…Now is the time to make real the promises of democracy. Now is the time to rise from the dark and desolate valley of segregation to the sunlit path of racial justice. Now is the time to lift our nation from the quick sands of racial injustice to the solid rock of brotherhood. Now is the time to make justice a reality for all of God’s children…

“I Have a Dream” by Martin Luther King Jr., August 28th, 1963

Center for Peace and Justice

In honor of the 60th anniversary of the March on Washington and Dr. Martin Luther King Jr.’s “I Have a Dream” speech, Falvey Library and Center for Peace and Justice Education have come together to present an area to reflect and celebrate the historic day. By the Center for Peace and Justice Education today, there will be images from Villanova University’s Distinctive Collections of Martin Luther King Jr from the 1960s. Of particular note, there is a pennant passed out during the March on Washington day that is currently housed at in Distinctive Collections at Falvey Library. On display are other images of King at other protests and his visit to Villanova in 1965.

The March on Washington, also known as the March on Washington for Jobs and Freedom, was a massive protest march on August 28th, 1963, when over 250,000 people gathered in front of the Lincoln Memorial in Washington, D.C.  The event aimed to draw attention to continuing challenges and inequalities faced by African Americans. Other speakers included A. Phillip Randolph, the march director and founder of the Brotherhood of Sleeping Car Porters; Roy Wilkins, the NAACP’s executive secretary; Walter Reuther, president of the United Auto Workers; and John Lewis, led the Student Nonviolent Coordinating Committee.

Even sixty years later the march and MLK’s words still resonate today just as injustice and white supremacy evolves over time and the fight for equality continues for social justice, voting rights, education, and criminal reform.

–Villanova’s Connection to the “I Have a Dream” Speech–

King’s physical speech was originally in possession of Naismith Memorial Basketball Hall of Fame player and coach George Raveling, who came in receipt of the artifact while volunteering at the 1963 March on Washington. Villanova University became the speech’s steward and has entered into a long-term loan agreement with the Smithsonian National Museum of African American History and Culture to display it.

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Say goodbye to the empty walls in Old Falvey! Falvey Library’s Distinctive Collections and Digital Engagement has newly installed a selection of maps from the John F. Smith, III and Susan B. Smith Antique Map Collection in the study space of Old Falvey’s second floor between the Dugan Polk Family Reading Room and the CAVE. This transformation could not have been possible without the help of Villanova’s Office of Facilities Management, Falvey’s Finance & Administration staff, and especially Jennie Castillo, Curator of the University Art Collection & Gallery Director for all their help with every step of the installation.

 

The sixteen maps on view all show early views of the Americas printed before 1800. Perhaps even more so than providing direction, charting a course, or sharing “new discoveries” in an “Age of Exploration,” maps of the Americas by European cartographers from the 16th through the 18th centuries were about exhibiting political power and control. The acts of claiming and naming, and dividing the land is drawn up on these maps by Dutch, English, Spanish, French, Italian, and German mapmakers.

I selected and wrote accompanying interpretive labels for each of the maps. Thank you also to DCDE staff Meg Piorko, Beaudry Allen, and Michael Foight for their feedback and contributions to the labels; and to John F. Smith, III who provided the basis of the content through the online exhibit,
Projecting the World: An Audio Tour of the John F. Smith, III and Susan B. Smith Antique Map Collection.

See the full transformation and spend some time reading the maps and the labels next time you pass through the space!

 

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Rebecca Oviedo is Distinctive Collections Librarian/Archivist at Falvey Memorial Library.

 

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Congratulations to the Class of 2023. In honor of this weekend’s commencement is a #TBT of commencement ceremonies of years past.

And did you know former U.S. President Grover Cleveland received an honorary degree at Villanova?

 

More commencement and student life photographs can be in found in the Distinctive Collections Digital Library.

 

For all the mothers and the mothers-at-heart, thank you for your care and kindness. Happy Mother’s Day!

Mother’s Day is an unlikely popular tradition of Villanova history. From the early 1900s, Mothers were invited on campus to celebrate Mother’s Day with their child. The day’s events would include tree-planting ceremony, corsage giving, mass, luncheon, games, and entertainment. Mother’s Day activities were incorporated into Junior Week festivities which began in 1935. By the 1950s, more than 400 Mothers and Grandmothers would visit marking it as one of the largest events each year. Parents Weekend overtime replaced Mother’s Day traditions. Though having Mothers partake in Junior celebrations bolstered the idea of Villanova’s community representing families of students too.

