, available to the public, they are all shut away on shelves were you have to seek and sift through hundreds of books just to see the spine of a piece of literature that could be at the center of your profession or area of study.
At the same time, some of the materials were exhibited beautifully. After the tour I went to the Dylan Exhibit, and loved the juxtaposing of something so cotemporary with the majority of the Museum’s holdings. I also really enjoyed the classical music displays. Being able to listen to a piece, while following along on digital sheet music, and looking at the original music in the artist’s hand was a great experience. It was very interesting that they constantly rotate the exhibits. This seems to be a good way of showing off all of the materials while still preserving them, making them available and protected.
The Morgan Museum and Library has ludicrous amount of resources and information. It is difficult to comprehend materials that have that much meaning to so many people are all cooped away in a few rooms of a museum. Although some materials are truly open to the public, and displayed very well, most of them seemed to be shut up and away. Just scanning the titles of the books in the library I felt that every person I know involved in any type of literature would feel a huge connection to one or more of the books in that room. Titles from just a year or two after the printing press was invented, books on science, theology, history, theater, and basically any other thinkable topic, all just shelved away like they were just cookbooks. I don’t think there is a right way for such a massive amount of materials to be handled; it just seemed a shame that they seemed so inaccessible while being right in front of you.

Lea Rose Emery
American Shakespeare
Professor Smith-Howard
27 October 2006
New York Historical Society Reaction
The New York Historical Society gave off a completely different air to me than the Hampden-Booth Museum and Library. Superficially, they could seem very similar. Both of them have impressive entrances and all-around architecture, giving off a feeling of pomp and prestige. The Historical Society actually had a loftier appearance, if one is looking at just the facilities. Yet the huge, open, airy library was welcoming, you could see it was being used so you felt welcome to use it. There was not a soul in the Library section of the Hampden-Booth Museum, it definitely gave off the feeling of “just for show”, I was too scared to touch anything for fear of damaging it, like in a wealthy relative’s house.
The biggest difference, however, I felt was much more in the way our group was handled. In the Booth Museum is seemed like we were a chore that had to be taken care of, that they would be willing to help us if we wanted to contact them, but it would be a huge favor out of the goodness of their hearts. In the Historical Society our host was jovial, friendly and talkative. She genuinely seemed to want us to have access to the materials and would be more than willing to help us in anyway possible. Not only did she seem excited to have us, she also seemed excited to learn more about our topic and had obviously thoroughly prepared for our arrival. I would feel no hesitation contacting her again if I needed help, whereas I would feel awkward and imposing using the Booth materials. The Historical Society was being used, just like a library should be. There was information being shared and based around. Not only that, I found it very interesting that the Historical Society was accessible through Bobcat. They seemed to be making an effort to share their resources with as many people as possible. The Hampden-Booth Museum is virtually unknown, and certainly not advertised. They straddle the line of wanting to sort-of let the information out, or at least let people know what they have, but maintaining it as theirs and theirs alone. The Historical Society is just the opposite, more focused on sharing and caring for the information than keeping it for themselves.
I was amazed at the difference between the two facilities we looked at. Both had a wealth of materials, both were in beautiful buildings. But where one was nearly impossible to even locate, and was hardly ever heard of, the other seemed to be a fully-functioning public facility. One treated us as a duty that had to be attended to and the other was enthusiastic about our visit and involvement with the Society. The Historical Society clearly had a better handle on the balance of preservation and access, keeping the materials safe and protected, but not hoarding them from the public.

New York Historical Society and Intima Press - Jennifer

2006-10-28T00:24:00.000-04:00

Since I forgot to print off my reaction papers this morning, I suppose I'll just copy them here.

New York Historical Society
It is interesting to compare our visit to the New York Historical Society’s Library to the visit to the Hampden-Booth Theatre Library. I came away from the latter experience feeling like I couldn’t get much use out of its resources. I noticed that Raymond Wemmlinger stressed that a lot of the resources at the Hampden-Booth library were as easily available online or at Bobst, rather than stressing anything that might have been particular to the Hampden-Booth library alone. Maybe it was a simple matter of not having many rare artifacts that would be of much use for research purposes, but the general sense conveyed by Raymond that on-site research would not be necessary or even worthwhile was somewhat disappointing

Nina Nazionale provided a great contrast to that experience. First of all, it was nice to see someone outside of our little group who seemed so enthused about the research possibilities. Even when she mentioned resources available to us at Bobst and online, she still expressed the idea that direct interaction with the library would be helpful and interesting. The resources that Nina provided for us were helpful in giving me an idea of what I can find at this library. At the same time, I got the impression that those resources only scratched the surface of what was available. The NYHS library seems to contain a vast amount of materials. I’m curious to discover what resources I might be able to find there, and how those resources might shape my final project.

