Peter Forster’s Wood Block Prints

In 2011, the independent Oscar Wilde scholar, Merlin Holland graciously donated a set of colored prints and masks entitled “Awful Brevity,” created by Peter Forster to Special Collections. This specific print was used in the 1991 Folio Society edition of Oscar Wilde’s De Profundis. The seven prints found in the collection are perfect examples of the grueling process of creating wood engraved prints. Forster printed them on very light newsprint and then scalpelled out the areas he wished to color, used that mask, inked up the block and then printed it. According to Holland there were likely 10 passes made on the press and the seven prints in Special Collections give an idea of the amount of time and degree of craftsmanship that goes into the wood engraving process.

Forster describes the process on his website as “the most long winded method of making a rather small picture ever devised. One cuts (with special tools) into a lump of box wood (specially manufactured) for hours and hours, then one prints lots of it, then one writes on every print the title, the number of each print in the edition and the date, and then one signs them.”








Forster decided to become an artist while he was in school because he found that he wasn’t good at anything else. He illustrated and jacketed books for various publishers and worked for a graphic design studio in the Department of the Environment. After some time be decided to return to free-lance work and created illustrations in wood engravings and pen and ink for The Times, The Observer, Saatchi and Saatchi, and for The Folio Society. He was also asked by the Royal Mint to design a coin commemorating Gunpowder, Treason and Plot.

If you’d like to see Peter Forster’s wood engraved prints from the Merlin Holland Collection of Peter Forster’s De Profundis Wood Block Prints (2011-037) you can always come see us in Special Collections, located on the 5th floor of McFarlin Library, Monday through Friday, 8:00 am until 4:30pm.

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WWI Reconnaissance Photographs

November 11th, 2018 marks the centenary of the end of World War I. The Great War was one of the deadliest conflicts in history due to new technologies and industrial developments, with a great deal of trench warfare. It is estimated that nine million combatants and seven million civilians died as a direct result of the war, this is in addition to the 50-100 million lives that were lost due to the influenza epidemic.
An important feature of World War I was the use of Aerial reconnaissance. Aerial reconnaissance is reconnaissance for a military or strategic purpose that is conducted using reconnaissance aircraft. The role can fulfill a variety of requirements, including the collection of imagery intelligence, observation of enemy maneuvers and artillery spotting. Reconnaissance aircraft – not fighters or bombers, which remained relatively rudimentary – were the focus of military aviation in the First World War. Allied powers dedicated resources to developing technical capabilities in aerial photography, photo interpretation, and aerial targeting for artillery, as well as a system for disseminating intelligence to commanders in the field. Aerial reconnaissance was arguably one of the most technologically advanced weapons that they had at the time, which was underestimated for a long time. Over time it proved its value by providing the military with imagery hat mapped out the enemy position and revealed the significant defenses that stood between them and the enemy. Aerial reconnaissance was extremely important for the use of trench warfare also, because it revealed to the military personnel the shape of the trenches and the best way to access them without being compromised.
Here at McFarlin library special collections, we have a collection of World War I aerial reconnaissance photographs that contain images that were taken during the Great War. The collection contains 75 aerial photographs of the battlefield that reveals the territory that the battle is taking place in, it reveals the elevations of the ground, and it reveals the trenches that have been dug into the ground. These images are fascinating because they hold rich history from a major component of World War I, without this technology then things may never have turned out the way that they did. However, with advances in technology, the War was able to be won, ending one of the most brutal Wars in recorded history

If you would like to come and visit the WWI aerial reconnaissance photographs (1000.128.1) in person, you can come to the 5th floor of the McFarlin library to special collections. We are open from 8 am -4.30 pm, Monday to Friday. We look forward to seeing you!

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Walt Whitman

In 1952, Tulsa businessman Rush Greenslade and group called the Tulsa Bibliophiles deposited with McFarlin Library a large collection of Walt Whitman books, and ephemera, creating the first ‘rare book room’ in the library.  This was in the north wing of the basement in what had formerly been the men’s locker room.  In 1966, the Bibliophiles formally deeded that material to the University.

The rare book area moved around a bit until the actual current Jack H. and Tybie Davis Rare Book Room was established, and Special Collections began to grow.

