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a. dean larsen book collecting conference
A. Dean Larsen Book Collecting Conference March 13 –14, 2014 A. DEAN LARSEN BOOK COLLECTING CONFERENCE March 21–22, 2013 L. Tom Perry Special Collections Harold B. Lee Library Brigham Young University L. Tom Perry Special Collections Harold B. Lee Library Brigham Young University Cover and postcard image: Creation, Donald Jackson with contribution by Chris Tomlin, Copyright 2003, The Saint John’s Bible, Order of Saint Benedict, Collegeville, Minnesota, USA. A. Dean Larsen Book Collecting Conference March 13 –14, 2014 L. Tom Perry Special Collections Harold B. Lee Library Brigham Young University © 2014 Table of Contents 5 Welcome 7 Conference Schedule Pre-Conference Workshops 11 Illuminated Capitals 15 Uncommon Uncial: A Beautiful Historical Lettering Hand 19 Caring for Your Treasures: Family Papers, Photographs, and Books Conference Seminars 25 Zap! Pow! Bam!: Collecting Mormon Comics and Pop Culture 31 Utah Art at the Keyboard 37 Beyond the Volumes of the Joseph Smith Papers 41 Peepshows and Panoramas: The Victorian 3-D Experience! 45 Card’s Game: Collectible Orson Scott Card 51 A Proclamation from the Lord: Broadsides, Posters, and Handbills in the Print Culture of Mormonism 57 On Bended Knee: An Appreciation of Devotional Literature 61 Breaking Though the Religion Taboo: Contemporary Mormon Children’s Fiction 66 Luncheon Speaker 68 A. Dean Larsen Biography 70 Presenter Biographies 75 Seminar Times and Locations Welcome Dear Conference Attendees: On behalf of the Harold B. Lee Library and the L. Tom Perry Special Collections, I welcome you to the Eleventh Annual A. Dean Larsen Book Collecting Conference. We are thrilled that you chose to be with us. There are many choices for how to spend our time each week and we express our appreciation to you for being here. As the world moves more and more into a digital world, how wonderful it is for us to celebrate the culture of the written and printed word. That is not to say that we shun the new world view. On the contrary, we embrace it as a means of disseminating our primary sources and assisting in the research process. To us, the digital expression of information is a wonderful tool that we add to our arsenal of educational assets. But during this day together we will focus on the tangible rather than the virtual. With this conference, we honor the legacy of A. Dean Larsen, Associate University Librarian for Collection Development in the Lee Library for more than 30 years. He dedicated his life to building our collections. We also recognize Jean M. Larsen, Dean’s wife, who has established an endowment specifically to support this conference. So, thank you for choosing to be with us. You have selected four of eight different seminars offered this year. We know that some of you have also elected to attend at least one pre-conference workshop. We thank Kohleen Reeder, Joan Merrell, Judy Sommerfeldt, and Christina Thomas for their willingness to present these workshops. As you experience this year’s Book Collecting Conference, please feel free to give us suggestions for next year’s conference. We are committed to not only offering new exciting seminars each year, but also to incorporating your suggestions and improving our conference. We sincerely hope that you will enjoy your time with us. At the end of the day we trust that you will feel enlightened concerning the subject matter and uplifted with the opportunity you had to make a tangible connection to the past. Scott H. Duvall Associate University Librarian Harold B. Lee Library 5 Conference Schedule Pre-Conference Thursday, March 13 9:00 AM – 12:00 PM First Workshop Begins 12:00 PM – 1:30 PM Lunch (on your own) 1:30 PM – 4:30 PM Second Workshop Begins (or continuation of all day workshop) Conference Friday, March 14 8:00 AM – 8:30 AM Registration, Breakfast Snack 8:30 AM – 8:50 AM Welcome 9:00 AM – 10:15 AM First Seminar 10:15 AM – 10:30 AM Break 10:30 AM – 11:45 AM Second Seminar 12:00 PM – 1:30 PM Lunch and Luncheon Speaker 1:45 PM – 3:00 PM Third Seminar 3:00 PM – 3:15 PM Break 3:15 PM – 4:30 PM Fourth Seminar 4:30 PM – 5:00 PM Evaluation Submission 7 Pre-Conference Workshops Illuminated Capitals Joan Merrell For hundreds of years, decorative or “illuminated” capitals have been used to brighten pages, catch attention, and mark beginnings. The Saint John’s Bible uses this tradition in both classic and modern ways. Participants in this class will have the opportunity to experience some hands-on techniques and materials used in traditional illumination, such as vellum, pigments, quills, and gold leaf. As well you will sample more modern methods such as using fine-tipped drafting pens and watercolor pencils. Using basic skeleton, structures and under the guidance of an experienced calligrapher, you will design and decorate your own versions of illuminated letters. You will also have a rare opportunity to look at some original illuminations in manuscripts from the Library’s rare book collection. This is a wonderful opportunity to get a personal taste of an art that has been appreciated in books over much time and in many places. Examples from the Saint John’s Bible 11 Notes: ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ 12 ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ 13 Uncommon Uncial: A Beautiful Historical Lettering Hand Judy Sommerfeldt The uncial lettering hand was in widespread use from the 3rd to the 9th centuries A.D. and served as the primary book hand between the 4th and 6th centuries. It continued to be used for versals – decorative initials used to open paragraphs – during the Middle Ages. This beautiful rounded majuscule script was an adaptation of the carved Roman inscriptions. In fact, its name is derived from having been written an “uncia” (a Roman inch) in height. In the 5th century uncial evolved into a group of lettering styles known as half-uncial. These forms were used in well-known manuscript books in England and Ireland including the Book of Kells (circa 800 A.D.) and the Lindisfarne Gospels (698 A.D.). Uncial is one of the most popular calligraphic styles of writing among present-day scribes. Modern versions of this undemanding style are based upon early historic forms and are ideal for beginners to learn. Participants in this class DO NOT need to have previous calligraphic experience. We will begin by looking at some historic and modern examples of uncial writing. Next we will learn the uncial alphabet strokes, first with a pencil and then, with a broad edge metal nib and ink. After practicing these beautiful letter forms for a while, participants will create a finished piece combining uncial letters and watercolor. Bibliography: Bologna, Giulia, Illuminated Manuscripts, New York: Crescent Books, 1988. Cicale, Annie, The Art & Craft of Hand Lettering, New York: Lark Books, 2004. Fink, Joanne and Kastin, Judy, The Speedball Textbook: A Comprehensive Guide to Pen and Brush Lettering, North Carolina: Speedball Art Products Company, 1999. Knight, Stan, Historical Scripts: A handbook for calligraphers, New York: Taplinger Publishing Company, 1984. Waters, Sheila, Foundations of Calligraphy, North Carolina: John Neal, Bookseller, 2006. 15 Notes: __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ 16 __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ 17 Caring for Your Treasures: Family Papers, Photographs, and Books Kohleen Reeder and Christina Thomas Family papers, photographs, and books are everyday objects found throughout our home collections. Their prevalence often allows us to forget that they are potentially fragile and can be damaged by careless handling, improper storage, and exposure to environmental conditions. Through presentation and a hands-on session, this workshop will offer instruction on the proper handling and storage of these treasures, as well as how to respond when disaster strikes. Implementing these guidelines, tips, and tricks in your home collections will help ensure that they are available for future generations to enjoy! In the morning session of this full day workshop, we will cover common concerns that arise when individuals are handling, storing, and displaying family photographs, papers, and books. We will discuss the best ways to display and store photographs, including tips about light sensitivity. Discussion of papers and letters will cover proper storage as well as dealing with unwanted creases and folds, paperclips and staples, and handling extremely fragile paper. We will cover what factors to consider when deciding to repair or not repair a book and what simple preventative measures can be