Bleak, haunted moors. Doomed lovers and fiery passions. Wuthering Heights, the sole novel written by Emily Brontë, still stands as a remarkable work of Gothic fiction, as it chronicles the tangled lives of the Earnshaw and Linton families, at the center of which is Heathcliff, the Byronic anti-hero who is adopted by the Earnshaws but who is slighted and seeks a long revenge against the families.

One of the more unique visual adaptations of the book is an edition in Falvey’s Special Collections, illustrated by German-American printmaker Fritz Eichenberg. The black-and-white illustrations, created originally through wood engraving, are stark, bold, and capture the tumultuous and haunted atmosphere of Brontë’s story.

“I’m come home: I’d lost my way on the moor!” (page 15)

In a previous post, I wrote about metal engraving in the illustrations of Felix Darley, and while there are similarities between wood and metal engraving processes, there are some key differences which give Eichenberg’s illustrations their unique style. Wood engraving is a relief method of printmaking, where ink is rolled onto the surface of a carved block of end-grain wood, unlike metal engraving where ink is pressed into carved lines. So, the white lines or areas of negative space we see in Eichenberg’s illustrations are areas that have been carved away in the actual block of wood, using fine-tipped burins.

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.

She kept wandering to and fro, from the gate to the door… and at length took up a permanent situation on one side of the wall, near the road… (page 53)

“Oh! Nelly, the room is haunted! I’m afraid of being alone!” (page 78)

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

One of Eichenberg’s most striking illustrations in the book shows the external environment expressing the internal turmoil of its subject, as Heathcliff digs up Catherine’s grave late in the novel. Harsh hatch marks and stipples cover both the cold night sky and Catherine’s headstone, as Heathcliff’s face is contorted into a mixture of  rage, madness, and grief.

This would not be Eichenberg’s only encounter with the Brontës; an illustrated edition of Charlotte Brontë’s Jane Eyre would be published the same year as Wuthering Heights. Other illustrated books by Eichenberg include Crime and Punishment, The Brothers Karamazov, Gulliver’s Travels, Till We Have Faces: A Myth Retold, and Anna Karenina. He also contributed numerous illustrations to the Catholic Worker after befriending Dorothy Day in 1949.

“I’ll have her in my arms again! If she be cold, I’ll think it is this north wind that chills me; and if she be motionless, it is sleep.” (page 181)

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.

Wuthering Heights may be viewed in the Rare Book Room during walk-in hours (Wednesday 9:30-11:30am, Thursday 2-4pm) or by appointment. Books illustrated by Fritz Eichenberg in Falvey’s circulating collection include Gulliver’s Travels, Fathers & Sons, The Long Loneliness: The Autobiography of Dorothy Day, and Works of Mercy.

To learn more about wood engraving, please visit The Wood Engravers’ Network. To learn more about electrotyping, please visit Wikipedia.

I lingered round them, under that benign sky… and wondered how any one could ever imagine unquiet slumbers for the sleepers in that quiet earth. (page 212)

My case in “Poetic License: Seven Curators’ Poetry Selections from Distinctive Collections” highlights an unexpected interconnection between two different parts of Falvey Library’s Special Collections by featuring a poet whose work appears in both our Popular Literature and Irish Literature collections.

Sarah Morgan Bryan Piatt (1836-1919)

Sarah M. B. Piatt was an American poet whose long career began in the mid-19th century and lasted into the early 20th century. She gained prominence in her late teens, with her early work appearing in widely circulated newspapers and story papers under the name Sallie M. Bryan. After her marriage in 1861 to fellow poet John James Piatt, she published more than a dozen volumes of poetry in book form. Although she was well-known during her own lifetime, she sank into obscurity for most of the 20th century as poetic tastes changed, only resurfacing in the 1990’s when she was rediscovered as part of the growing movement to reassess the scope of the literary canon and recover forgotten women writers.