Intima Press

This workshop was a unique and enjoyable experience for me. It was exciting to examine and participate in the elaborate process of printing during the fifteenth century. In our firsthand experience with printing, I only had to do two lines of poetry, in a large font. I can only imagine the effort that it would have taken to print this paper, for example, centuries ago.

I thought the firsthand experience was a lot of fun. I particularly had fun setting the type. I found this activity rather relaxing. It was a constant occupation, but it required little thought. It reminds me of the activities I like to do when I’m watching TV, like coloring, which require a little creativity and a lot of work for the hands. I probably have ADD, so I need constant occupation for my hands when I’m watching TV. I came away from this experience wishing I had a fifteenth century printing press of my own to have a new way of occupying my hands. I’m kind of weird.

In terms of my research project, although it didn’t provide much in the way of tangible resources, the firsthand experience was worthwhile. Since I’m mostly leaning towards topics involving printing and publishing, I think that firsthand experience was particularly valuable for me. On the other hand, I think I’d rather focus my research project on more recent history. In any case, the workshop was a novel experience and a lot of fun for a word nerd like me.

Morgan Library - Adrianna Borgia

2006-10-27T18:41:00.000-04:00

Only a block or two away from the New York Public Library for Humanities and Social Sciences, the Morgan Library was (thankfully) a very easy place to find. Even better, it’s a great place to find a variety of street vendors to get a quick lunch from. Anyway, once inside the museum library, my mind went into architectural overload. It felt as if I was passing through different time zones as we went from the bright, extremely modern glass lobby to the dimly lit rooms of painted ceilings and marble floors. I feel that the architect’s intention to give the lobby the same atmosphere of an Italian piazza actually succeeds in a strange way. Just as Italy’s piazza’s encompass both old and new, so does the Morgan Library, for it contains an interesting balance of past and modern times. Seriously, where else could one view both a Gutenberg Bible and the works of Bob Dylan in one place?

Speaking of the exhibits, throughout our tour, I felt as if I was in bibliophile heaven. Being able to see William Blake’s Songs of Innocence was absolutely amazing in my mind. I’ve seen pictures of his hand made plates before, but never the real thing. They’re so intricately and uniquely designed, that I didn’t even have to read the label below the book to know who had written it. Blake’s poetry wasn’t the only thing that excited me in that room. It seemed like every time I went to the next display case, I found something that completely wowed me, whether or not I was familiar with the work. From miniature books, to Alice in Wonderland, to Babar sketches, to old Tarot cards, that single room seemed to contain enough to keep me in there for hours.

It was also interesting to see Morgan's library. As I read the titles in the locked shelves, a part of me wished that I was a rich entrepreneur in Industrial America so I could have my own cool library. What really amazed me though was when we spotted a first folio of Shakespeare just sitting on a shelf in Morgan's private study. On one level, it was just dumbfounding to think of what it would be like to actually own it, to have one of the most rare and sought after editions in the literary world in your possession, just sitting on your shelf like it's no big deal. On the other hand, it was also amazing to think about just how much money his shelf of Shakespeare editions cost. Just two books alone could account for over 2 million dollars! I wasn't merely staring at a literary masterpiece, but a small fortune. Most of all, it disappointed me that it wasn't on display. Perhaps it was because of conservation issues.

When it comes to conservation, the Morgan Library seems to be on the stricter end of the scale. Only graduate students and scholars are allowed to use the library, and only if they have 1) a recommendation and 2) an interesting topic. I can understand their concerns though, because a majority of their materials are hundreds of years old. Perhaps the New York Historical Society's library can afford to be more lax with their materials, for the history of our country isn't very old in comparison to that of Europe. Therefore, it's only natural that the librarians at the Morgan are more concerned about their books, for they want to ensure that they will be around for future generations to see as well.

The Woman Behind the (fabulous) Morgan Collection!