 

 

 

 

 

An especially long-standing tradition, that started long before it was incorporated with Mother’s Day activities, was the Junior tree-planting ceremony. The tree-planting ceremony was considered the class tree, a precursor to more elaborate class gifts. Typically, the event was held after Mass and students would walk in a parade to plant the tree. With time, the tradition evolved to include Mothers participating in the planting ceremony.

 

 

 

 

 

 

More about Mother’s Day and Junior Week can be found in Blazers and Class Rings digital exhibit and Digital Library.

By Anna Jankowski, Ethan Shea, and Annie Stockmal

Happy Thursday, Wildcats! This installment of the Curious Cat is especially important because it’s National Library Week! To celebrate the occasion, we asked some Falvey patrons why they love the Library. Keep reading to see the responses we received, and be sure to watch the accompanying Reel on Instagram!

“I love old book stacks. I just love walking into random parts of the Library and sifting through old books that smell old. It’s really weird, but there’s so many little things you can find that are so interesting.”

— Satrant Bains ’25

“I’d say overall it’s just the atmosphere. I usually like to come and just sit and do some work.”

— Aliana Rojas ’25

“My favorite part of the Library is the Reading Room. I just really like how it’s always bright in there, and I work best in the quiet.”

— Maddie McClay ’23

“I like Holy Grounds because I feel like I need a little stimulation when I’m doing my work.”

— Ashley Mulhare ’23

“I like coming and people watching and doing work.”

— Christian Badalamenti ’24

“I’d say my favorite part is this room in particular [Falvey 205].”

— Mac Clark ’24

“My favorite part of the Library is the Reading Room with all of its windows. Sometimes I can watch the sunset there.”

— Julia Barclay ’25

“I agree with the Reading Room, and to elaborate on that, I like the peace and quiet.”

— Peter McSherey ’25

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Anna Jankowski ’23 CLAS is a Senior Communication Major from just outside Baltimore who ​​works as a Communication & Marketing Assistant in Falvey.

 

 

 

 

Ethan Shea is a second-year graduate student in the English Department and Graduate Assistant at Falvey Library.

 

 

 

 

Annie Stockmal is a graduate student in the Communication Department and Graduate Assistant in Falvey Library. 

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Please join us on Thursday, April 20, from 4-5:30 p.m. in Speakers’ Corner, Falvey Library, for a special event in honor of National Poetry Month.

Eichenberg is adept at using his tools to create the atmosphere of Brontë’s world. In one illustration of young Catherine Earnshaw, the fine lines in the background can be interpreted as both the rolling hills and the clouds covering the Yorkshire moors. In another, these fine lines mimic fog while also defining the features of Heathcliff’s face, representing a feverish, internal obsession weighing upon Catherine’s mind. Finally, this doubling nature appears in an illustration where Heathcliff and Catherine embrace, the lines in the background defining both the folds of the curtain and the wind from the open window, defining the lifelong companions and would-be lovers.

“I have not broken your heart – you have broken it; and in breaking it, you have broken mine.” (page 102)

On a final technical note, an editor’s description at the beginning of this edition states that the illustrations were reproduced using electrotype. This is a process where a metal plate reproduces the original wood engraving, making it easier to fit in with the type when the book is put into production. This process still maintains the relief quality of the wood engraving, so what we see on the printed page remains true to Eichenberg’s work.

My case in the exhibit, “Poetic License: Seven Curators’ Poetry Selections from Distinctive Collections,” showcases examples of weird and fantastical poetry from Falvey Library’s holdings. Here, the term “weird” is used not colloquially, but rather in reference to the genre of weird fiction, which emerged in the nineteenth and twentieth centuries. Owing much to Gothic horror, weird fiction reinvented the creatures and themes of Gothic horror and other forms of speculative fiction, as portrayed by writers such as Edgar Allan Poe. In fact, H. P. Lovecraft, the most widely known practitioner of weird fiction, considered Poe’s writings the origin of the genre. While writers like Lovecraft are now remembered largely for their contributions to prose, my exhibit case highlights their lesser known, but equally interesting, poetic works. Examples are drawn from Weird Tales, arguably the most popular periodical to ever publish weird fiction and poetry. These poems explore themes that are central to the genre, including the supernatural, the passage of time, and the futility of human pursuits in an indifferent cosmos. Formally, the poems tend to implement consistent rhyme and meter, which amplify the haunting quality of these works.