taken to minimize wear and tear on books. For each of these topics we will also discuss what not to do as well as when it is best to work with a conservation professional. Disaster preparedness is another critical aspect of home preservation, as disasters can affect all of us at unexpected times. We will briefly cover simple, yet effective measures to ensure that your collections will remain better protected in the face of a home disaster. This will include discussion of proper storage 19 places and containers, immediate response to water damage, and when to call for professional assistance. The afternoon portion of this workshop will give participants the chance to try some of the methods and techniques for storage and handling discussed in the morning portion. Each participant will have the opportunity to sew an item into a pamphlet binder, to flatten paper and to practice safe ways of removing staples and paper clips. They will also make a protective polyester jacket for a book. Participants will also have the opportunity to consult with the conservators about one personal item from home to determine the best course of action for preserving and storing the item. For future needs, they will also receive a comprehensive list of local and online preservation resources and recommended conservators in the region. 20 Notes: __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ 21 Conference Seminars ZAP!POW!BAM! Collecting Mormon : Comics and Pop Culture Trevor Alvord “A physical marvel, a mental wonder, Superman is destined to reshape the destiny of a world!” is the caption written to close out Action Comics’ June 1938 debut issue of Superman. Today that phrase seems almost prophetic. The influence of comic books can be seen in almost all aspects of popular culture. Internationally, three of the top ten highest grossing movies of all time featured comic book characters. Comic books alone gross about $800 million a year, not to mention the growth in conventions and merchandise. Comic books began to grow during the era of pulp magazines, but by the 1940s the golden age of the pulp was buckling. For the previous three decades pulps were one of the most popular forms of entertainment, but their pages tended to be filled with stories written for teenagers and adults. In comes the 40s that not only brought with it economic and geopolitical change, it also saw significant demographic change as well. Children under the age of 18, were record in number (an estimated 45 million), were a blossoming demographic in need of entertainment on their level. In stepped comic books to fill that need. During the 40s about 80 million comics sold every week and passed from person-to-person an average of eight times, making comics the most popular media among children of the era. Today, some seventy-six years after comics started to leave their mark on American society, Mormon themed comics have begun to enter their own golden age. Currently there are three continuing comic book style incarnations of the Book of Mormon iPlates, From the Dust, and the Church of Jesus Christ of Latter-day Saints’ Book of Mormon Scripture Stories. For the first time in history Mormons have their own comic super heroes, brought to life in Salt City Strangers. Mormon artists are using their skill to explore everything from futuristic galaxies, to the social interactions and complexities of zombies, all through the comics they are creating. In 2013, Salt Lake City held its first comic book convention to a crowd of eighty thousand, making it the largest inaugural Comic Con in North America. 25 Although comic books will be heavily featured in this session, participants will also have the opportunity to examine and interact with the Mormon gaming world through exploring epic battles of the Nephites and Lamanites in chess form, buying temples and building the kingdom of God in LDSopoly, and navigating Nephite territory in Helam: A Stripling Warrior Quest, the first Book of Mormon video game. Comic Book Grading Scale: Based on the Overstreet Comic Book Price Guide Keep in mind that comic book grading is a bit more complex then most other grading systems. MT 10.0: Absolutely perfect – has not one single flaw MT 9.9: Only 1 very subtle bindery defect allowed NM/MT 9.8: Only minor imperfections (such as an almost unnoticeable interior page tear (under 1/32 of an inch) or a small inconspicuous date stamp (must be very well hidden almost unnoticeable NM+ 9.6: Same as 9.8 but with small almost imperceptible indentations allowed and/or slight staple discoloration NM 9.4: Same as 9.6 but with an up to 1/16 inch bend without any color break (no white showing through the color) also everso-slight blunting of the corners and a few very slight stress lines NM- 9.2: Same as above but page color may be off-white to cream in color and that 1 cover crease can be 1/16 to 1/8 inch with no color break allowed VF/NM 9.0: 1/8 inch bend with no color break, very minor foxing allowed, small amount of cover wear, several date stamps and or small hidden initials allowed, slight staple tears allowed. 26 Minor accumulation of stress lines allowed and some very minor interior tears allowed VF+ 8.5: 1/4 inch cover crease with no color break allowed, minor spine split with some minor color break allowed, some slightly more noticeable stress lines allowed and paper can be cream to tan but must remain supple VF 8.0: Same as 8.5 but with some very minor spine roll—must lay almost completely flat VF- 7.5: Same as 8.0 but cover can have light cover soiling and some interior pages can have corner slight tears—also cover can have some corner wear F/VF 7.0: Moderate reduction of cover reflectivity - minor creases allowed, minor foxing, interior cover yellowing, date stamps, initials, and store stamps are allowed, slight rust migration allowed, blunted corners, minor margin tears on interior pages allowed— More and deeper stress lines allowed FN+ 6.5: Up to 1/4 inch spine split or severe color break are allowed—Minor spine rolls allowed and cover can have minor discoloration, staining and/or foxing as well as minor to moderate cover creases FN 6.0: Same as 6.5 but with a loose but attached centerfold FN- 5.5: Same as above but with some Marvel Chipping present as well as some bundling ridges and minor abraded edges, also light pencil marks possible VG/FN 5.0: Low cover gloss possible minor to moderate dimples and creases present, up to 1/2 inch spine split, moderate rolling of the spine—may also have the beginning of an acid odor VG+ 4.5: Cover wear is moderate to significant, cover may be loose. Cover may be faded staples discolored, moderate staple tears up to 1” spine split, moderate stress lines moderate interior tears minor odor minor repairs and up to a 1/4 inch triangle or 27 1/8 square missing (must not effect story). Pages can be brown but not brittle VG 4.0: Same as above but with heavy spine wear and brown staining on cover, also some pen and/or pencil writing is common but should not be excessive VG- 3.5: Same as 4.0 but with frayed edges, oxidation shadows on the cover and larger cover creases, with many dimples and abraded corners G/VG 3.0: Very low or no cover gloss, cover may be detached on one staple, 1 1/2 inch spine split, Interior tears and larger up to 1/2 inch chunks missing (must not effect story), staples may have been replaced and book length creases may be present GD+ 2.5: Same as 3.0 but may have detached (but present) centerfold or cover and rounded corners GD 2.0: Up to 2 inch spine split, Significant cover wear heavily rolled spine, rust migration on to the book, acid odor, but must be fully readable GD- 1.8: Major writing, heavy staining and light water damage possible FR/GD 1.5: Cover creases tears and folds, may be detached and with considerable wear and staining, up to 1/10 of the back cover may be missing, one missing staple is acceptable and massive rust migration FR 1.0: Cut coupons (may effect story slightly), chunks of cover missing centerfold may be missing, pages may be brittle, many tears and folds and creases are very large and many, cover may be crumpled PR 0.5: Massive water damage, major damage effecting most of the book (e.g. dog chewed it), running ink and coverless books belong here. 28 Mormon comic and gaming related websites: http://www.helamonline.com/ http://www.ldsboardgames.com/ http://www.spidercomics.com/ http://www.mormoncartoonist.com/ http://mormoniplates.blogspot.com/ http://www.schlockmercenary.com/ http://www.zombienation.com/ http://honestjoncomics.blogspot.com/ http://www.velluto.com/ http://www.tylerkirkham.com/ http://themormongamer.wordpress.com/ http://www.mormonbattalion.cc/ http://www.mormonzone.com/ http://timesandseasons.org/index.php/2012/10/book-of-mormon-comics/ http://www.motleyvision.org/author/theric/ http://www.youtube.com/watch?v=7mSv0vt8ByA/ Notes: ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ 29 Utah Art at the Keyboard Janet B. Bradford and Lynn Richard Carson Images of Utah and Mormons are depicted in movies. They are the subjects of many books and articles. Sometimes they are the topic of in-depth, multi-day conferences. Just how do others see us and our state? And is that representation always the way we wish to be characterized? Whether shown in a positive light or a narrow, negative stereotype, a picture truly is worth a thousand words. A study of music by and about Mormons provides new insights as did an illustrated history of American popular sheet music by authors Harris and Riis (cited below). “American music evolved within a cultural kaleidoscope,” they state, “and the composers, publishers, performers, and cover artists collectively known as Tin Pan Alley powered the engine of American music for over fifty years, beginning around 1895 [and] through multi-page songs with ornate covers reflected America’s burgeoning cultural identity.” This seminar will highlight our “cultural identity.” Artistic sheet music covers of Utah from the 1860s to the 1940s will be shown and discussed. All titles are from the Harold B. Lee Library and/or from the Lynn R. Carson Mormon Music Collections. These covers provide historical perspectives on a variety of subjects from early Utah landscapes, political campaigns, and patriotic themes to Mormon social customs and dancing. We will illustrate how Utah and Mormons were portrayed in London in the late 1800s, on Broadway in 1914, and compare these perceptions to the recent Tony, Grammy and Billboard-winning Broadway hit, The Book of Mormon the Musical. Collecting strategies will be suggested. Selected Chronological Listing of Titles: The Mormons : Quadrille by Charles Coote (1860) Brigham Young, or, Perhaps She’s on the Railway (1870) Popsy Wopsy composed by Charles Merion (1870) 31 My Love He Is a Mormonite, comic song written and composed by Harry Miller (1871) Z.C.M.I March, composed by Joseph J. Daynes (1884) On the Beautiful Salt Lake, waltzes composed by Anthon Pedersen (1885) The Holy Temple, sacred song by Joseph J. Daynes (1903) The Mormon Coon, words by Raymond A. Browne; music by Henry Clay Smith (1905) The Girl From Utah: Some Sort of Girl, They Didn’t Believe Me, music by Jerome Kern; words by Herbert Reynolds (1914) Dearie Girl, words and music by Margaret Whitney (SLC, 1914) (New York, 1915) My Aviating Summer Girl, words and music by Clarice Manning and Margaret Whitney (1915) Heart Tones: A Reverie, piano solo by John M. Chamberlain (1915) The Little Girl You Left Behind, words and music by Harry A. Montgomery (1915) The Boys of the Salt Lake High, words by Boyd Merrihew and Norman Nathan; music by Norman N. Nathan (1917) If You Saw What I Saw You’d Go to Utah, words and music by Howard Patrick (1917) Old Glory, composed and sung at the BYU Commencement exercises June 1917 My Oriental Dream, by Leroy J. Robertson and J. Leonard Ivory (1922) When It’s Springtime in the Rockies, words by Mary Hale Woolsey, music by Robert Sauer & Milt Taggart (1929) Alma Pater, pep song of BYU, music by Walt Daniels, words by Glenn S. Potter (1931) When Segos Bloom in Utah, words and music by Will Hanson (1932) Lilac Time, by Herbert Auerbach and A.C. Lund (1935) 32 Along the Navajo Trail, piano solo by Seldon N. Heaps (1936) Marching with the G.O.P., words and music by K.E. Fordham (1940) Public Domain Sheet Music Collections Web Sources: Music for the Nation, American Sheet Music (Music Division, Library of Congress) http://memory.loc.gov/ammem/mussmhtml/mussmhome.html Lester S. Levy Sheet Music Collection (John Hopkins University) http://levysheetmusic.mse.jhu.edu/ Sheet Music Consortium (UCLA) http://digital2.library.ucla.edu/sheetmusic/ Recommended Readings Dockter, Brent, Thomas Riis, Esther Terpenning. Yankee Doodle Melodies: An Illustrated History of American Patriotic and Presidential Sheet Music from the American Music Research Center. Boulder, CO: University of Colorado at Boulder, College of Music, American Music Research Center, 2009. Harris, David and Thomas Riis. In the Good Old Summer Time: An Illustrated History of American Popular Sheet Music from the American Music Research Center Boulder, CO: University of Colorado at Boulder, College of Music, American Music Research Center, 2006. Hicks, Michael. Mormonism and Music: A History. Urbana: University of Illinois Press, 1989. McNiff, William J. The part played by the Mormon Church in the cultural development of early Utah, 1847–1879. PhD thesis, Ohio State University, 1929. “Mormon Music: The Development of Leadership” in Howard Swan’s Music in the Southwest, 1825–1950. San Marino, CA : The Huntington Library, 1952. “Mormons and Music: Maintaining and Mainstreaming Sectarian Identity” in Stephan A. Marini’s Sacred Song in American: Religion, Music, and Public Culture. Urbana : University of Illinois Press, 2003. Scherrer-Gilbert, Donna Gena. “We’ll Sing and We’ll Shout;” The Development of Early Mormon Identity Through the Poetry and Songs of the Saints. Thesis, Arizona State Univeristy, 2000. 33 Notes: __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ 34 __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ 35 Beyond the Volumes of the Joseph Smith Papers Robin Scott Jensen When finished, the Joseph Smith Papers project will comprise a collection of dozens of volumes and a dynamic website, both of which will contain a wealth of information on Joseph Smith and the history of the early Church. For novices and scholars alike, the volumes of the Joseph Smith Papers can be, at times, daunting. I intend to solve that challenge with an in-depth discussion of the project, ranging from its history, to how a typical volume is produced today, to our future expectations and goals. The history will begin with Dean Jessee in the 1960s and 1970s through his publications of The Papers of Joseph Smith and the reinvigoration of the project in 2001. I will explain briefly the volumes we’ve published to date and explain a bit about the volumes in the pipeline. I will focus on interesting discoveries made by the project, including “new” documents (such as the Book of Commandments and Revelations), insight from a closer reading of particular documents, and additional insight from a better sense of the documents as a whole. I will use a document from the Newel K. Whitney Collection (D&C 5) to explain the “life” of a document from inception to creation, to storage, and to our publication of that document. Using this approach, I will also walk the audience through one volume of the Joseph Smith Papers, to better understand the volume and how it can best be used, taking into consideration front and back matter, annotation, source notes, and other design elements of the book. Given the venue, I will end with a discussion of the role and history of book collectors with particular respect to the Joseph Smith documents. Autograph collectors, rare book and manuscript 37 dealers, and other private individuals have done important work in seeing that the past has been preserved. As some documents are now held in archives, and other institutions have traced their chain of custody through these collectors and dealers, a general understanding of these individuals provides a better understanding of patterns of rare manuscripts. I will use real examples from the past, including the printer’s manuscript of the Book of Mormon and documents purchased as recently as a few years ago. Link: josephsmithpapers.org Notes: __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ 38 __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ 39 Peepshows and Panoramas: the Victorian 3D Experience! Maggie Gallup Kopp Christina Thomas Panoramas The word panorama was coined by British painter Robert Barker in the 1780’s to describe his landscape paintings, which were mounted in a cylindrical room. Viewers who stood in the center of the room could take in a 360 o view as if they were actually at the scene (military and naval battles were especially popular subjects for early panoramas). Barker’s panoramas were major attractions in Regency London. Around 1800, Sir Robert Ker Porter improved the panorama by mounting a long canvas on rollers, which allowed his painting to pass before the viewer–a motion picture before the advent of photography or film. Other panoramas included prop landscaping in front of the painting to extend the three-dimensional effect. It wasn’t long before London’s printers were adapting the panorama format into a smaller scale, connecting printed sheets of paper to form long scenes. The fad for panorama exhibits waned before Queen Victoria ascended the throne in 1837, but printed panoramas memorialized many major events and landscapes during her reign. L. Tom Perry Special Collections owns a dozen English panoramas dating from the 1840s to 1890s, from lavish productions by specialty printers to mass-produced panoramas issued by London newspapers. 