Piatt demonstrated great flexibility as a poet, writing poems that could appeal equally to multiple audiences, including children as well as adults. Her lasting success during her lifetime demonstrates her accessibility to casual readers of popular periodicals, but her work also rewards re-reading and careful analysis. Her poems, which often incorporate multiple voices and perspectives, comment directly or indirectly on social and poetic conventions. Her use of irony to contrast surface meanings with deeper intentions makes many of her poems particularly appealing to modern readers, who may be more attuned to this mode of expression than her 19th century contemporaries were. For one particularly striking example from Piatt’s work, take a look at “Giving Back the Flower.”

The New York Ledger

Story papers were one of the leading forms of home entertainment for much of the 19th century. Resembling a newspaper but containing a mix of serial installments of novels, short stories, poems, household advice, humor, and sometimes even games or puzzles, these publications provided weekly or monthly doses of entertainment for millions of American readers. One of the most successful and influential story papers was Robert Bonner’s New York Ledger, which began publication in 1855 and ran for almost fifty years.

The New York Ledger relied heavily on recurring contributors to fill its pages every week, and these writers gained celebrity as a result of their frequent appearances in the widely-circulated paper. Sallie M. Bryan was one such celebrity poet, contributing works frequently during the early years of the Ledger. Several issues containing her work can be found in Villanova’s collection of New York Ledger issues, available online.

The Sarah Piatt Recovery Project at Ohio State University has collected many of Piatt’s New York Ledger poems in an online archive. The process of preparing this exhibit led to the rediscovery of a Piatt poem, “The Dove and the Angel,” in the March 30, 1861 issue, which had not been previously identified by OSU’s project.

An Irish Garland

Long after she had moved on from story paper contributions, Sarah Piatt and her family lived in Ireland for well over a decade (1882-1893) as a consequence of her husband’s appointment as a United States consul. During this time, she had opportunities for travel and to become part of the local literary community. Piatt’s Irish years produced a significant number of new poems. Most of her published volumes saw first printings published abroad. One such volume was An Irish Garland, first published by David Douglas in Edinburgh in 1884, then reprinted for American audiences in an edition found in Falvey Library’s Joseph McGarrity Collection of works about and associated with Ireland. The full book has been digitized and can be read online in its entirety.

Further Resources

If you would like to take a deeper dive into the life and work of Sarah Piatt, you might enjoy the Discovering Sarah Piatt: America’s Lost Great Writer podcast, hosted by Ohio State University’s Elizabeth Renker, to whom this exhibit and blog post owe a debt of gratitude for valuable input provided.

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.

Detail from Classics Illustrated, no. 128, Macbeth.

Detail from Classics Illustrated, no. 128, Macbeth.

Detail from Classics Illustrated, no. 128, Macbeth.

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.

Detail from Classics Illustrated, no. 128, Macbeth.

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.

Detail from Classics Illustrated, no. 128, Macbeth.

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.)

Advertisement on back cover of Classics Illustrated, no. 64, Treasure Island.

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.)

Detail from Classics Illustrated, no. 21, 3 Famous Mysteries.

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.

This installment of ‘The Printed Image’ highlights a scrapbook compiled by Fay King, a cartoonist and journalist who contributed to a number of newspapers in the early 20^th century, including The Denver Post, The San Francisco Examiner, and The New York Evening Journal. The scrapbook, compiled between 1916 to 1919, includes numerous articles about King and her visits to various cities, clippings of her own newspaper columns, photographs, and a complete copy of The Cartoon Book, which was distributed for the Third Liberty Loan drive during World War I, and which included a contribution by King.

“A Woman’s Bit” by Fay King, from The Cartoon Book.

Photograph of Fay King, from page 48 of the scrapbook.

Newspaper clipping from page 24 of the scrapbook.

The scrapbook includes a key feature of King’s style, single-panel cartoons that would accompany her articles and columns for newspapers. King would include herself in these cartoons, portraying herself with long, lanky limbs and wide eyes. This cartoon persona earned her a certain celebrity, and can be seen as an early forerunner of autobiographical comics that would flourish later in the century by the likes of Lynda Barry, Art Spiegelman, and Aline Kominsky-Crumb.

A Fay King column and cartoon, from page 85 of the scrapbook.

But as cartoonist and historian Trina Robbins observes in her book Nell Brinkley and the New Woman in the Early 20th Century, the norms of the time limited the subjects that King was able to address, both in her cartoons and columns. Robbins writes, “Although they (Fay King and Nell Brinkley) avoided the mother and child ghetto that most other women cartoonists and illustrators seemed to have inhabited, both artists were still ghettoized simply by drawing for women” [1].