2006-10-27T18:09:00.000-04:00

Our trip to the Morgan would not be complete without my sharing the remarkable story behind the great Morgan Collection, a story that few people know! (But everyone should!)
While Mr. JP Morgan was out running and saving the world financially, he, of course, had a personal librarian managing and creating his collection for him. That woman's name was Belle da Costa Greene. And she was a woman of color!
(Stop and think about that again, this is the early, early 20th century we're talking about folks!)
This incredible woman had the most amazing and enviable life. JP would send Belle (in style of course) all around the world to purchase the rare treasures we saw today.
Her past is cloaked in mystery, and there is a theory that she "passed for white" to make it into, and survive in, the high society world she traversed. Very little is written or known about her. She was very strategic is covering her own personal background tracks, and burned all of her letters, papers, etc. before her death. As the old saying goes, those without a past have no future, and this seems to also be her fate. Many of her latter day admireres are desperate to know more about her, but alas there is very little surviving information.

Here is an entry on her from Wikipedia:
(Have a look at the Wikipedia entry to see some amazing images of her...I'd rather like to fancy myself as the "Second Coming of Belle Greene!") :)

Belle da Costa Greene
From Wikipedia, the free encyclopedia
Belle da Costa Greene (December 13, 1883 - May 10, 1950)
Librarian to J. P. Morgan and after his death she became the first director of the Pierpont Morgan Library.

She was born Belle Marion Greener in Alexandria, Virginia where she grew up until her parents separation. Her parentage has often been clouded with mystery. Her father was a distinguished attorney Richard Theodore Greener who served as dean of the Howard Law School and was the first black undergraduate at Harvard University graduated in 1870. Her mother changed their name adding "da Costa" while claiming a Portuguese background to explain their darker complexion and moved to Princeton, New Jersey. The cost of a college education out of the question, she began working at the Princeton University Library.

J. P. Morgan had in 1902 engaged Charles F. McKim to build him a library to the south of his Madison Avenue brownstone as his collection already was too large for his study. To manage his collection he hired her as his personal librarian in 1905. She would spend millions of dollars not only buying and selling rare manuscripts, books and art, but she traveled lavishly and frequently at times it is said taking her thoroughbred horse with her for rides in Hyde Park. She has been described as smart and outspoken as well as beautiful and sensual. While she enjoyed a Bohemian freedom, she also able to move with ease within elite society. "Just because I am a librarian," she reportedly announced, "doesn't mean I have to dress like one." She wore couturier gowns and jewels to work.

Not only did her bearing, style and seemingly unlimited means attract notice, but "her role at the Morgan Library placed her at the center of the art trade and her friendship was coveted by every dealer." The power that she wielded for many years was unmatched for 43 years. Her goal she told Morgan, who was willing to pay any price for important works, was to make his library "pre-eminent, especially for incunabula, manuscripts, bindings and the classics."

J.P. Morgan left her $50,000 and $10,000 a year for life, which at that time was a significant sum. Asked if she was Morgan's mistress she is said to have replied "We tried!" Although she never married, her known most lasting relationship was with Bernard Berenson whose biography mentions his wife's "reluctant acceptance (at times)" of their relationship.
She retired in 1948 and died in New York City two years later at 66 years of age.

Images:

Photo of Belle da Costa Greene by Clarence White, 1911
Painting of Belle da Costa Greene by Paul César Helleu ca. 1913.

References

John Steele Gordon, "J. P. Morgan's Accomplice", American Heritage, September, 1999, p.22.
Jean Strouse, Morgan: American Financier (Random House, 1999).

Cheers, and bon weekend,
ASH

NY Historical Society, Intima Press, and the Gutenberg Bible - Adrianna Borgia

2006-10-27T17:48:00.000-04:00

New York Historical Society

After a 30 minute ride on the C train, I emerged from the subway to find that the weather had gotten worse while I was underground. Luckily for me though, my destination was only a short block away. Unlike the Hampden-Booth Library, the New York Historical Society wasn’t a small, hidden little building. Rather, it was large, and extremely easy to find (especially since the name was printed on the building. Being early, as usual, I took the opportunity to dry off as I waited for other people to arrive. If it had not been such a gloomy day, I felt that I would have had a nice view of the park (as opposed to the view of Gramercy Park I had at the Hampden-Booth, which I was only able to glimpse at through the iron fence that bordered it). Overall, the area seemed very open and public, especially with the large population of tourists wandering the streets.