In 1984, McFarlin obtained its first Online Public Access Catalog, LIAS (Library Information Access System).  At that time, the Library had 1,441,345 volumes, a majority of which were uncatalogued to judge from the commentary in the old student newspapers.

In Special Collections, a scheme was enacted to help alleviate that problem.  People were assigned to generate “Brief Records”, essentially author/title/publisher and which collection they were affiliated with.  One of these was the Walt Whitman library.

The department cataloger has been upgrading these brief records as she can find time, and she is currently working on Whitman.  This afternoon, she found this unassuming little volume, only to discover it wasn’t a book at all.  It’s a wooden box done up as a copy of Leaves of Grass.  In it are 100 different photographs of Whitman, and of artwork of Whitman.  There is also a photograph of a building, and a few advertisements depicting Whitman, and a few bits of other ephemera.

These will be added to the Walt Whitman ephemera, approximately 1854-1975 and be made available for researchers interested in Walt Whitman.

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Alice in Wonderland: Original Illustrations

Have you ever wondered who originally illustrated Lewis Carroll’s Alice in Wonderland?

John Tenniel created a total of ninety-two drawings for Alice’s Adventures in Wonderland and Through the Looking-Glass and What Alice Found There. Lewis Carroll had originally illustrated Wonderland himself, but had limited artistic abilities. It was suggested that he hire a professional illustrator, so Carroll sought out Tenniel since he was familiar with the illustrators work in Punch. Tenniel was a staple political cartoonist for Punch magazine for over 50 years and in 1893 he was the first illustrator to be honored with a knighthood from Queen Victoria. He was born in Bayswater, London, England on February 28, 1820 and passed away at the age of 93 on February 27, 1914. He studied at the Royal Academy of Arts, but was mainly self-taught since he didn’t agree with the school’s teaching methods. Tenniel was known to be quiet and tried to avoid the limelight as much as possible.

Special Collections has acquired an embossed cut-out paper dolls sheet of the original illustrations drawn by John Tenniel. The sheet includes Alice and Rabbit with multiple outfits and accessories to dress them with. The collection also includes an illustrated pencil tin with Alice, the Mad Hatter, and Rabbit having tea, a rubber stamp, a notched card construction and building set, a card game, and finally my personal favorite, a flip book by E. Rayher featuring the Cheshire Cat disappearing until his smile is all that’s left.

If you’d like to come see the Alice in Wonderland ephemera collection (1000-014), you can always come see us in Special Collections, located on the 5th floor of McFarlin Library, Monday through Friday, 8:00 am until 4:30 pm.

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Dexter Fellows circus collections

The circus was created by a gentleman named Philip Astley who was a former cavalry Sargent-Major in the British Army. Astley established the first official circus in 1782 in Paris, France where they performed the spectacle of impressive physical talents. The first versions of the circus would focus on the skills of the horse rider that would perform equestrian tricks, and this was accompanied by other skills such as gymnastics and balancing acts.
As time progressed, the circus adapted and became more popular to the public eye because of the impressive physical abilities and acts of showmanship that can be witnessed. As the circus grew, so did the acts, with the introduction of the trapeze and exotic animals it added a never seen before element of danger. In 2018 the circus is still very alive and well, although experienced in a very different manner. Companies such as Cirque du Soleil have a become a magnet for audiences all over favorite locations such as Las Vegas and New York, where they manage to sell out tickets on a nightly because of their act. Today you can find many different acts such as the trapeze, juggling, balancing acts and gymnasts, since the first circus show in 1782 the circus has become more prominent than ever expected.
Here at the University of Tulsa McFarlin library special collections, we have a circus collection that can take the viewer back in time to a previous era of circus many may never have seen before. The collection is two large boxes filled with black and white photography of the circus and all the various acts that were associated with this particular circus, quite frankly the material is unbelievable. In the collection, we have documented photographs of acts such as acrobats and jugglers, animal acts with big cats and elephants and a folder that is behind the scenes photography taken at the circus.
An incredibly fantastic image that is in the collection is of five elephants being washed down by men with hoses; this image puts into perspective how many animals and people were required to be moved and taken care of by the circus. There are hundreds of incredible photographs like this one in the collection, from various circus categories covering a large number of activities.