41 Like peepshows, Victorian print panoramas are delightfully collectable, and while Barker and Ker’s panoramas have long since been lost to the ages, fortunately for us, numerous copies of printed panoramas have survived and can often be found on the market today. Peepshows and Tunnel Books While the term peepshow wasn’t officially coined until 1801, it typically refers to a sequence of pictures viewed through a lens or hole set in a large box, or to a smaller paper diorama or paper theater. Renaissance artists were some of the first to create the larger box peepshows as a way to study and explore vanishing point perspective and depth. Over the next several hundred years, peepshows evolved and proliferated, spreading into the realm of popular entertainment as they were carried from village to village on the backs of traveling showmen. The peepshow scenes ranged from religious, historical, and mythical scenes, to portrayals of everyday life. Like panorama exhibits (though much smaller), they placed a viewer in a three-dimensional scene. It was eighteenth century German printers who began transforming peepshows into the more familiar handheld format, just as London printers had done with panoramas. Martin Englebrecht was the most celebrated engraver of this period, and many of his peepshows—or miniature theaters, as they are often called—can still be found by collectors today. Predictably, other European printers followed suit, and eventually the collectable Victorian souvenir peepshows we recognize today were born. Similar to panoramas, peepshows commonly commemorated major events. The new term tunnel book came into vogue at this time after one such commemorative book was produced to celebrate the completion of the Thames pedestrian tunnel. Given that the term peepshow was gaining an increasingly disreputable connotation by this time, it is not surprising that the more respectable echelons of Victorian London adopted this new term. Tunnel book is in fact a term that remains in use today by contemporary book artists who continue playing with and innovating with form. L. Tom Perry Special Collections owns three Victorian tunnel books, including two from the 1851 London Great Exhibition, and one contemporary tunnel book included in Robert Sabuda’s Alice in Wonderland. 42 Both panoramas and peepshows were communal forms of entertainment often used to explore three-dimensional effects and celebrate major events. They might be considered the motion pictures of their era—entertaining the masses through optical effects and transporting them to different places and times. It is fortunate for us that both panoramas and peepshows evolved into the mass-produced paper objects that they did, so that many copies remain available for the enjoyment and observation of collectors today. Resources for Collectors British Panoramas: J.R. Abbey, Life in England in aquatint and lithography, 17701860. London: privately printed at the Curwen Press, 1953. J.R. Abbey, Scenery of Great Britain and Ireland in aquatint and lithography, 1770-1860. London: privately printed at the Curwen Press, 1952. Peepshows and Tunnel Books: Haining, Peter. Movable Books: An Illustrated History: Pages & Pictures of folding, revolving, dissolving, mechanical, scenic, panoramic, imensional, changing, pop-up and other novelty books from the collection of David and Briar Phillips. London: New English Library, 1979. Hutchins, Edward H. “How-to-Project: A Tunnel Book”. Paper Crafters. Sept./Oct 1994. http://www.philobiblon.com/gbwarticle/hutchins1.PDF Montanaro, Ann. “A Concise History of Toy and Movable Books,” http://www.libraries.rutgers.edu/rul/libs/scua/montanar/p-intro.htm Notes: ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ 43 Card’s Game: Collectible Orson Scott Card Robert L. Maxwell The release of the movie Ender’s Game in November 2013 has brought with it renewed interest in Orson Scott Card, particularly in Utah. Orson Scott Card is a good example of a collectible contemporary author. This seminar will use Card as an example of how to go about collecting the published output of such an author. Orson Scott Card is one of the most successful LDS authors of our time. Card came to the attention of the science fiction world, where he is now best known, in August 1977 with the publication in Analog of the short story “Ender’s Game.” This evolved into the novel Ender’s Game, published in 1985 and winner of both the Nebula and the Hugo Awards, a feat accomplished by only one other book: Speaker for the Dead, the sequel to. Card has published over fifty novels, nearly a hundred short stories, as well as poetry, plays, graphic novels, and nonfiction works including reviews, social criticism, and columns. His works have been translated into more than Twenty-five languages. The Orson Scott Card Collection at BYU is a part of the L. Tom Perry Special Collections’ Literature Collection. The collection provides support to BYU literature programs, particularly English, as well as to researchers, faculty, and visiting scholars, and includes the Orson Scott Card papers, housed in Archives. The collection includes his literary papers, and the Library collects his published work comprehensively. Card began sending his papers to the Library’s Archives in 1978 and continues to send two or three shipments per year. Among other things, the papers include correspondences, journals, and manuscripts of all his published work. Special Collections collects 45 the published output of Orson Scott Card comprehensively. This includes all published books, both in English and translated, and all published short stories and articles. We collect in all formats, including audiovisual formats and electronic and on-line formats. This seminar will draw on this rich collection. Selected Orson Scott Card Bibliography Only the first edition of book-length works are given. Because of space constraints, shorter works are not listed except as part of anthologies. Also not included are materials edited by Card. The Abyss, 1989 Ainge, 1982 Alvin Journeyman, 1996 (Tales of Alvin Maker 4) Animated stories from the Book of Mormon, 1987 (Living Scriptures, screenplay by OSC) Animated stories from the New Testament (Living Scriptures, screenplay by OSC) The Call of Earth, 1993 (Homecoming 2) Capitol, 1979 (short stories) Cardography, 1987 (short stories) The Changed Man, 1992 (short stories) Characters and Viewpoint, 1988 (nonfiction) Children of the Mind, 1996 (sequel to Xenocide) Cruel Miracles, 1992 (short stories) The Crystal City, 2003 (Tales of Alvin Maker 6) The Docudrama of the Restoration (Living Scriptures, screenplay of several parts by OSC) Doorways, 2002 (poetry and short stories) Dramatized Church History, 1977 (Living Scriptures, script by OSC) Dramatized New Testament, 1981 (Living Scriptures, script by OSC) Dramatized Old Testament (Living Scriptures, script by OSC) Earth Afire, 2013 46 Earth Unaware, 2012 Earthborn, 1995 (Homecoming 5) Earthfall, 1995 (Homecoming 4) Empire, 2006 Enchantment, 1998 Ender’s Game, 1985 (sequel: Speaker for the Dead) Ender’s Shadow, 1999 (parallel novel to Ender’s Game; sequel: Shadow of the Hegemon) First Meetings: in the Enderverse (short stories). 