Once inside the museum’s library, I felt that it was very similar to the New York Public Library on 42nd street. Like the research library, one has to ask a librarian to get a book off the shelf for them. Despite this small degree of restriction, the room still seemed to give off a comfortable aura of openness and access. I felt at home in a way, like I do when I enter most major public libraries.

The librarian who greeted us further increased my sense of ease. As soon as we walked in, she greeted us with a big smile and urged us to take a seat in front of the numerous old treasures she had set up for us. Not only did she fully explain each manuscript that she had brought out, but also how to find them and other materials in the library using Bobcat. When she mentioned this, I felt slightly embarrassed that I had never bothered to notice the New York Historical Society link on the Bobcat connect page. Although I’m familiar with Bobst and the New York Public Library System, I never really thought about other research libraries that I could use to find information.

What amazed me even more was that we were allowed to touch and interact with the materials that she brought out. As I looked through each book, I felt like a small child who had been allowed to touch something valuable in a museum. It was then that I truly realized that I was in a totally different environment than at the Hampden-Booth. Although both libraries are concerned about the conservation of their materials, they both go about it in different ways. While the Hampden-Booth seems to take the more “we’ll keep it safe and hush hush” approach, the Historical Society was more open with their documents, going so far as to have a full catalogue of their materials online. These thoughts about conservation were an afterthought though. At the moment, all I could think was “ooo…I can touch things! Cool!” (Yes…I’m easily amused; I’m not ashamed of it).

My experience there was such a pleasant one, that I really would like to go back there in a week or two to conduct some of my research for my final paper. With such a friendly staff, as well as reasonable access policies, how could I not? I would really like to look more into their materials about performances, and of course, the collection of Shakespeare’s plays with those wonderfully morbid woodcuts. Most of all though, I think it would be a nice change to do my research in a library other than Bobst or the NYPL.

Intima Press

Being lucky enough to live two blocks away from a 6 train station (Spring Street), I initially thought that I would have no problems at all getting to the class on time. As it turns out, I was only half right. Although I arrived at Union Square at exactly 9:05, it would be another half an hour before I would find Mindy’s studio. Feeling like a tourist in a neighborhood I thought I knew well, I reluctantly asked three people for directions to 2 Union Square East, getting a different answer each time. During my half hour of confused wandering, I was lucky enough to run into Orianna and Michelle, making me feel less alone in my search. After three calls, I finally got in touch with Mindy, who told us that she was at 32 Union Square, not 2. Thankful to learn that we weren’t completely hopeless with directions, we quickly made our way to the studio, where we found Parisa and Mindy waiting for us.

Once we were all settled, Mindy gave us a condensed history of printmaking, from cave drawings to moveable type. One important point that she stressed was that the development of Gutenberg’s printing press with moveable type was truly a large achievement, for it meant that books could be produced more quickly and distributed more widely than those that were handwritten. If a person wanted to find a book on a certain subject, they could simply buy one rather than copy a handwritten volume manually. Also, during this short talk, she showed us a few examples of printed works to illustrate that print should be “three dimensional.” Unlike the materials produced by modern laser printers, works produced by a printing press have a physical depth to them, which gives them an aesthetic appeal.

Afterwards, once we had quickly decided whose sonnet to print (Parisa’s selection, Sonnet 116), Mindy took us into the main part of the studio where we became acquainted with the printing press, the California Job Case, and the composing stick. Once we became familiar with the job case as well as how to hold the composing stick, we each began to complete a line or two from the sonnet. Although it was meticulous work, I found myself having fun putting the letters and words together on the composing stick precisely for that reason. It made me appreciate how technology has made it so much easier to print materials. Despite my lifelong love of books, literature, and writing, I realized that I had always taken printed works and laser printers for granted. If people wanted to print a book or a broadside, they had to use this method, which seems crazy to many people in our modern, fast paced society. If you make a mistake on a word processor, it’s a simple action of deleting and re-writing. However, when we were editing the mistakes in our sonnet (replacing an apostrophe with a comma, adding a period, etc), it was a more difficult and meticulous process. As much as I love works printed with a printing press and think they‘re absolutely beautiful, at the same time, I’m glad that I didn’t have to write my reaction paper using one.

The most satisfying part of the workshop was when we got to print the final copies of the sonnet ourselves using the printing press. Even though it was only a few lines of poetry, I still felt like I had accomplished something when I looked at what I had printed. My only other printing experience was on the last day of my medieval art summer class in fifth grade. The last project we had to do involved carving a stamp out of linoleum square, inking it, and pressing it. I never got to the inking and pressing stage thought because I had to get three stitches on my left thumb due to a carving accident. I really enjoyed my experience at Intima Press because not only did I not cut open any of my fingers, but I was also able to actually finish a printing project and feel satisfied with the results.