One aspect of King’s cartoon persona that is widely noted is its similarity to another famous comic character: Olive Oyl, from E.C. Segar’s Thimble Theatre and Popeye comic strips. However, this comparison is somewhat inexact. A similarity can be detected, but King’s cartoon avatar predates the creation of Olive Oyl, whose first appearance was in 1919. While there is no definitive record that Segar was inspired by King, if an influence does exist, King would be the influence on Olive Oyl, and not the other way around.

Fay King, 1916

Fay King, 1917

Olive Oyl in Thimble Theatre, 1919.

Olive Oyl in Thimble Theatre, 1926

Fay King’s scrapbook can be read in its entirety in the Digital Library, and is available to be viewed in the Rare Book Room during walk-in hours or by appointment. Nell Brinkley and the New Woman in the Early 20th Century can be borrowed from Falvey Library’s circulating collection.

[1] Robbins, Trina. Nell Brinkley and the New Woman in the Early 20th Century. McFarland & Company, Inc., 2001. p. 37.

Falvey Library’s Distinctive Collections and Digital Engagement (DCDE) department recently received a generous donation of dime novels and other popular culture materials, including comic books drawn from the collections of John Randolph “Randy” Cox. Randy was a highly regarded scholar and collector, with expertise in numerous areas of pulp literature, including Nick Carter and Sherlock Holmes. He was also an early supporter of the Edward T. LeBlanc Dime Novel Bibliography project, a comprehensive online database of dime novels, story papers, reprint libraries, and related materials hosted by Falvey Library. Among the titles recently donated from Randy’s collections are several comic books published by Marvel Comics in the 1960s and 1970s. These materials demonstrate the value of collecting original copies of comic books in special collections.

Some Brief History

Under the banners of Timely Comics and Atlas Comics, Marvel Comics published stories in various genres from the 1930s to the 1950s, a period known as a Golden Age of comic books. It was during this period that a handful of now-classic characters, such as Captain America and Namor the Sub-Mariner, were introduced to readers. However, it was not until the Silver Age of the 1960s and 1970s that Marvel would become synonymous with the superhero genre. This was largely owing to the humanizing of superheroes: While characters published by DC Comics (Marvel’s main competition, then and now) like Superman and Wonder Woman were akin to gods, Marvel characters experienced more grounded, personal problems alongside their grandiose, world-saving pursuits. For example, Spider-Man struggled to make rent and stressed about his coursework. Some of the creators responsible for ushering in this era of storytelling (most of whom created the Captain America comics pictured above) were Jack Kirby, Steve Ditko, Sal Buscema, Don Heck, Jim Steranko, Gene Colan, John Romita Sr., Art Simek, Sam Rosen, and Stan Lee.

Detail from Captain America Vol 1 #106, October 1968. Art by Jack Kirby.

Creators such as these often worked in highly specialized roles, which were necessitated by the fast-paced nature of the comics industry, as well as the complexity of developing graphic storytelling. American comics typically involve a writer who develops the plot; a penciller who designs the panel layouts and draws the initial sketches; an inker who finalizes the penciller’s work by tracing it in black ink; a colorist who adds color to each page; a letterer who inserts speech bubbles and designs fonts and logos; and an editor who oversees and double-checks the whole process. There can be much variation to this process, but it has remained relatively consistent throughout the decades, even while several steps are now accomplished digitally in most cases. What made Marvel’s procedures unique during the Silver Age, however, was the emergence of the “Marvel method” of creating comic books, in which the penciller arguably played a more central role than the writer in developing narratives. Following the Marvel method, a writer would come up with rough outlines for a story, without providing detailed dialogue or many details about where individual scenes were set. This would allow the penciller to make major decisions regarding setting, pace, and other aspects of the story, making the penciller’s role similar to that of a film director. The writer would then write the narration and dialogue around the penciller’s drawings. Most comics creators have not been using the Marvel method since the turn of the century. Nonetheless, there are still some who prefer it, such as popular penciller Greg Capullo, who, though he works at DC Comics and Image Comics, began his career at Marvel in the late 1980s.