2002 Flux: Tales of Human Futures, 1992 (short stories) The Folk of the Fringe, 1989 (short stories) The Gate Thief, 2013 Gold Bug, 2007 (comic book) Great Mormon Women, 1983 (Living Scriptures, script by OSC) Hamlet’s Father, 2011 Hart’s Hope, 1983 He is Risen, 1988 (screenplay by OSC) Heartfire, 1998 (Tales of Alvin Maker 5) Hidden Empire, 2009 Hill Cumorah Pageant: America’s Witness for Christ, 1988? (script by OSC) Homebody, 1998 Hot Sleep, 1979 (later published as The Worthing Chronicle) How to Write Science Fiction and Fantasy, 1990 (nonfiction) Invasive Procedures, 2007 (with Aaron Johnston) Keeper of Dreams, 2008 (short story collection) Laddertop, 2011 (with Emily Janice Card) “Listen, Mom and Dad ...”: Young Adults Look Back on Their Upbringing, 1977 (nonfiction) 47 Living Principles of America, 1982 (Living Scriptures, script by OSC) Lost Boys, 1992 The Lost Gate, 2011 Lovelock, 1994 Magic Mirror, 1999 Magic Street, 2005 Maps in a Mirror, 1991 (short stories) The Memory of Earth, 1992 (Homecoming 1) The Miracles of Love, 1990 (screenplay by OSC) Monkey Sonatas, 1993 (short stories) The Mormons, 1978 (nonfiction) An Open Book, 2003 (poetry) Pastwatch: The Redemption of Christopher Columbus, 1996 Pathfinder, 2010 (Pathfinder series 1) A Planet Called Treason, 1979 (later expanded as: Treason) Prentice Alvin, 1989 (Tales of Alvin Maker 3) The Princess and the Bear, 1977 (short story and poetry) Rachel and Leah, 2004 (Women of Genesis) Rebekah, 2001 (Women of Genesis) Red Prophet, 1988 (Tales of Alvin Maker 2) Red Prophet, 2006 (Comic book) Robota, 2003 (with Doug Chiang) Ruins, 2012 (Pathfinder series 2) Saints, 1988 (previously published as A Woman of Destiny) Saintspeak: The Mormon Dictionary, 1981 (nonfiction) Sarah, 2000 (Women of Genesis) Seventh Son, 1987 (Tales of Alvin Maker 1) Shadow of the Giant, 2005 (sequel to: Shadow Puppets) Shadow of the Hegemon, 2001 (sequel to: Ender’s Shadow; sequel: Shadow Puppets) Shadow Puppets, 2002 (sequel to: Shadow of the Hegemon; sequel: Shadow of the Giant) Shadows in Flight, 2012 (sequel to: Shadow of the Giant) The Ships of Earth, 1994 (Homecoming 3) Songmaster, 1980 Space Boy, 2007 Speaker for the Dead, 1986 (sequel to: Ender’s Game; sequel: Xenocide) Stone Tables, 1997 A Storyteller in Zion, 1993 (essays) Treason, 1988 (expanded version of A Planet Called Treason) 48 Treasure Box, 1996 Ultimate Iron Man, 2005 (comic book) Unaccompanied Sonata & Other Stories, 1981 (short stories) Visitors, 2014 (Pathfinder 3) A War of Gifts, 2007 A Woman of Destiny, 1984 (later published as Saints) The Worthing Chronicle, 1983 (based in part on Capitol and Hot Sleep) The Worthing Saga, 1990 (expansion of The Worthing Chronicle) Wyrms, 1987 Wyrms, 2006 (comic book) Xenocide, 1991 (sequel to: Speaker for the Dead; sequel: Children of the Mind) Zanna’s Gift, 2004 Notes: ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ 49 A Proclamation From the Lord: Broadsides, Posters, and Handbills in the Print Culture of Mormonism Greg Seppi Literally from the inception of movable type printing broadsides have been an oft-used format for dissemination of the written word. Indeed, even before the completion of Gutenberg’s 42-line Bible, several broadside indulgences were produced for Pope Nicolaus V no later than the year 1454. Other early broadsides were used for the circulation of royal proclamations, official notices, and political statements, sometimes to express opposition to authoritarian rule. It should not, therefore, be surprising that Mormons would also use this printing format to issue a variety of religious publications from the earliest decades of Mormonism through the present day. This seminar will examine all manner of Mormon broadsides from publications of scripture and early proclamations to recent pronouncements such as “The Living Christ: The Testimony of the Apostles” and “The Family: A Proclamation to the World.” 51 Selected Bibliography of General Works on Broadsides, Street Literature, and Ephemera Collison, Robert. The story of street literature: forerunner of the popular press. (London: J.M. Dent & Sons, Limited, [1973]). James, Louis, ed.. Print and the people 1819–1951. (London: Penguin Books, Ltd., 1976) Includes numerous examples of broadsides. Rickards, Maurice. The encyclopedia of Ephemera: a guide to the fragmentary documents of everyday life for the collector, curator, and historian. (New York: Routledge, 2000). A very good, general, all purpose volume which includes examples of all varieties of broadsides and ephemeral publications. Shepard, Leslie. The history of street literature: the story of broadside ballads, chapbooks, proclamations, news-sheets, election bills, tracts, pamphlets, cocks, catchpennies, and other ephemera. (Newton Abbot [Eng.]: David & Charles, 1973). Watt, Tessa. Cheap print and popular piety, 1550–1640. (Cambridge, MA: Cambridge University Press, 1991). A study of the early period of popular ephemeral printing. Web Sources From the Library of Congress: An American Time Capsule: Three Centuries of Broadsides and other Printed Ephemera: http://memory.loc.gov/ammem/rbpehtml/pehome.html From the National Library of Scotland: The Word on the Street: http://www.nls.uk/broadsides/background.html 52 From the Library Company of Philadelphia: Pennsylvania German Broadsides: Windows into an American Culture http://www.librarycompany.org/broadsides/ Mormon bibliographic works that include descriptions of broadsides, etc. Allen, James B., Ronald W. Walker, and David J. Whittaker. Studies in Mormon history, 1830–1997: an indexed bibliography. . . .(Urbana, IL: University of Illinois Press, c2000). An enlarged edition of this work is available as a searchable online database at: http://mormonhistory.byu.edu/ Crawley, Peter. A descriptive bibliography of the Mormon Church. Volume One 1830–1847. (Provo, UT: Religious Studies Center, Brigham Young University, 1997). –––––––––. A descriptive bibliography of the Mormon Church. Volume Two 1848–1852. (Provo, UT: Religious Studies Center, Brigham Young University, 2005). –––––––––. A descriptive bibliography of the Mormon Church. Volume Three 1853–1857. (Provo, UT: Religious Studies Center, Brigham Young University, 2012). Flake, Chad J. and Larry W. Draper. A Mormon bibliography, 1830–1930. Books pamphlets, periodicals and broadsides relating to the first century of Mormonism. Second edition, revised and enlarged. (Provo, UT: Brigham Young University, Religious Studies Center, 2004). An enlarged edition of this work is available as a searchable online database at: http://atom.lib.byu.edu/mormonbib Web source From the BYU Library Mormon Publications: 19th and 20th Centuries: http://lib.byu.edu/digital/mpntc/ This web site is a full text searchable site that includes a collection of early Mormon publications comprised of books, missionary tracts, doctrinal treatises, broadsides, hymnals and periodicals which helped define the doctrinal development and historical movements of the Mormon people in the nineteenth century. It includes a few Mormon broadsides. Notes: ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ 53 __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ 54 __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ 55 On Bended Knee: An Appreciation of Devotional Literature Russ Taylor and Fr. Eric Hollas “Devotional literature includes any religious book other than strictly doctrinal or theological works, intended to be used mainly for home devotion, that is, for meditation and prayer and also for uplift (edification). Books of this kind might further be used to strengthen the spirit in times of temptation and weakness, or to confirm one’s own stand in an adverse situation, or to clarify one’s faith by outline—confessions and catechisms. In short, all these books served the practice of an inner rather than an external (ecclesiastical) devotion of an earnest believer …1“ This session will explore various types of religious devotional texts in the L. Tom Perry Special Collections, including medieval scriptural texts, books of hours, and other examples of private devotional works. We will examine the volumes of The Saint John’s Bible and hear about how this beautiful work of art was created, both from Father Eric and through videos featuring Donald Jackson, artistic director for the project. While the books we will examine were made for “inner devotion,” we will, nonetheless, spend some time examining the external manifestations of these inner devotions as represented by the beautiful illuminations on their pages. We hope our discussions will leave all of us with a deeper understanding of the concept of religious devotion. Friedmann, Robert and John C. Wenger. “Devotional Literature.” Global Anabaptist Mennonite Encyclopedia Online. 1990. Web. 7 Dec 2013. http://gameo.org/index.php?title+Devotional_Literature&oldid=103762. 