If you are interested in visiting the collection (1979.008.1 & 1979.008.2), come by and visit Special Collections on the 5th floor of McFarlin library, Monday to Friday between 8:00 am – 4:30 pm.

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Negro Directory, approximately 1910

Last week, TU’s Department of Special Collections acquired a list of people’s names, written in pencil in Staple and Fine Groceries account book labeled, also in pencil “Negro directory”.  Many have notations about the person, and often have street addresses. Booksellers description: “Presumed to be late early 20th C. [latest family birth date recorded is 1900]. 48 pages booklet, of which the first 15, and last with penciled entries. 6-1/8″ x 3-5/8″. Commerical booklet, designed to track grocery purchases, with imprint of Tetley’s Teas to front & rear cover. Minor wear & soiling to covers. One leaf, at center, removed.”

So we try a transcription (feel free to skim it)

Page 1

  • [Sun?  Unreadable – crossed out] Aug 14
  • Gilliam Britton/1209 Jones St./odd Husband [meaning]
  • Julia Shannon/1219 Augusta Ave.
  • [Crossed out] Rena Harris in L. G. Bailey/alley ran/Sibley Street between/Telfair and Green

Page 2

  • Laura Addison/337 Sibley Alley/woman who scours (good)
  • Aura Wright (good)/1 John St. (washerwoman)/Take Turpin Hill car/get off at Johns St ‘e keep straight on six street out left bound side to car.  John & Railroad.

Page 3

  • (Crossed out) Minerva Carleton/1224 McKinney St/Call Mr. Crouch at engine house on Granite st. & he will call her.  Washwoman.
  • Anna Binion/1721 McKinney St./Call Wartley(plumber) telephone (Mr. Hatcher’s)
  • (Crossed out) Georgia Mason (force cook) 908 Barnes St.

Page 4

  • (Crossed out) Cana Moore/824 Adams St.
  • (Crossed out) Salina Joseph/1437 R. R. St./used to wash [facrice]
  • Lucinda Williams/1727 Garden St./Take [Mouton fana] car & get off at Marburry bar 4 doors from Marbury and Garden, or

Page 5

  • take Turpin Hill car & get off at Pine St. & go through to Garden.
  • Sam Williams/1471 Reynolds/Carpenter who fixed shed and back [façade].
  • Pinkney Lewis/425 Broad St./Woodsawyer who hid boards under the porch

Page 6

  • Emma Simpkins/1622 Magnolia St./Good wash woman
  • (Crossed out) Eliza Smith/1522 Magnolia St./woman who does hauling for Lou/call Dr. Brown (unreadable)
  • (Crossed out) Cara Smith/1246 Market St./Louisville negro

Page 7

  • (Mr. Keon runs it.) Call [Luquire hom]
  • (Crossed out) Jennie Easterlin/1128 Gordon St./Call Bunnon near/bear salon courier/Marbury & Gordon. 3117 phone number
  • (Crossed out) Sarah Williamson or Scott (used to be)/953 Second Avenue/Turpin Hill car
  • Mrs. Friller’s Sam/1114 Jones St./wife cooks for Mrs. Crawford

Page 8

  • (Crossed out) Mrs. Chandler’s cleaning up woman/Lula Walker/415 Marbury St. between Green and Telfair.
  • (Crossed out) Wash woman/Annette Graham/1116 Reynolds/ (3 names are illegible)

Page 9

  • (Crossed out) (Houts Noch? or House Work)/Mary Sullivan/839 2nd Avenue/Go out Campbell and 2nd street beyond Gwinette is 2nd [avenue]/3 doors from corner Gwinette on 2nd avenue.