Relevance to Special Collections

Partly due to the success of superhero film franchises like the Marvel Cinematic Universe (MCU), comic-book superheroes have seen a resurgence in popular culture during the past decade. Stories that have now become a mainstay in the popular imagination, like the MCU’s Infinity Saga, can be traced back to comics published in the late twentieth century. For example, “the tesseract,” a cosmic weapon/energy source used by the villain Red Skull in the film Captain America: The First Avenger (2011), and later by Loki in The Avengers (2012), makes an early appearance in an issue held by Falvey’s Distinctive Collections, under the name of “the cosmic cube”:

This newfound popularity of Marvel characters has meant that older comics, such as the ones in Falvey’s Distinctive Collections, are easy to find and rarely out of print. Even when they are out of print, there is always the option of accessing a digital copy. However, most recent editions of twentieth-century comics display several differences from the original copies. These differences demonstrate the value of collecting original copies of these comics in heritage institutions.

When large companies like Marvel reprint their earlier titles, they usually recolor the drawings. The above images show the differences between several panels in the copies of Captain America Vol 1 #110 and Conan the Barbarian Vol 1 #1 held at Falvey and their modern reprints (you may click on all images in this article to enlarge them). While some may argue that the modern edition is superior due to its cleaner lines and brighter colors, it does not teach us much about comic-book authorship or readership in the Silver Age. From an artistic point of view, it could be argued that the relatively muted colors and imprecise inks of the original printing are better suited to the art style. Moreover, the signature “dots,” which marked the cheap mechanical printing processes of the time, lend a realistic texture to many parts of the page. On the contrary, the flat recoloring makes figures and environments stand out in a way that was not originally intended. Artists and editors designed these comics with specific printing technologies in mind. If a researcher is to study these titles, they will get a clearer understanding of the comics in their moment of creation if they examine original copies.

Another aspect that is omitted when older comics are reprinted (except in facsimile editions of key issues) is the section of letters, or “fan mail,” at the end of each issue. These sections, which still exist though not as frequently as they used to, often have pun-based titles and publish selected letters from readers, as well as responses from Marvel’s editorial staff. They shed light on the reactions and attitudes of these comics’ first readers. One notable characteristic is that Marvel did not seem to shy away from publishing fan letters that were critical of the company or the topics explored in superhero comics. For instance, the following fan letter, published in Captain America Vol 1 #126 (the plot of which addresses issues of racial inequality), is actively resistant to the types of nationalistic attitudes that a character like Captain American might risk inadvertently endorsing:

Fan letter from Captain America Vol 1 #126, June 1970

A similarly valuable paratextual segment in Marvel comics of this era is “Stan’s Soapbox,” where writer and editor Stan Lee would discuss a wide variety of topics in his characteristically jovial style. (Lee, whom many will recognize as an elderly man who made brief appearances in most Marvel films until his passing in 2018, was as much a showman as a comics creator–so much so, in fact, that when artist Jack Kirby left Marvel Comics, he created a satiric parody of Lee for DC Comics called Funky Flashman.) The following two entries of “Stan’s Soapbox,” published in consecutive issues of Captain America, show the editorial staff’s active engagement with readers’ opinions:

Some entries in “Stan’s Soapbox” would also offer glimpses into the process of creating comics, including the Marvel method. Other entries announced events that would become key moments in comics history, such as Jack Kirby leaving Marvel.

“Stan’s Soapbox” entry in Captain America Vol 1 #127, July 1970

“Stan’s Soapbox” entry in Captain America Vol 1 #129, September 1970

Another element that almost never makes its way into modern reprints is the impressive and sometimes bizarre variety of advertisements that accompanied these superhero stories. Some addressed (or, unfortunately, sometimes took advantage of) the anxieties and insecurities of readers, such as the advertisement below about reading proficiency. Others promoted interesting and strange products, such as a book that teaches readers to throw their voices like a ventriloquist.