1 57 The following works will provide some additional elaboration for those interested in pursuing the topic further: Bartlett, Anne Clark (ed.). Cultures of Piety: Medieval English Devotional Literature in Translation. Ithaca: Cornell University Press, 1999. ------- . Male Authors, Female Readers: Representation and Subjectivity in Middle English Devotional Literature. Ithaca: Cornell University Press, 1995. Bestul, Thomas H. Texts of the Passion: Latin Devotional Literature and Medieval Society. Philadelphia: University of Pennsylvania Press, 1996. Christensen, James. Passage by Faith: Exploring the Inspirational Art of James C. Christensen. Salt Lake City: Deseret Book, 2012. Hamerton, Philip Gilbert. Man in Art: Studies in Religious and Historical Art, Portrait and Genre. London: Macmillan, 1892. Holmes, William. Religious Allegories: Being a Series of Emblematic Engravings, with Written Explanations, Miscellaneous Observations, and Religious Reflections Designed to Illustrate Divine Truth, in Accordance with the Cardinal Principles of Christianity. Philadelphia: J.W. Bradley, 1851. Jameson, (Mrs.) Anna. Sacred and Legendary Art: Containing Legends of the Angels and Archangels, the Evangelists, the Apostles, the Doctors of the Church, St. Mary Magdalene, the Patron Saints, the Martyrs, the Early Bishops, the Hermits, and the Warrior Saints of Christendom as Represented in the Fine Arts. London: Longman, Brown, Green, and Longmans, 1850. Kepler, Thomas S. The Fellowship of the Saints: An Anthology of Christian Devotional Literature. New York: Abingdon-Cokesbury Press, 1948. Mahr, Adolf. Christian Art in Ancient Ireland: Selected Objects Illustrated and Described. Dublin: Stationery Office of Saorstát Éireann, 1932-41. Ruskin, John. Mornings in Florence: Being Simple Studies of Christian Art, for English Travellers. Orpington, Kent: George Allen, 1875-1877. Weizsäcker, Heinrich. Die Kunstschätze des ehemaligen Dominikanerklosters in Frankfurt a. M. nach den archivalischen Quellen bearbeitet und herausgeben. Munich: Verlag von F. Bruckmann, 1923. 58 White, Helen Constance. English Devotional Literature, 1600 -1640. Madison: University of Wisconsin, 1931. Wilcox, Helen. Sacred and Profane: Secular and Devotional Interplay in Early Modern British Literature. Amsterdam: VU University Press, 1996. Winder, Lorie Joanne. Maria Regina Coeli: The Cult of the Virgin Mary in Twelfth-Century Theology, Devotional Literature, and Art. Master’s thesis, Brigham Young University, 1977. Yoshikawa, Naoë Kukita. Margery Kempe’s Meditations: The Context of Medieval Devotional Literature, Liturgy, and Iconography. Cardiff: University of Wales Press, 2007. Notes: ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ 59 Breaking Though The Religion Taboo: Contemporary Mormon Children’s Fiction Rachel L. Wadham The artistic form of literature is designed to comment on the human condition and as such, works of fiction delve into the themes and ideas that are important to humanity. This includes religion. In fact, religious themes and allegories have long been associated with great literature, where works such as Dante’s Divine Comedy and Bunyan’s The Pilgrim’s Progress rise to the top. The history of children’s literature also has some strong connections to religious themes evidenced by notable works such as Lewis’ Narnia series. However in modern times, this connection has proven to be weaker as traditional trade publishers have shied away from religious topics. This is where independent publishers have stepped up to fill the void and the existence of many of these publishers relies on the fact that they can embrace this otherwise taboo topic. Publishers who focus on Christian novels have long flooded the market, however after the success of Lund’s The Work and The Glory series in the 1990s there has been a burgeoning market for fiction aimed at the Mormon audience. Engaging in these markets, publishers have produced books for all audiences, including children. Today with more titles flooding the market than ever before, the trick is to hone in on those of the highest quality. Without a doubt the quality of Mormon children’s fiction varies greatly, so having criteria to apply to these works is of significant importance. The major independent publishers of children’s books have a lot to offer, and using refined judgment to assess the quality of their works brings to light a growing body of works suitable for both personal enjoyment and for building book collections. 61 Major Independent Publishers of Mormon Children’s Books Cedar Fort Publishing: http://cedarfort.com/ Covenant Communications: http://www.covenant-lds.com/ Desert Book: http://deseretbook.com/ Horizon Publishers: http://ldshorizonpublishers.com/children.htm Shadow Mountain Publishing: http://www.shadowmountain.com/ Walnut Springs Press: http://walnutspringspress.blogspot.com/ Assessing Quality In Children’s Books The following resources, definition, characteristics and questions provide a good set of criteria for assessing the quality of children’s books. While these criteria can be applied to any work, they provide great insight when determining the quality of Mormon children’s fiction. Resources: Lukens, Rebecca J. (2007). A Critical Handbook of Children’s Literature. Boston: Allyn and Bacon/Person Education Tunnell, Michael O. & James, Jacobs. (2008) Children’s Literature Briefly. (4. ed.). Upper Saddle River, NJ: Pearson Education. Definition: Michael O. Tunnell and James S. Jacobs tell us a good book “is one created by a knowledgeable and skilled author in which the elements of literature measure up under critical analysis. Quality is recognized by evaluating different elements of the book, including style and language, character, plot, illustrations, pacing, setting, tension, design and layout, mood, accuracy, tone, point of view, and theme. When a book reveals its story in powerful language, contains memorable characters, and follows a compelling plot, the fiction generally can be said to have quality” (p. 13). Characteristics of Quality Children’s Books: Encourage imagination, exploration, and play Express authentic emotions in genuine contexts 62 Expand vocabulary Extend a child’s understanding of themselves and others Embolden discussion and thoughtful reflection Exposes children to the world’s diversity Essential Questions to Consider While Determining Quality: The following list of questions are to reveal the important criteria relative to judging the quality of children’s books. These questions are by no means comprehensive, but they are designed to offer a basic standard that can be used to address the complex nature of judging an individual text. Format: What is the physical size of the book? How many pages does it have? What kinds of font are used in the text? Is the font represented in a nonstandard way (indented or margined differently, presented in different colors, etc.) and does remain static or does it vary throughout the course of the text? How is the text laid out and is this layout expected or unconventional? Of how high a quality is the physical construction of the text? How does the author organize, divide, or arrange the work? Is this structure logical and consistent, or does it represent an atypical organization? What role do the illustrations play? Are they merely illustrative, or are they integral to the story? What visual literacy skills are necessary for the reader to interpret both the text and the pictures? Levels of Meaning: Is there a central question that the author is trying to answer or give perspective on? How dense are these concepts in the text? How many interpretations does that central question allow for? 63 How many themes are present and how are they connected? Does the theme represent a universal issue or need or is it blatant or didactic? How is the theme constructed and revealed? Does it emerge authentically? What conflict is evident in the story and from what source does it stem? How many types of conflict are apparent in the text? What connections can be made between this text and a reader’s broader world experiences? What connections can be made between this and other texts (both narrative and informational)? Does the text make allusions to other texts? How much does the meaning of the text rely on these allusions and knowledge of the texts being alluded to? Structure: Is the setting familiar or unfamiliar? Are they represented realistically? How is the plot constructed and how many plot lines does the story follow? Does the plot follow an accurate timeline or does it jump around in time and/or space? How identifiable is the climax? Are there numerous climaxes that build to a central crisis? Does the story resolve in a predictable way or are their twists and surprises? Does the end resolve satisfactorily or are there points left open that will lead to a sequel? How many characters are in the book? How many could be considered a main protagonist? Are the characters complex, multi-layered rather than stereotyped or flat? How much emotional or physical change do the characters experience over the course of the text? 64 What style (omniscient, first person, third person, etc) is used to express point of view? Is the story told from more than one point of view? How diverse are the characters and points of view of the text? Do they represent cultures, races, colors, or ideas that are outside of the perceived norms of a particular population? How