Page 10

  • (Crossed out) Wash woman I have [room] (good)/Willis Mims/Meather Married/Hulsa Mims/1011 First avenue/call [yes] Mr. Kirsch/phone round corner/ar
  • (Crossed out) Call 309 Mrs John W. Clark cook hand Hulda (Willie’s mother)

Page 11

  • (Crossed out) Good girl, but quiet and storied./Susie Hover/1317 Campbell St./Tuesday, jAor 7./[accarrynato] to 1316 Bleaux
  • 1458 Broad St. white woman who does curtains, quilts, and blankets.
    (Crossed out) no good/Annie Carpenter/1140 Jackson [btw] Jackson & Gwinette/wash woman/ Miss Della

Page 12

  • Jane Hudson/Antony Street near Magnolia/Good but curious
  • Margaret Bernett/929 Hopkins

Page 13

  • Laucinda [Neilirous]/call phone/Luquire 3144J/(Crossed out) car./Piquet St. & Jordan
  • (Crossed out) Regina Johnson/I think 14 John St./good cook, but lazy.
  • (Crossed out) Lizzie Knox 16 Johns St.  Miss Della’s wash-woman.  Woman next door. Rebecca washwoman.

Page 14

  • (Crossed out) Emma Thomas/ does Mrs. Boatright wash/kin [in] Augusta/phone luc
  • (Crossed out) Ella Harrison/12 or 16 Johns St. Miss Dellas’s Cook & a very good servant.

Page 15

  • Yeargrin Stone/Piquet Avenue/Call Luquire 3144J.

The final page had the following notes:

  • Harvey born, Nov. 13, 1864
  • Ma. Born Oct 13, 1844
  • Lee April 4, 1893
  • Gladys Dec 1, 1900
  • Me. April 16, 1871
  • Ma died May 9, 1914

There are no other identifying marks.  The handwriting is consistent, so it may be assumed that the compiler is the “Me” on the last page.

Based on street names this may be in Augusta, Georgia.  Many of the names appear in the Augusta Federal Census between 1900 and 1930, and quite a number appear at the correct addresses in the 1910 census.

With the assistance of a deeper database than I usually have access to, we quickly determined from first name and birth dates that this family is almost certainly:

  • Compiler, Virginia Wilkie Odom, 16 April 1871 – 2 Jul 1932, previously married to G. Lee White 11 June 1892, he died, and she remarried.  She was a middle class homemaker, who in 1910 resided at 957 Reynolds Street, Augusta, Georgia
  • Husband:  Harvey Orr Odom 13 Nov 1864-24 Jan 1936    Travelling Grocery Salesman (according to death certificate.) 1930 census Comm’l Traveller; 1920 Salesman, Wholesale Grocery;1910 Coml traveler, Grocery Co.; 1900  Drummer
  • Ma: Virginia Hubert Wilkie 13 October 1842 (Headstone) or 1944 (notebook)-17 May (headstone) or 9 May (notebook) 1914.
  • Octavius “Lee” White  4 April 1893-7 Jan 1970 [for some reason took his wife’s name and may be a half sibling]
  • Gladys Odom Ferris  1 December 1900-23 October 1986

So mystery resolved.






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Lance Hidy: Graphic Arts Posters

Graphic designer, Lance Hidy, is best known for his style of printing by creating clean-cut and minimalist posters. His unique designs stand out with their simplistic nature, vivid colors, and hard-edged shapes. Hidy was born in 1964 in LaGrande, Oregon. He studied art and graphic design at Yale University in New Haven, Connecticut.

A few major highlights of Hidy’s career was working with Ansel Adams to design the last book of Adam’s career, Yosemite and the Range of Light, and he continues to design books for the Ansel Adams Publishing Rights Trust. He was commissioned by Adobe to adapt the lettering in his posters into a typeface called Penumbra, which includes a family of 16 fonts. He’s created three different postage stamps for the U.S. Postal Service and posters for the Boston Symphony Orchestra, Acme Bookbinding, and Beardsley’s Restaurant.

His career went beyond designing posters, stamps, and fonts, he’s held faculty positions at multiple Universities, such as the University of Kansas in 1996, where he taught courses in poster design and graphic novels. He is currently a half-time faculty member at Northern Essex Community College in Haverhill, Massachusetts, where he’s teaching courses in Graphic Design II, Photoshop, and Computer Illustration.

The style of printing that Hidy utilizes is commonly known as silk screen printing, but can be known as serigraphy or serigraph printing as well. This printing style first appeared in China during the Song Dynasty (960-1279 AD) and was adapted by other countries creating newer methods of application. To create a screen print a piece of mesh or silk is stretched over a frame. Then, a stencil is created for each color that will appear in the print; each stencil having its own frame. Next, ink is pulled across the frame, which has been placed over a sheet of paper. The ink is then forced through the screen and onto the paper creating a new layer of the print. This process is repeated until all the colors have been applied for each edition of the print.