Advertisement in Captain America Vol 1 #107, November 1968

Advertisements in Captain America Vol 1 #107, November 1968

Advertisement in Captain America Vol 1 #107, November 1968

And, of course, some advertisements would announce the publication of new Marvel series, such as the 1970 series featuring Robert E. Howard’s Conan the Barbarian, the first comic book  published in the United States to feature this famous character.

Advertisement in Captain America Vol 1 #129, September 1970

Advertisement in Ka-Zar the Savage Vol 1 #20, November 1982

Collectively, these advertisements and other paratextual segments mentioned above help us understand the interests, attitudes, and even spending habits of readers during the late twentieth century. (For similar information on early-twentieth century consumers, see a 1916 store catalog recently made available on the Villanova Digital Library.) They can serve as invaluable resources for research; and, this research can only reach its full potential if researchers have access to original copies of these comic books, rather than being limited to modern reprints.

However, the world of comic-book collecting can be difficult to navigate for those not already familiar with it. Moreover, key issues (i.e., issues that include the first appearance of a major character or a particularly famous moment in a widely beloved story) can be too expensive for most individuals to afford. In an especially extreme case, a copy of Action Comics #1–the first appearance of superman and the birth of the superhero genre as we know it today–sold for $3.18 million last year. However, this case is not reflective of the prices of most older comic books, which are indeed affordable for many heritage institutions. By collecting original copies of comic books, heritage institutions can make these texts accessible to researchers and fans alike. Furthermore, these comics are recent enough to have copyright restrictions, which is why they have not been digitized for the Villanova Digital Library. In most cases, only modern reprints have been made available digitally by Marvel and other major companies. This is yet another reason for heritage institutions to collect physical copies.

The series referenced in this article are part of the growing number of comic books in Falvey’s Distinctive Collections. Be on the lookout for additional blog articles that highlight these comics, their value of research, and their connections to other historical materials at Falvey and beyond. In the meantime, if you are interested in a primer on how to study and appreciate comic books, then make sure to check out Falvey’s copy of Scott McCloud’s Understanding Comics: The Invisible Art (1993).

A new exhibit, Korean War: American Forces in Korea, is now available to view in the Prince Family Veterans Resource Center on the ground floor of Vasey Hall. The exhibit focuses on the Korean War, which was fought in 1950-1953 between North Korea, supported by China and the Soviet Union, and South Korea, supported by the United States. Following three years of conflict, the two sides agreed to an Armistice, resulting in a Demilitarized Zone along the 38th parallel north, which divides the Korean peninsula to this day. Korean War: American Forces in Korea was curated by Director of Distinctive Collections and Digital Engagement Michael Foight and Distinctive Collections Coordinator Christoforos Sassaris. It includes a range of materials covering the war, from 1950s comic books to a letter signed by President Harry S. Truman.

Korean War exhibit case 1

The first case, pictured above, includes two US military publications that shed light on the experiences of US troops stationed in Korea. The Hour Glass was a newspaper that chronicled the activities of the 7th Infantry Division; it provided US troops with information about Korean history, culture, and language. The Stethoscope served as a newsletter for the 7th Division’s 7th Medical Battalion; it includes illustrations drawn by members of the Battalion.

Plaque commemorating Villanova veteran Lt. Robert T. Munday outside John Barry Hall

The exhibit also commemorates Villanova alumnus Lt. Robert Munday, who was killed in action while serving as an officer in the United States Marine Corps during the Korean War. In the first exhibit case, you may view a letter of condolence following Munday’s death signed by President Harry S. Truman, as well as an article on Munday published in a 1951 issue of the Lynx, a literary magazine published by Villanova College from 1948 to 1983. A plaque dedicated to the memory of Munday is found outside of John Barry Hall on the Villanova campus. Moreover, an entry on Munday is found on Honoring the Fallen: An Interactive Memorial Map, a Geographic Information System (GIS) map showing the locations where numerous Villanova veterans died in service. Another Villanova alumnus who died in Korea while serving in the Marine Corps is William Gaul, who is likewise commemorated with an entry on the GIS mapping project. A similar resource is the oral history project The Voices of Villanova’s Veterans, which includes interviews with numerous Villanovans who served in the armed forces.