Gutenberg Bible

After checking out a book for my research paper from the Donnell Library on 53rd street, I walked down a few blocks to the New York Public Library of Humanities and Social Sciences to see the Gutenberg Bible exhibit. Being a literary geek, I had been to the main library many times before, thus guaranteeing a smooth trip there. After the confusion of trying to find Intima Press the day before, it felt good to be able to find something easily.

Once I had reached the exhibition room on the third floor, it took me a few minutes before I realized where the Gutenberg Bible was hidden amongst the larger exhibit about the history of male fashion. Although it seemed lonely and out of place amid the displays of dandies and pictures of frilly collars, I still found myself staring at it for a good ten minutes. After having to set a line and a half of type the other day, I felt that I could truly appreciate the work that went into producing this bible. It also made me realize again how much we take printed editions for granted. As others walked by the display case, they merely saw it as an old book rather than one of the biggest achievements of its time. They would stare at it for a few seconds, say “oh, how nice, an original Gutenberg Bible,” and walk away. These words are a stark contrast to those of the European agent of James Lennox, the man who gave one of the remaining Gutenberg Bibles to the U.S. in 1847. As the Bible passed through customs, Lennox’s agents demanded that the customs officials remove their hats upon viewing it. Living in a modern world, I guess we’re just a little spoiled when it comes to printed books.

One thing that always bothers me just a tiny bit when I look at books in display cases is that I only get to see two pages of the entire book. It’s not so much that I can’t touch it, but that I can’t see it in its entirety. There’s always a part of me that wonders what the other pages look like, what images and words they hold, especially illuminated works. However, at the same time, I do understand that it’s more of a question of preservation than of my personal curiosity. With only 48 remaining copies remaining in the world, I do realize why one cannot be put at the mercy of the public to touch and examine. In the end, I was simply content to be able to look at one of the greatest masterpieces of mankind through a glass panel, after which I walked across the hallway to check out a book from the research library, thus appropriately ending my weekend of books and printing.

New York Historical Society and Intima Press - Parisa Montazaran

2006-10-26T23:56:00.000-04:00

New York History Society
If you are “coming to use the library”, there is no admission fee. Walking from the subway on Central Park West, the museums are monumental. They checked the bags for free, which I thought was interesting. The library has books, magazines, photographs and architectural images. The website is www.nyhistory.org. The materials cover from the late 16th century to present time. Some of the maps and books are from the late 1500’s in Spanish and other languages, not in English. They have over two million manuscripts and four hundred thousand books. You have to browse the catalog and bring the call number to the desk.

In 1802, a catalog was made of what was in downtown Shakespeare gallery. In Boston, a pamphlet from a Shakespeare club. In 1844 to 47, the first printing of all Shakespeare’s collected works in illustrated form was released. From 1849 is the diary of Mr. Newfield during the Astor Place Riots, in his own handwriting and very legible. Replies from England as a counter to the letters sent to England regarding the fight between Edwin Forrest and William Charles Macready. There is a collection of twenty thousand broadsides announcing events. There is a book on the events from the history of New York regarding Shakespeare and the Shakespeare statue in Central Park (one text dedicated to the statue).

The Historical Society is open Tuesday through Saturday, from 10 AM to 5 PM and available for party rentals. There is a sign that reads, “Pens not allowed in this room.” Nina suggested we check out the New York Public Library on 42nd street and the Morgan. There is a police officer’s diary from the Upper East Side.

Everyone working in the room is monitoring people. Nina points out that there is a fine line between wanting to educate and preserve; if people do not know about it what is the point? They allow people to come here, not pay and use their collections. There was a dealer of antique maps going around the libraries and stealing them. Last year at Yale he was spotted with an exactor knife and was captured. He owned up to ninety of the maps. He has been to NYHS and they do not think he took anything. Somebody is buying this stuff even though he used an exactor knife to take it out. Nina insists that it is not “their” personal stuff but it’s “our” stuff open to the public and these people steal it for private property. Funding is partially received from the city, state and private donors. They have parties to raise funds.