Special Collections houses 12 posters (three of which are signed and numbered by Lance Hidy), three event posters, two Electric Design posters, one typography sheet, one exhibit program, and seven promotional art cards (1995-023-OVRSZ). If you are interested in viewing Lance Hidy’s work, you can always come see us in Special Collections, located on the 5th floor of McFarlin Library, Monday through Friday 8:00 am until 4:30 pm.

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A Cry from the Middle Passage

The Department of Special Collections and University Archives recently acquired a copy of A Cry from the Middle Passage; or the Act of 1846, and its Effects on the Slave Trade. London: Seeleys, 1850.

To try to explain the importance of this, a bit of historical backstory may be useful.

The United Kingdom was a bit of a late comer to the slave trade in the late 1500s, but by the 1750s they dominated the trade. The number of slaves transported from Africa in British vessels numbered between 2 and 2.5 million people.  The anti-slavery organizations began pushing harder.

Two former slaves: Ottobah Cugoano and Olaudah Equiano, spoke to large gatherings and published books.  Equiano’s An Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African remained in publication until well after his death (The Special Collections copy is from 1813; there is the 1791 on Microfiche, and there are several electronic copies of various editions).

Eventually in 1807, the Parliament formally ended the slave trade — that is the importation of new enslaved people.  In the United States, in the same year, the United States Congress prohibited slave trading by Americans.

It wasn’t until 1833 that the Emancipation Act was passed, although that was limited.  After several revolts, everyone was technically freed in United Kingdom, territories.  Although the reality was that not everyone was freed.  In fact in India, slavery continued until the 1860s.  In Britain’s protectorates and later colonies), the final acts were passed only in 1927 in Sierra Leone and 1928 in the Gold Coast.

The slave trade still persisted.  In the UK, ships were still built and were outfitted, British bankers and insurers still financed them.  Parliament investigated endlessly, and nothing really changed

Then came the British Act of 1846, also known as the Sugar Duties of 1846. This Act equalized the import duty on free-grown and slave-grown sugar.

A Cry from the Middle Passage was a treatise on the state of the slave trade in the late 1840s and the effect on it of the British Act of 1846.  The author carefully documented how rather than slow the trade, it forced the slave traders to shift the selling of slaves in places such as Brazil and Cuba, where the slave trade had either not been abolished or abolition not enforced.

British industry still relied on the slave trade, for example, the growing cotton industry in Lancashire absolutely required the slave produces cotton from the Southern United States.

In the lyrics of the sea chantey Blow, Boys, Blow:

“A Yankee ship come down the river
Her mast and yards they shone like silver

What do you think she’s got for cargo?
Why, black sheep that have run the embargo”

The last slave ship to run the embargo into the American South was the Clotilda in about 1860.

Most copies of A Cry from the Middle Passage had four front pages, 8 preliminary pages, 148 numbered pages, 4 ancillary pages.   Our new copy is dramatically different at 148 numbered pages, plus a 7-page supplement.   More importantly it has been interleaved with approximately 90 blank leaves containing extensive, densely written manuscript notes and commentary on blank leaves pasted in, doubling the size of the printed book.  These meticulously further document the argument of the author of the original, as if preparing the text for a subsequent expanded edition.  Further there are approximately 15 examples of contemporary printed material (mostly extracts from newspapers), and extra-illustrated with two folding plates that reproduce the iconic image of the deck plan of the slave ship Brooks, first engraved in 1789 and lithographed by Day & Son.

As with the author of A Cry from the Middle Passage, who assembled this altered version and then wrote the notes remains unknown.  Internal evidence suggests it could have been Augustus Henry Bosanquet (1792-1877).

This item may be viewed by any scholars or members of the public who would like to visit the department on the 5th floor of McFarlin Library, The University of Tulsa, 8-5 Monday -Friday.