credible and believable is the setting, plot, characters, and theme? How many details does the author use in describing the setting, plot, or characters? How dependent are interpretations of one element (such as setting, plot, or characters) on the other elements (like setting, plot, character, or theme)? What style and tone does the author use? For what effect is that style or tone being used? Does the book contain dialects or other specialized or archaic language usage? To what extent is this language used? What literary devices does the author use? How frequently are these devices used? How sophisticated or complex are these literary devices? Knowledge Demands: What background information or prior knowledge is necessary to comprehend this text? What does the author assume we already know? Are there parts that could be confusing without the necessary knowledge and why would they be confusing? What level of preparation would need to be done with a reader to prevent this text from being confusing? Notes: ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ ___________________________________ 65 Luncheon Speaker Fr. Eric Hollas Fr. Eric Hollas, OSB, is a Benedictine monk and priest of Saint John’s Abbey in Collegeville, MN. He was born in Oklahoma City, and he received his BA in history at Princeton University in 1971. Following seminary studies at Saint John’s, he received a PhD in medieval studies at Yale University. His special interests include the history of Spain in the Middle Ages, the history of monasticism in medieval Europe, and the history of the book. He is a member of the Medieval Academy of America, and he also serves as a chaplain in the Western Association of the Order of Malta, as well as in the Order of the Holy Sepulchre. Since 1980 he has been a member of the theology faculty at Saint John’s University, and from 1993–2002 he served as the Executive Director of the Hill Museum & Manuscript Library. He currently serves as Deputy to the President for Advancement, at Saint John’s University. The Saint John’s Bible In 1998, Saint John’s Abbey and University commissioned renowned calligrapher Donald Jackson to produce a hand written, handilluminated Bible. We invite you to explore this work of art that unites an ancient Benedictine tradition with the technology and vision of today, illuminating the Word of God for a new millennium. More information on the Saint John’s Bible is available at http:// www.saintjohnsbible.org 66 Ecclesiastes, Donald Jackson, Copyright 2006, The Saint John’s Bible, Order of Saint Benedict, Collegeville, Minnesota, USA. Gospel of John Frontispiece and Incipit, Donald Jackson, Copyright 2002, The Saint John’s Bible and the Hill Museum & Manuscript Library, Order of Saint Benedict, Collegeville, Minnesota, USA. 67 A. Dean Larsen Memorial and Biography The Harold B. Lee Library Book Collecting Conference is named in memory of A. Dean Larsen, retired Associate University Librarian at Brigham Young University, who passed away on May 29, 2002 after a long battle with cancer. Dean Larsen worked at the BYU Library for 40 years and was principally responsible for the acquisition of over three million volumes during his career, adding not only to the general collection, but building a world-class Special Collections as well. Under Dean’s direction, the Library reached prominence as one of the nation’s finest research libraries. Dean worked closely with Chad Flake to acquire unique research materials that today form the core of Special Collections. Among the collections built by Dean and Chad are the History of Printing, Renaissance and Reformation, History of Science, British and American Literature, Victorian and nineteenth century Social History, and Western and Mormon Americana. His personal interest in collecting rare books and manuscripts resulted in lifelong friendships with librarians, collectors, curators, and book dealers around the world. Prior to his passing away, Larsen and his wife, Jean, donated to the Lee Library their personal collection of more than 1,800 books, pamphlets, maps, photographs, and postcards dealing with Yellowstone National Park and established an endowment for its continued growth. Both A. Dean Larsen’s life and career were centered on libraries, book collecting, and BYU. For this reason the university is pleased to recognize Dean’s many contributions by naming the Lee Library’s Book Collecting Conference in his honor. A. Dean Larsen was born August 23, 1930 in Vineyard, Utah, a rural farming and dairy community adjacent to Orem and Provo, Utah. He was the third of five children, two older brothers and two younger sisters, born to Vera Alice Austin and Ariel Ellis Larsen. His early years growing up on a farm and in a house without indoor plumbing required performing daily chores like carrying water from the spring, providing kindling to start the fire in the old kitchen coal stove and the heater in the front room, as well as keeping the coal buckets full. During the war years in the 1940s, a steel mill was constructed in Vineyard thus prompting the relocation of several families living in that area. When Dean was fourteen years of age the Larsen family moved to Orem where they had purchased a small farm and a newly remodeled modern home. Also on the property was a large barn. With the move, Dean’s father started a hide and fur business, thus the barn had a double function of providing shelter for livestock and a spacious area for processing hides and furs. 68 Dean attended Lincoln High School in Orem where he was on the debate team, associate editor of the yearbook, president of FFA, and a student assistant for a very inadequate school library. After graduating from high school, he entered Brigham Young University, focusing his study on history and geography. Summers and evenings were spent buying and processing hides for his father. He interrupted his university study after his sophomore year to serve as a missionary for the Church of Jesus Christ of Latter-day Saints. Upon completion of this two-year mission, he returned to his studies at BYU and obtained student employment in the Library. From that time on, books and the Library became an integral part of his life. When he graduated from the university with a major in history, the Korean War was under way and he was drafted to serve in the army. After basic and specialized training, he was assigned to the Central Intelligence Corp in Stuttgart, Germany. This assignment and location provided extensive opportunities during weekends and short leaves to experience travel throughout Europe. This opportunity imbued him with a lasting appreciation for the arts, museums, libraries, bookshops, rare book dealers, etc. Dean returned home from his tour of duty with the army in the fall of 1956 and was hired full-time at the BYU Library with an agreement that he would be given summers off to pursue a Master of Library Science at the University of Michigan. He completed his degree in August of 1960. The next year he was appointed director for collection development. The fruits of his ability and tireless efforts are now documented with the quality and quantity of books acquired during his tenure at the helm of acquisition for Brigham Young University’s Harold B. Lee Library. Dean was also an avid collector of material for his personal library. One of his most extensive collections was his collection of Yellowstone materials. He also spent a great deal of time working on a general bibliography for Yellowstone material. Before his death, he was able to accrue information for more than tenthousand annotated entries. From the beginning of his career he demonstrated what some have said is a gift or rare ability—a true “book sense.” It is something analogous to height in a basketball player—it can’t be acquired through training—you either have it or you don’t. He was able to recognize not only the value of the acquisition, but also to envision how it would contribute to the collections of the Llibrary. 