The C.B.I. Pointie Talkie Number 4 is a fascinating phrase book issued by the US Army Air Force for airmen in the China Burma India Theater in World War II. Containing sections in Chinese, Burmese, French, Annamese, Thai (Siamese), Shan, Lolo, and Lao, the book offers phrases for airmen to point at when trying to communicate with locals. The phrases range from basics like “Where is the latrine?” to pointed questions that reveal the fears and suspicions American soldiers were likely to have in a war zone, such as “Are there any spies around here?” The Pointie Talkie has recently been added to our rare book collections alongside a 1944 Japanese Phrase Book issued by the War Department.
FSU Special Collections & Archives is pleased to add a new chapbook to the John MacKay Shaw Collection of Childhood in Poetry. The History of the House That Jack Built is a popular nursery rhyme told as a cumulative narrative. Starting with “This is the House that Jack built,” each verse adds on to the previous one, creating a delightfully nonsensical, rhyming story. This edition was printed in 1841 by Gustav S. Peters, a notable printer of broadsides who often catered to the German-speaking population of Harrisburg, Pennsylvania and its environs. While many cheaply printed books of the time were colored by hand, if at all, Peters was one of the first printers in America to make color printing commercially viable (even if, as seen above, his colored printing blocks didn’t always register perfectly). This edition printed by Peters is one of several versions of The House That Jack Built that can be found in the Shaw Collection.
Although Paul Laurence Dunbar was only 33 years old when he died of tuberculosis on February 9, 1906, he left behind a lasting legacy of poems, short stories, and novels. The eldest son of former Kentucky slaves, Dunbar published his first poems in his hometown newspaper at the age of sixteen. His first collection of poetry, Oak and Ivy, was published in 1893. While much of his poetry was written in traditional English verse, Dunbar achieved widespread popularity for writing in African American vernacular dialect. Several volumes of Dunbar’s poetry like Poems of Cabin and Field(1899), Candle-Lightin’ Time(1901), When Malindy Sings(1903), and Li’l’ Gal(1904), shown here, featured full-page, black-and-white photographs taken by the Hampton Institute Camera Club, with whom Dunbar frequently collaborated to illustrate his verse. The hundreds of photographs in these books have significant cultural value as representations of rural African American life at the beginning of the twentieth century.
Several volumes of Dunbar’s poetry are included in the John MacKay Shaw Collection of Childhood in Poetry. In his short life, Dunbar spoke with passion, humor, and elegance of the human experience, inspiring later writers such as Maya Angelou, who titled her autobiography after lines from Dunbar’s poem Sympathy:
I know why the caged bird sings, ah me,
When his wing is bruised and his bosom sore,—
When he beats his bars and he would be free;
It is not a carol of joy or glee,
But a prayer that he sends from his heart’s deep core,
The Posthumous Papers of the Pickwick Club, Charles Dicken’s first novel, was published in installments by Chapman and Hall from March 1836 to November 1837. There were 20 parts issued in 19 volumes for a shilling each with 43 engraved plates. The first two parts were illustrated by Robert Seymour, who originally pitched the project to Chapman and Hall as a series of sporting sketches with accompanying commentary. But once Dickens – then known by his pen-nickname “Boz” – came on board the project, Seymour’s role was diminished. Dickens was notoriously hard on his illustrators. On April 20, 1836, Seymour committed suicide. R. W. Buss was brought on board to provide illustrations for the third part, but he was quickly replaced by H. K. “Phiz” Browne, who illustrated the remaining parts and went on to work with Dickens for many more years.
While certainly not the first novel to be published in serialized parts, the Pickwick Club was the first to “go viral,” especially after the introduction of the beloved character Sam Weller. The final double installment of parts 19 and 20 was printed in a run of 40,000, an incredible increase from the 1,000 copies printed for the first part. FSU Special Collections & Archives has recently acquired a complete set of parts of the Pickwick Club in their original wrappers. Parts 9-10 and 12-20 include The Pickwick Advertiser, which are a treasure trove of Victorian era advertisements for everything from toothache remedies to easy chairs. Parts 14 and 19-20 include an additional tipped in catalog for Mech’s cutlery.
These serialized parts nicely complement FSU Special Collections’ copy of the first single-volume edition of the Pickwick Club, printed from stereotypes of the original parts in 1837. FSU’s copy includes a binder’s ticket from “Alexander Miller, Bookseller, Port Street, Stirling” on the lower left-hand corner of the back pastedown. There is evidence of a bookseller named Alexander Miller active in Stirling, Scotland in 1852 and 1865-6. Indeed, ready-bound versions of popular works like the Pickwick Club would have been commonly available for purchase in bookshops like Miller’s in the middle of the nineteenth century. Stop by the Special Collections Research Center soon to look at these and other editions of Dickens’ works!