Korean War exhibit case 2

The second exhibit case, pictured above, includes representations of the Korean War in the popular culture of the 1950s, including an issue of Collier’s magazine and four comic books depicting fictional scenes from the war. The page of Collier’s displayed in the exhibit showcases illustrations of US troops in Korea by artist Howard Brodie (1915-2010), who had previously become known for his sketches of World War II combat. These drawings demonstrate the heavy toll that continuous fighting took on US troops. The comics not only seek to engender sympathy toward troops, but also reflect several widespread attitudes, including McCarthyism, that would persist after the Armistice of 1953. These comics were all published shortly before the creation of the Comics Code Authority, which censored comics for decades, so Korean War-era comics were free to draw on the conventions of horror and similar genres in their depiction of wartime suffering.

Cover for Joe Yank, no. 10. New York: Standard Comics, February 1953.

Interestingly, one of the comic-book stories on display (“That’s What I Call Shooting,” found in Soldier Comics no. 11) emphasizes the importance of mapping technologies in war. For more information on this subject, read this article on Art of War: Illustrated and Military Maps of the Twentieth Century, an exhibit that was viewable in both Falvey Library and the Prince Family Veterans Resource Center during fall 2022.

You can see the full Korean War: American Forces in Korea exhibit during the spring 2023 semester at the Prince Family Veterans Resource Center in Vasey Hall!

For this installment of the The Printed Image I’ll be highlighting The Wonder Smith and His Son: A Tale from the Golden Childhood of the World, written by Ella Young and illustrated by Boris Artzybasheff. Published in 1927, the book received a Newbery Honor in 1928, and is part of the Joseph McGarrity collection in Distinctive Collections. The book also entered the public domain earlier this year.

In fourteen interconnected tales, Young recounts the mythic stories of the Gubbaun Saor, an archetypal builder figure within Celtic mythology similar to Greek mythology’s Daedalus, and the Gubbaun’s children; his natural born daughter Aunya and his adopted son Lugh (though he is simply referred to as ‘Son’ in the stories themselves). The stories are filled with strange word games and customs, and encounters with deities, elves, djinn, and other supernatural beings. Young was active within the Gaelic and Celtic revival movements in the 19^th and 20^th centuries, and so the book acts as a way to preserve these stories which were passed down through an oral tradition. As she she writes in the preface of the book,

People have forgotten about these things now, but in the thatched cottages in Gaelic-speaking Ireland and Scotland, they talk about him and his son Lugh and his daughter Aunya… They are glad when they find some one who does not know how Aunya tricked Balor’s messenger and how she got the better of the Gubbaun himself, because they want to have the pleasure of hearing a new person laugh at these stories.

“My blessing to you, Brother of mine;
White Love of Running Water.”
Page 35 from The Wonder Smith and His Son.

Boris Artzybasheff’s illustrations capture the timeless and fantastical nature of these stories. The black-and-white drawings are reminiscent of Aubrey Beardsley’s illustrations, which served as an early influence on Artzybasheff, and bring both an archetypal and surreal tone to the stories. Celtic influences can be detected in the clothing and foliage patterns, but these are also merged with Russian and Byzantine influences, with sharp angles in the figures and costumes, a flat perspective to the scenes, and in the design of the Gubbaun’s towers and “dunes.” This influence can be traced back to Artzybasheff’s birthplace in Kharkiv and to his studies in St. Petersburg, before he fled his homeland during the Russian civil war and emigrated to the United States.

“I am Hrut of the Many Shapes,
the Son of Sruth, the Son of Sru.”
Page 77 from The Wonder Smith and His Son.

“A dune with courts and passages and secret chambers.”
Page 103 from The Wonder Smith and His Son.

Detail from page 123 of The Wonder Smith and His Son.

Surreal elements are also a key visual trait in the creatures that the Gubbaun and his children encounter. Many of these seem to be a conglomeration of shapes and animal-parts that are constructed into their own unique beings. In one illustration, a goblin with the arms of a praying mantis stands next to a beast with tusks, horns, and three pairs of ears. In another, the neck of a horse-like creature morphs and merges into the snout of its own rider. These stylistic inventions help bring Young’s stories into a space out of time, that “golden childhood of the world,” while also serving as a precursor to Artzybasheff’s later work, when he would anthropomorphize technology, merging human and machine in the modern world.