Some poems in the case are quite literally fantastical, like Lovecraft’s “Night Gaunts,” which describes the dreadful flying creatures that first appeared in the author’s posthumously published novella, The Dream-Quest of Unknown Kaddath (1943). Other poems adopt a more grounded approach, such as Sudie Stuart Hager’s “Inheritance,” which examines how folklore can pass fantastical notions from one generation to the next. Meanwhile, Leah Bodine Drake’s “The Steps in the Field” uses fantastical motifs to develop a resonant metaphor about the afterlife, but also emphasizes the idea that some knowledge is dangerous and best left undiscovered—a popular theme in weird fiction and poetry. Together, these and other poems in the case paint a vivid picture of weird and fantastical poetry, its primary thematic concerns, and its formal techniques in the first half of the twentieth century.

The case also displays four covers of Weird Tales issues, illustrated by Margeret Brundage, Matt Fox, and Virgil Finlay. These expressive, colorful images, which depict eerie and otherworldly scenes, nicely complement the similarly evocative poetic works that accompany them.

Lastly, the case includes two works by authors who influenced the poetry in Weird Tales. First and foremost, Poe’s 1845 narrative poem “The Raven,” with its exploration of a depressed man’s desperate attempt to derive meaning from a bird’s repetitive sounds, lays the groundwork for numerous character arcs in weird fiction and poetry. The edition of this poem that is displayed in my case has been digitized and made available on the Villanova Digital Library, and may be read in full here. Furthermore, the case includes the Anglo-Irish author Lord Dunsany’s “A Walk in the Wastes of Time,” a metaphorical poem about communal memory, which was published in The Smart Set in 1917. This title has also been digitized and is available here. (A couple of years after this poem’s publication, Lovecraft would attend a talk by Dunsany in Boston; Dunsany’s influence on Lovecraft’s writings during this period is evident in many of Lovecraft’s works. Comic-book writer Alan Moore portrays the Boston talk in his Lovecraftian series Providence, which serves as both sequel and prequel to Moore’s Neonomicon.)

For more content related to weird fiction and poetry, read our digitized copy of Lovecraft’s personal journal of astronomical observations from 1909 to 1915, as well as this blog article that explains the significance of this rare manuscript. The Digital Library also includes other nineteenth- and twentieth-century texts that explore the occult, including several issues of The Paragon Monthly, a handbook on spiritualism, and other examples.

Please join us on Thursday, April 20, from 4 to 5:30 p.m. in Speakers’ Corner, Falvey Library, for the official launch and introduction of “Poetic License: Seven Curators’ Poetry Selections from Distinctive Collections,” followed by an open-mic poetry reading. This ACS-approved event is free and open to the public. In the meantime, make sure to view the full exhibit on the first floor of Falvey, and check the library’s blog for additional articles on individual curators’ cases!

Last week, I posted an article on this blog in which I discussed the value of collecting comic books in special collections, while drawing on examples from Marvel Comics in Falvey Library’s holdings. This week, I have another comic-book collection to highlight: Falvey’s holdings in Classics Illustrated. This series, which was published by three separate publishers (Elliot Publishing Co., Gilberton Company, and Frawley Corporation) from 1941 to 1969, adapted literary classics to the comic-book medium. It has significant research value not only in comics studies, but also in adaptation studies, a field that is becoming increasingly central in the arts and humanities. With the tagline “Featuring stories by the world’s greatest authors,” the series sheds light on mid-twentieth-century cultural conceptions of texts that have traditionally been viewed as particularly significant in the United States and elsewhere, as well as how these texts were transmitted to new audiences.

The Tragedy of Macbeth and Paratext

These comics include not only abridged adaptations of their source material, but also paratextual material that assists readers to understand and appreciate the stories. For example, the adaptation of William Shakespeare’s Tragedy of Macbeth includes numerous explanatory footnotes, which make the early modern language of the text more accessible to twentieth-century readers.