The Bedford Book of Hours is a lavishly-illustrated early fifteenth century French prayer book made for John, Duke of Bedford, and his wife, Anne of Burgundy. Anne later gave the book to her nine-year-old nephew, Henry VI, as Christmas present. The original manuscript is now in the British Library (Add. MSS 18850). The illustrations were produced in Paris in the workshop of an unnamed artist known to art historians as the “Bedford Master.” The Bedford Book of Hours exemplifies the type of high-end manuscripts produced in secular bookmaking shops for European nobility in the late Middle Ages.
When “Ten Episodes from Naked Lunch” first appeared in The Chicago Review, public outrage over obscenity caused the University of Chicago to suppress its publication. In response, Chicago Review editor Irving Rosenthal founded a new literary journal called Big Table, whose inaugural issue included a reprint of the ten episodes from William S. Burrough’s novel-in-progress. The completed novel was first published in Paris by Olympia Press in 1959.
FSU Special Collections & Archives is pleased to announce that a number of new artists’ books have been cataloged and are now available through our Research Center Reading Room.
Made Up by Ellen Knudson at Crooked Letter Press (2015) – According to artist Ellen Knudson, “Made Up is a non-scientific science book about the imaginary cellular composition of the human body.” Anger, Curiosity, Failure, Fear, Jealousy, Joy, Knowledge, Location, Love, The Past, Success, Talent, Trust, Work – the cells that “make up” a person – are depicted in vivid multiple block linoleum prints. The deluxe edition contains 14 unfolded prints alongside the book in a sectioned clamshell box.
Diagram of Wind : Architectural Book with Poem by Michael Donaghy by Barbara Tetenbaum at Triangular Press (2015) – A letterpress printing of Michael Donaghy’s poem “Glass,” featuring texts and images backed with Japanese silk tissue and set on a wave-shaped wooden platform. The varied shapes and textures create different sounds as the pages are turned.
Soil Dwellers by Emily Van Kley at May Day Press (2015) – Inspired by insects that live beneath the soil, featuring handmade papers dyed and printed through contact with plants, sewn in a double-sided accordion format.
Blocks off the Block by Katya McCullough’s 2009 Block Printing Class at San Quentin State Prison – 23 linoleum cut prints created by 8 members of Katya McCullough’s 2009 Block Printing Class at San Quentin State Prison.
How to Transition on Sixty-Three Cents a Day by Lee Krist (2013) – Artist Lee Krist dedicates this book “to all the people, places, and institutions who helped me transition at such little cost.” It is a non-linear narrative of the artist’s transition from male to female, told through a series of letterpress postcards to the artist’s mother and pieces of ephemera stored in a film canister.
The Fortune Teller by Malini Gupta at Ochre (art + design) (2016) – A cootie catcher fortune teller game and a japanese stab-bound book printed on waxed paper infused with incense. According to artist Malini Gupta, “Through this work I seek to investigate the deeply entrenched gender biases that plague the Indian society… The fortune teller is designed in beautiful patterns to entice the viewer to interact with it but also to camouflage the darkness it holds–the darkness of a child being sexually abused and a family choosing to ignore it.”
FSU Special Collections & Archives is pleased to announce that three new, high-quality facsimiles have been added to our rare books collections and are ready for use in our Research Center Reading Room.
Codex Rustici – an Italian manuscript from Florence (circa 1444) depicting a pilgrimage from Florence to the Holy Land. This codex, currently housed at the Library of the Archbishop’s Seminary of Florence, is famous for its ink and watercolor illustrations of the architecture of early 15th century Florence. It was recently restored and made into a complete facsimile through a grant from Ente Cassa di Risparmio di Firenze, and a video about the codex can be viewed at their website.
Splendor Solis– a sixteenth-century German treatise on alchemy, featuring 19 illuminations of the creation of the philosopher’s stone. It is thought to be the earliest known alchemistic treatise and is an important work for scholars of the history of science.
Officiolum di Francesco da Barberino – a richly illuminated early 14th century Italian manuscript, considered one of the oldest Books of Hours produced in Italy. The original manuscript, thought lost for centuries, is now in private hands and can therefore only be studied through facsimile.