“Our King bespeaks your help.
Behold the gifts and tokens of Balor!”
Page 65 from The Wonder Smith and His Son.

A Landscape
Designed by Felix O.C. Darley, engraved by William .H. Dougal.

This is Mike Sgier, a Distinctive Collections Coordinator here at Falvey Library, and today I’m debuting a new blog series titled The Printed Image, exploring illustrated and pictorial works from Falvey Library’s Distinctive Collections. For this inaugural post, I’m highlighting Illustrated Poems by Lydia Howard Sigourney, with illustrations designed by Felix O.C. Darley.

Published in 1849 by Philadelphia-based Carey and Hart, Illustrated Poems is a collection of over 100 of Sigourney’s poems, serving as a survey of her renowned career up to that the time. Darley, still in the early years of his illustration career, contributed 14 illustrations to the book. Shortly before publication, Darley would move from Philadelphia to New York where his career would continue to thrive, securing his status as a pioneer in American illustration.

Sigourney’s poems selected for this book refer to historical and biblical figures along with more everyday concerns in early 19th century American life. It is these more commonplace subjects that appear most frequently in Darley’s illustrations, a mixture of romanticized environments, portraits, and scenes of daily life.

The Western Emigrant
Designed by Felix O.C. Darley, engraved by William H. Dougal.

Erin’s Daughter
Designed by Felix O.C. Darley, engraved by William Humphrys.

The Drooping Team
Designed by Felix O.C. Darley, engraved by James Smillie.

Detail from The Ancient Family Clock.
Designed by Felix O.C. Darley, engraved by William Humphrys.

Darley’s illustrations are tightly composed and highly detailed, with a clean and confident line. But these qualities must also be attributed to the engravers who played a critical role in the creation of these illustrations. While Darley is given top billing as a designer, each illustration is credited with its own engraver. The engraver would cut the designs into metal with a tool called a burin, and the carved lines would then hold ink during printing. This process accounts for the sharp lines and rich tones that appear throughout the illustrations.

The Tomb
Designed by Felix O.C. Darley, engraved by George H. Cushman.

A frequent subject within Sigourney’s poems is death and mortality. This subject would account for one of the more unique illustrations in the book, titled The Tomb. While the illustration appears at first glance to be a landscape, a deeper mystery pervades the surroundings, with buttresses carved into stone and a marble tomb sinking into the ground, visited by a robed figure. These details complement the haunting tone of Sigourney’s poem, a mediation upon the solitary nature of death.

Illustrated Poems may be viewed in Falvey Library’s Rare Book Room during walk-in hours (Wednesdays 9:30-11:30am and Thursdays 2-4pm) or by appointment. The book may also be viewed online through the Falvey Library catalog or the Internet Archive.

Curious to know more about the engraving process? This blog post from the Metropolitan Museum of Art shows a step-by-step guide to this printmaking process.

Finally, to see more poetry selections from Distinctive Collections, please visit the new library exhibit Poetic License, which opens Monday, February 6 on Falvey Library’s first floor.

Meg Piorko, Distinctive Collections Librarian.

Meg Piorko, PhD, recently joined Distinctive Collections and Digital Engagement (DCDE) as Distinctive Collections Librarian. Falvey Library’s rare collections are organized into three categories—Special Collections, University Archives, and the Digital Library. “I am responsible for cataloging new acquisitions and materials currently in the Library’s collections and adding them to the Digital Library.”

Originally from northern Delaware, Piorko earned a BA in Art History and Studio Art from the University of North Carolina Wilmington, a MA in Art History from Georgia State University, and a PhD in History from Georgia State University. Before joining the Falvey Library staff she was the Curatorial Fellow for the Othmer Library Special Collections at the Science History Institute. “They have a huge alchemy collection of rare materials,” Piorko reflects on her post-doctorial fellowship at the Science History Institute. “I spent 80 percent of my time researching and 20 percent of my time learning library skills from James R. Voelkel, PhD, Curator of Rare Books. I acquired skills that were not taught in my PhD curriculum; like acquisitions, how to accession new materials in the Online Computer Library Center (OCLC) and all of the library databases.”