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The James Thurber Newspaper clippings


James Thurber was a man of many talents, somebody that identified as a cartoonist, an author, and an actor. The Thurber clippings collection is currently being processed at the McFarlin Library special collections, where a large number of newspaper clippings from his work in prominent New York newspapers can be found.

James Thurber, born December 8th, 1894 was an American cartoonist, an author, a humorist, a journalist, and a playwright. Much of his best-known work was for his cartoons in the New Yorker as well as short stories in the New Yorker magazine. Mr. Thurber has an impressive record of published material to his name as it is believed that he published at least fourteen books, most notably The Thurber Carnival (1946), Thurber Country (1953) and an extremely popular account of the life of the New Yorker editor Harold Ross. Along with success of his books, Thurber wrote The Male Animal which was a comic drama that found its way on to Broadway in 1939, a project that he worked on with an old college schoolmate Elliott Nugent. More notably a large number of Thurber’s writings were turned in to film adaptions which filled the later period of his life with material and professional success.

Our Thurber collection contains several folders that contain cartoons by Thurber that are fascinating to examine, many of them are followed with witty captions or funny comments made by the characters. Perhaps the most exciting parts of the cartoon collection are Our Natural History, which is a collection of cartoons that relate to the concepts of nature. Thurber tends to draw different varieties of plants and flowers while providing them with unusual names, the same applies to his love for animals where he would draw different mammals and fish and provide them with unusual names. The drawing style of Thurber is exciting, with very simples design schemes he can capture emotion through his simple black line drawings. Another subject that is prevalent in the drawings of Thurber is the interactions and relationships between women, and often a family scene is depicted with a man, a woman, and their dog. These cartoons often show the man with a look of frustration talking to the woman, or the other way around with the woman glaring back at the gentleman, it can be argued that this may be a reflection of Thurber’s personal life where he drew his life experiences through cartoons. Accompanying the cartoons are a series of short stories that have fascinating and unusual storylines which relate to the current climate that Thurber was involved.

In the collection, we have work from Thurber from newspapers such as:
•    The New Yorker
•    The New York Times
•    The Herald Tribune
•    Life

If you are interested in viewing these materials, you can always come to see us in Special Collections, located on the 5th floor of McFarlin Library, Monday through Friday 8:00 am until 4:30 pm.

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Ruth Prawer Jhabvala

Ruth Prawer Jhabvala is the only person to win both a Booker Prize and an Oscar. During her lifetime she wrote a dozen novels, 23 screenplays, and numerous collections of short stories. In 2002, she was granted a joint fellowship by BAFTA with James Ivory and Ismail Merchant. Jhabvala was also awarded the Commander of the Most Excellent Order of the British Empire (CBE) in 1998. She is best known for her collaboration with Merchant Ivory Production, where she won two Academy Awards for Best Adapted Screenplay, for Howards End, 1992 and A Room with a View, 1987. Her novel, Heat and Dust received Britain’s highest literary honor, the Booker Prize.

Jhabvala was born on May 7, 1927 in Cologne, Germany and passed away on April 3, 2013 in New York. She was only 12 years old when her family fled from Hitler and moved to London. In 1951, she received an MA in English literature from Queen Mary College. That same year, she married the Indian architect, Cyrus Jhabvala and moved to Delhi. During her time there, she raised three daughters and wrote novels and tales about her experiences. She moved to the United States in 1975 and became a naturalized citizen. Her last story “The Judge’s Will,” was published in 2013, appearing in The New Yorker.

The Nature of Passion by Ruth Prawer Jhabvala (PR9499 .3 .J5 N37 1956 Undrsz)

Special Collections houses three manuscript notebooks consisting of handwritten drafts of Jhabvala’s short stories (1980-004). It includes “Desecration” and “How I Became a Holy Mother,” the play, “A Lost Cause,” and the novel, Heat and Dust. Notes and draft fragments can be found clipped to pages as well. We also have several of her books, such as Shards of Memory (PR9499 .3 .J5 S33 1996b), Three Continents (PR9499 .3 .J5 T47 1987), and The Nature of Passion (PR9499 .3 .J5 N37 1956 Undrsz). If you are interested in viewing these manuscripts, you can always come see us in Special Collections, located on the 5th floor of McFarlin Library, Monday through Friday 8:00 am until 4:30 pm.

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