69 Presenter Biographies Trevor Alvord Trevor Alvord is the Curator of twenty-first-century Mormonism and Western America at Brigham Young University where he is responsible for building BYU’s web archive and collecting twenty-firs-century Mormon imprints. Before coming to BYU he served as a Processing Archivist at Utah State University and as Head of Special Collections at James Madison University. Trevor received undergraduate degrees from USU in History and Religious Studies in 2007 and his MLIS from San Jose State University in 2009. Janet B. Bradford Janet B. Bradford has been a Music and Dance Librarian at BYU since the mid-1980s. She has a BA from BYU in Music Theory and Composition with postgraduate studies in musicology. Her MLS degree is from the University of Illinois, Urbana-Champaign. Janet was raised in Geneva, Idaho, and currently lives in Orem with her husband, Daron, daughter Emily, and their cat, Max. She is also a stepmom to four, grandmother of twelve, and sings in the Mormon Tabernacle Choir. Janet has eclectic musical tastes. Over the past few years she has focused on collecting Mormon music for the BYU library. Lynn Richard Carson Lynn Richard Carson was born in Salt Lake City in 1942. He collects music and recordings about Utah and Mormonism. Lynn composed his first hymn when he was fourteen and has been writing sacred music as a form of private devotion and worship ever since. He has composed more than two hundred hymns, sacred songs, and keyboard pieces, many of which are available for performance. His Hymn “Sabbath Day” is in the LDS Hymnal. He is currently preparing for publication a collection of keyboard music by nineteenth century Utah and Mormon composers. Lynn’s interests include musical practice in the LDS faith, 1830 –1900. He and his wife Pamela are avid Sacred Harp singers and host a shape note singing in Utah in their home on the fourth Tuesday of each month. 70 Robin Scott Jensen Robin Scott Jensen is the associate managing historian and project archivist for The Joseph Smith Papers and coedited the first two volumes in the Revelations and Translations series (published 2009 and 2011, respectively). He specializes in document and transcription analysis. In 2005 he earned an MA in American history from Brigham Young University, and in 2009 he earned a second MA in library and information science with an archival concentration from the University of Wisconsin–Milwaukee. He is now pursuing a PhD in history at the University of Utah. His research interests include book history, revelation manuscripts, early Mormon record keeping, and the history of the Church Historian’s Office. Maggie Gallup Kopp Maggie Gallup Kopp is Curator of Rare Books at L. Tom Perry Special Collections in the Harold B. Lee Library, where she is responsible for the European historical collections and rare British and American literature. She is the curator of the Lee Library’s current exhibit, Victorian Illustrators: from Sketch to Print. She holds an MA from Fordham University and an MLS from the University of Texas at Austin. Robert L. Maxwell Robert L. Maxwell is a regular presenter at the A. Dean Larsen Book Collecting Conference. He is one of the Library’s rare materials catalogers and is curator of the Orson Scott Card Collection. He holds a PhD in Classics from University of Toronto, and a JD, an MA, and an MLS from Brigham Young University. He also received his BA from BYU in French and Latin. 71 Joan Merrell Joan Merrell has been teaching calligraphy for over twenty years around the country and at several international lettering arts conferences. She was on the board of directors and is a past president of the international Association for the Calligraphic Arts. She graduated from BYU and studied further at University of North Carolina at Charlotte as well as having studied lettering with many top names in the field in workshop settings and master classes. She is a codirector of the 35th International Lettering Arts Conference to be held in Utah in 2017. Her work has been carried by several galleries and published in Letter Arts Review, Hand Lettering for Crafts, and others. She received a purchase award from the 9th International Arts Competition of the Church of Jesus Christ of Latter-day Saints. Joan currently lives in Jefferson City, MO and belongs to the St. Louis Calligraphy Guild. www.LetterDesignStudio.com Kohleen Reeder Kohleen Reeder is the Head Conservator of Rare Books and Manuscripts at the Harold B. Lee Library. Her experience with conservation began as an undergraduate student at Brigham Young University where she worked at the Harold B. Lee Library Conservation Lab. Kohleen holds a BA in Visual Arts from BYU, and completed a MA in Conservation Studies at West Dean College in England. She has completed conservation internships at the Frick Art Reference Library, the LDS Church History Library, University of Durham, and the National Library of Scotland. From 2006 to 2008 she worked as a Postgraduate Research Associate in Paper Conservation at the Yale Center for British Art, where she completed a research project and wrote a chapter published in the award-winning exhibition catalogue, Mrs. Delany and Her Circle. Previous to her return to BYU in Spring 2013, she worked for four and a half years as a Book and Paper Conservator at the University of Utah J. Willard Marriott Library. Gregory Seppi Gregory Seppi is a rare book acquisitions specialist at the Church History Library. He earned an MA in the History of Medicine from Oxford Brookes University in 2011, and will begin studying for a Master of Library Science degree in August 2014. He also holds a BA in History from Brigham Young University (2010). Following a successful internship at the Church History Library in 2012, he was hired into his current position in 2013. His research interests include the history of LDS publishing and printing (especially ephemera), contemporary LDS culture, and the history of eugenics. 72 Russ Taylor Russ Taylor has been Supervisor of Reference Services at the L. Tom Perry Special Collections of BYU’s Harold B. Lee Library since 1999. Prior professional work includes fifteen years as a corporate speechwriter, three years as assistant curator of Special Collections at BYU and temporary positions as reference librarian at Mary Washington College (Fredericksburg, Virginia) and Anoka-Ramsey Community College (Coon Rapids, Minnesota), and as a contract library cataloger for Advanced Information Consultants (Minneapolis, Minnesota). To round out his professional career, he has also worked as a bullwhacker and an ox driver for the Minnesota State Historical Society at the Oliver Kelly Historic Farm in Elk River, Minnesota, and at “This Is The Place” Heritage Park in Salt Lake City. Christina Thomas Christina Thomas was first trained as a book repair technician while a BYU student from 2000 – 2004. She later completed the two-year bookbinding program at the North Bennet Street School in Boston. After completing book conservation internships at Haverford College, the Boston Public Library, and the LDS Church History Library, she joined the Harold B. Lee Library staff as assistant to James Fairbourn in 2009. In July 2013 the staff of the Harold B. Lee Library Conservation Lab welcomed her as a Conservator of Rare Books and Manuscripts. Rachel L. Wadham Rachel L. Wadham is the Education and Juvenile Collections Librarian in the Harold B. Lee Library. After completing a bachelor’s degree in sociology from BYU, Wadham obtained her master of library science from the University of North Texas in 1995. She also earned a masters of education in curriculum and instruction with an emphasis in adolescent literature from Pennsylvania State University in 2007. She frequently teaches courses on children’s and adolescent literature and has authored two books and numerous articles in this field. Wadham also serves as board member of the Children’s Literature Association of Utah and is chair of its Young Adult Book Award Selection Committee. 73 No Class No Class Class 10:30 – 11:45 am 1:45 – 3:00 pm 3:15 – 4:30 pm No Class Class Class Class Class Class No Class Class No Class Class Class 9:00 – 10:15 am No Class Library Instruction Room 2233 HBLL Spec Coll Classroom 1131 HBLL LAO Conf Room 2070 HBLL Friends Room 6525 HBLL Location Class Rachel L. Wadham Russ Taylor & Fr. Eric Hollas Maggie Gallup Kopp & Christina Thomas Robert L. Maxwell Presenter Breaking Through the Religion Taboo Devotional Literature Panoramas & Peep Shows Card’s Game Seminar No Class No Class Class Class Music Seminar Room 4420 HBLL Janet B. Bradford & Lynn Richard Carson Utah Art at the Keyboard No Class Class Class Class LIIL Conf Room 2238 HBLL Trevor Alvord ZAP! POW! BAM!: Mormon Comics & Pop Culture Class Class Class No Class 3420 HBLL A.L. Reynolds Room Greg Seppi A Proclamation from the Lord Class Class No Class Class 4739 HBLL Video Conference Room Robin Scott Jenson Beyond the Volumes of the Joseph Smith A. Dean Larsen Book Collecting Conference. L. Tom Perry Special Collections. HBLL 1130. Brigham Young University. Provo, UT 84602. 2014 Conference. Phone: (801) 422-3514. E-mail: libscm@byu.edu. Website: http://lib.byu.edu/adl Project Coordinator: Tom Wells. Designer: SarahThulin. L. Tom Perry Special Collections Harold B. Lee Library Brigham Young University