Additional segments at the ends of issues often provide biographical and historical context for the preceding narrative, typically in the form of a text box. The following two examples, drawn from the Macbeth issue of Classics Illustrated, explain Shakespeare’s life and the relation between the play and King James I of England (you may click on all images in this blog article to enlarge them).

Other times, this type of supplementary content at the end of an issue takes the form of a comic book, like the following panels on British history, which are again drawn from the final pages in the Macbeth issue.

Another paratextual aspect worth noting is the banner that appears across the bottom of the final page in each adapted story, which urges readers to track down a copy of the original text in a school or public library. This inclusion demonstrates the comics’ goal of developing an appreciation of literature in younger readers. On the one hand, this is beneficial in that it encourages engagement with libraries and promotes further reading. On the other hand, it is potentially problematic in its suggestion that comics are valuable only if they serve as a stepping stone to a more highly respected (and supposedly more advanced) medium or mode of reading, namely prose and verse.

While seeking to cultivate a love of reading, Classics Illustrated promoted bibliophilia, especially as the notion relates to the material aspect of books. The following advertisement demonstrates this attitude, as it aims to sell a “handsome, durable, permanent” binder for storing Classics Illustrated issues, which is “made to last a lifetime of handling.” (However, the primary aim of any advertisement is, of course, to sell a product or service.)

The Murders in the Rue Morgue

Getting back to the adapted narratives themselves, it is important to note that Classics Illustrated sometimes altered or added to the source material. An illustrative case-in-point is the adaptation of Edgar Allan Poe’s “The Murders in the Rue Morgue,” which is collected alongside two other adaptations in issue #21 of Classics Illustrated. “The Murders in the Rue Morgue,” published in 1841 in Graham’s Magazine, is widely considered the first modern detective story. It is a predecessor to popular detective fiction like Sir Arthur Conan Doyle’s Sherlock Holmes series, as well as numerous dime novels and story papers available on the Villanova Digital Library, most notably Mystery Magazine (1917-1927). Poe’s full short story is available on Falvey’s website. A facsimile edition of the manuscript can also be consulted in-person at the library.

Famously, this short story ends (spoilers!) with the reveal that a runaway orangutan had committed the eponymous murders. In Poe’s story, the orangutan’s fate remains ambiguous. However, the comic book adds an extra page at the end of the story, where detective C. Auguste Dupin and his associate (the unnamed narrator of Poe’s story, who is named “Poe” in the comic-book adaptation) track down and fight the animal, which was changed to an ape for the comic book. These changes and additions to the source material may have happened for a variety of reasons. In this case, perhaps the creators wanted the story to fit more neatly into the conventions of the adventure comic-book genre, hence the action-packed ending. Alternatively, they may have felt uncomfortable depicting an ambiguous ending, where a dangerous animal is still on the loose, especially if their target audience was mainly composed of children. (I have no explanation, however, for why the animal was changed from an orangutan to an ape.)

Robin Hood

Besides detectives like Dupin and Holmes, another famous character portrayed in Classics Illustrated is Robin Hood. Two early issues of Classics Illustrated in Falvey’s collection feature the character. Robin Hood has had a long history of popular culture portrayals (having even become a fox in a Disney animated film), and comics are no exception. In addition to Classic Illustrated issues, the English folk hero also appears in Martin Powell and Stan Timmons’ Robin Hood, published by Eternity Comics in 1989. The series’ first issue, which was recently donated to Falvey, sports a cover illustration by painter N. C. Wyeth. (More information about the original painting is provided in the Brandywine River Museum of Art’s N. C. Wyeth Catalogue Raisonné.) Other popular culture materials at Falvey’s Distinctive Collections that depict Robin Hood’s adventures include dime novels like the Aldine Robin Hood Library and The Story of Robin Hood (1889), both of which are available to read on the Villanova Digital Library.

All the comics shown in this article, and several more issues of Classics Illustrated and other titles, are available to see in Falvey’s Rare Book Room during walk-in hours (Wednesdays 9:30-11:30 AM and Thursdays 2-4 PM) or by appointment. Make sure to check the library’s blog for more articles on our growing collections of comic books, dime novels, and other popular literature.