Combining her librarianship and academic background, Piorko is focused on digitizing the materiality of a text. “Theoretically, I come from the standpoint of material bibliography. I mostly work on early hand-pressed texts and every copy is unique. When we replicate something it is never the same. Even on a copy machine, each individual material culture object is different from the other one. If you’ve ever seen artists copy the same print over and over…the print changes every time. So do texts when they are copied and when multiple copies are produced (even in the same edition). I’m interested in copy specific evidence of the production of a material culture object (text) and how it was used by different historical actors. For example, people writing in the margins of their text, or chopping them up and putting them with other texts and rebinding them. How knowledge travels through textual media is what I’m interested in and I hope to bring that to my current position when I’m digitizing. Ensuring I’m also capturing the materiality and the copy specific evidence within these objects.”

The broad collections at Falvey Library and the opportunity to stay near the Philadelphia area drew Piorko to Villanova University. “Philadelphia has such a rich intellectual and cultural history. The city has incredible libraries with all kind of objects to study and make available to individuals that want to know about the cultural heritage. Villanova University is an outstanding holding institution for that. I’m really excited about the collections at Falvey Library. They are really broad and the nature of donations that come to Villanova are not subject specific and seem to be driven by relationships rather than subject. Which results in all kinds of fascinating objects that span different cultures and different time periods.”

Piorko is excited to collaborate with the Villanova community. “I am looking forward to bringing special collections into the classroom and public exhibits; encouraging hands-on (to whatever extent is safe for the materials) interactions with these objects. They should not just sit in the library. These objects are living. They are not just printed and the knowledge is stagnant. People continually contribute knowledge to these objects.” Building relationships and communicating the value of these collections to the Villanova community is essential for Piorko. “Falvey’s collections can be another vehicle of knowledge. I want to connect with the community and let them know about the really incredible things that we have in the collections. That’s what drew me here, the opportunity to help connect the humanity of these objects to to what is being learned in the classroom.”

In her free time, Piorko volunteers with PAWS animal rescue in Philadelphia. She enjoys playing board games and card games and going to the moves to watch horror films. Her reading recommendation for Falvey patrons: Out There by Kate Folk. “I loved this book. I like to read futuristic sci-fi that is also social commentary.”

Piorko’s desk is located in Access Services on Falvey’s first floor (email: megan.piorko@villanova.edu). For more on Villanova University’s distinctive collections materials, please visit this webpage. Distinctive collections materials can be viewed in the Rare Book Room (Wednesday’s 9:30 a.m.–11:30 p.m. and Thursday’s 2 p.m.–4 p.m.) as well as other hours by appointment. Faculty interested in incorporating Falvey’s collections in the classroom can contact Piorko to discuss options for collaboration.

Kallie Stahl ’17 MA is Communication and Marketing Specialist at Falvey Memorial Library.

Beaudry Rae Allen ’13 MA, Preservation and Digital Archivist, removes dust from books in Falvey Memorial Library’s Special Collections. Photo courtesy of Shawn Proctor, Communication and Marketing Program Manager.

Tuesday, Sept. 21, is 1842 Day, Villanova’s day of giving! This is a special day honoring Villanova’s founding in 1842 and celebrating all the things that make Villanova great. Your gifts to Falvey Memorial Library these past five years have enhanced the library’s collection—impacting Villanovans for years to come. Beaudry Rae Allen ’13 MA (pictured above), Preservation and Digital Archivist, purchased preservation supplies with support from 2018 donations. Allen was able to “rehouse thousands of at-risk, rare materials—including 10,000 photo negatives, 35 scrapbooks, photographic albums, and University logos—and inventory more than 1,100 CDs and DVDs.” The funds also allowed the Library to purchase a specialized vacuum to safely clean books in Special Collections. Preserving these rare materials ensures scholars can access resources for future projects.

Support Falvey Memorial Library by giving any amount to our campaign! To donate, please use this link or scan the QR code below. Thank you to all of our past and future donors! Be sure to download the Reading Room as your zoom background!

Kallie Stahl ’17 MA is Communication and Marketing Specialist at Falvey Memorial Library.