Nina studied Art History as an undergraduate and did some data-basing and edited slides for photographers. She went on to get her Masters in Library Science and did paid research on Edgar Allen Poe. She worked for 7 years at the School for Visual Arts as a librarian. She also served as the Head of Library Public Service and was the Interim Director for 2 years. She is now the Associate Director.

Intima Press
I walked to the studio and actually got lost because I misread the directions. Union square is very trendy and “chic” as opposed to the refined, classical air of the upper west side. The building, 32 Union Square East is very contemporary. The studio is down a dingy hallway (the elevator was the older one on the left vs. the renovated one on the right). Mindy’s studio has papers and postcards handing up on the wall.

She studied painting and photography at NYU, went into mixed media installation, and came to books after graduate school. She opened the studio two and a half years ago and opened classes a year ago. The images on the wall are linocut, made by students. Her colleagues teach book art and book binding there too. She makes limited edition books.

We went over a history of print. Cave drawings were the beginning of communications. Next were cuneiform and clay tablets, followed by hieroglyphics and papyrus by the Egyptians. The Roman alphabet came next. Gutenberg created the printing press. In 1452, he printed the Gutenberg Bible. It can be found at the Morgan and New York Public Library on parchment and paper. He developed the metal movable type. The Chinese invented wooden movable type and papermaking. Gutenberg was a jeweler and figure out how to poor melted alloy into a mold made by a punch cutter and individual letters were carved out. Monks used to write on parchment bellum (made out of animal skin). Gutenberg was a businessperson, not an artist. His workers began working at sun up and finished at sun down. The first university was opened in 1200 in Italy and scholarly texts were copied at stationary stores. One person would set type, one would proof it and two would ink it. He also invented oil-based paint. The text on the cards is letterpress, beautiful, with depth. You can see that they are embedded in the paper. “The type is 3D, it’s a sculpture. It’s debossed, not embossed” (Mindy). The one sheet of printed press is called a broadside. Ben Franklin was a printer. Broadsides were printed to get the word out quickly. A lot of prints hops used to be at the seaport so the broadsides would announce when ships were coming and going. Shakespeare’s writings were not published in his lifetime; he was not interested in that. The colophon at the end of the book tells you who made the book, the author, artist, where it was printed, the date, edition, the type of paper and font.

We proceeded to choose a sonnet to work on, Sonnet 116, and each of us was assigned a line. Nina gave us a few handouts on learning how to handset type. I was overwhelmed by the vast amount of contributing elements to make something like one of her linocuts; the process of setting type alone required attention to the details of how to hold the composing stick and then choosing a font and adjusting the spacing, etc. After we all completed our lines, we gave them to Mindy to put on the printing machine, watched her ink the machine, and get it warmed up. It was almost funny to see that even with the intense amount of attention and care that we paid to our individual lines, there were still mistakes on the test drafts; I could only imagine the amount of skill required to put together entire books!

We took turns printing individual sheets and Mindy offered us cookies and snacks. She was very “chill” and at the same time very intense about the work. I admired her ability to create a business and living out of something she loved to do so much. I was especially impressed that she is able to carry on the business in such a higher end location in New York City; printing books out of a cottage in Vermont is one thing but to generate so much profit hat one could afford the overhead of maintaining a business and yield a profit was astounding. This observation only contributed to our conversations on the exclusivity of Shakespeare for the upper crust of society. The people ordering these limited edition books obviously have plenty of disposable income and knowledge of this type of art is reserved for the consciousness of such customers. The machines are expensive and the skill of handset typing is taught in novelty classes in order to maintain a distinction as a “lost art” or something. Overall, the trip was enriching and rewarding. I am so excited to see our sonnets completed and proud to have been a part of the process that created such a beautiful piece of art.

Welcome "American Shakespeare" Scholars!

2006-10-22T17:38:00.000-04:00

American Shakespeare Goes HI-TECH!

Dear Class:

I hope that you will find this new blog useful and that it will become an interactive extensive of your research journals.
Please post your response papers here, as well as any other Shakespeare/research/class-related thoughts, comments, etc.
I hope that this site will facilitate our on-going conversations and dialogue, and will extend our time together.

I had a fantastic day with you all on Friday at the New-York Historical Society! (Aren't librarians just the best people on earth?)
I hope that our conversation with Nina Nazionale, and the sampling of the N-YHS's Shakespeare items inspired you.
Let's please be in active dialogue about your plans/thoughts regarding your final projects.
These are thrilling times!
Cheers!

Until soon,
A.S.H.