Explore a sampling of this collection consisting of administrative files and zines that focus on social justice and marginalized identities dating from 1974 to 2018. Areas of strength include zines by and about people of color, lesbian, gay, bisexual, transgender and other queer peoples, the disabled, interpersonal violence, sex and relationships, sex work, the prison industrial complex, self-care, feminism and punk.
Titles of particular interest include bluestockings magazine, a Brown University, Providence-based zine that challenges dominant media narratives by centering on communities systematically excluded from those discourses; Muchacha, a Latina feminist fanzine; SPACE (Space in Prison for Creative Arts and Expression), a zine that highlights the voices of incarcerated individuals in Rhode Island; Joyce Hatton’s Think About the Bubbles #8, which chronicles her struggles with cancer as a poor black woman; and Queer Indigenous Girl, a zine highlighting intersectional identities and activism.
Exhibit Dates: September 9 – 30, 2019 Exhibit Time: John Hay Library Hours Exhibit Location: Second Floor Landing, John Hay Library, 20 Prospect Street, Providence
Join the Library and the Department of Theatre Arts and Performance Studies on Monday, September 23, 2019 at 7 p.m. in Martinos Auditorium at the Granoff Center for the Creative Arts for Muriel Miguel: A Retrospective, the 15th Annual Don Wilmeth Endowed Lectureship in American Theatre.
Founder and Artistic Director of New York City’s Spiderwoman Theater, Muriel Miguel will share the fascinating journey from her roots in Brooklyn to her landmark contributions to the contemporary feminist and Indigenous theatre movements in the United States, Canada and around the world. Experience her extraordinary life through stories, photos and video from the last 60 years.
This event is free and open to the public. Registration is not required. A light reception will follow the talk.
Muriel Miguel (Kuna/Rappahannock) is a founding member and Artistic Director of Spiderwoman Theater, the longest running feminist Native American theater company in North America. She has directed and co-written almost all of Spiderwoman’s shows since their first show, Women in Violence in 1976. They have produced over twenty original works for the theatre.
Muriel is a 2018 Doris Duke artist and in 2016, was a John S Guggenheim Foundation Fellow. She has received an honorary Doctorate in Fine Arts from Miami University in Oxford, OH, home of the Native American Women Playwrights Archives. She was awarded a Rauschenberg Residency in 2015 and is a member of the National Theater Conference and the Southeastern Theatre Conference where she received the 2019 Distinguished Career Award.
Muriel studied modern dance with Alwin Nickolai, Erick Hawkins and Jean Erdman. She was an original member of Joseph Chaikin’s Open Theater where she performed in the groundbreaking works: Terminal, The Serpent, Mere Ubu and Viet Rock.
She is a choreographer, director, and actor. She has choreographed Throw Away Kids and She Knew She Was She for the Aboriginal Dance Program at the Banff Centre. She directed Spiderwoman Theater’s Material Witness; The Scrubbing Project with Turtle Gals Performance Ensemble and Evening in Paris with Raven Spirit Dance Company. She has been a dramaturge with Native Earth Performing Arts’ annual Weesageechak Begins to Dance Festival. As an actor, she was the Mary Deity in the off-Broadway hit, Taylor Mac’s Lily’s Revenge. She created the role of Philomena Moosetail in The Rez Sisters, by Tomson Highway, a play that is a seminal work in the development of a First Nations play repertory in Canada. She played Aunt Shadie in The Unnatural and Accidental Women by Marie Clements and Spirit Woman in BONES: An Aboriginal Dance Opera. She has created one woman shows Hot’ N’ Soft, Trail of the Otter, and, most recently, Red Mother. Her latest project is Misdemeanor Dream, which explores the real and the fantastical existence of Native and First Nations tricksters and spirits in the stories, languages and lives of Indigenous people.
She was selected for the Native and Hawaiian Women of Hope poster by Bread and Roses International Union’s Bread and Roses Center and in 2003 was the recipient of the first Lipinsky Residency (feminist-inresidence) at San Diego State University Women’s Studies Department. She has received many awards as a member of Spiderwoman Theater. The Smithsonian Institution’s Museum of the American Indian presented a retrospective exhibit, New Tribe, New York honoring Spiderwoman Theater’s years of work; a Lifetime Achievement Award from the Women’s Caucus for Art and the Otto René Castillo Award for Political Theatre. Spiderwoman Theater received the first Honoring the Spirit Award for Arts and Entertainment from the American Indian Community House.
Muriel was an Assistant Professor of Drama at Bard College. She taught and directed a yearly production at the Centre for Indigenous Theatre (CIT) was Program Director for CIT’s three week summer intensive. She is a pioneer in the development of an Indigenous performance methodology and is active in the training of Indigenous actors and dancers in this culturally based method. She was a Program Director for the Aboriginal Dance Program at The Banff Centre and an instructor there for seven years. Muriel has lectured with Muriel Miguel: A Retrospective and facilitated Storyweaving Workshops in conservatories and universities in the US, Canada and Europe.
Her work has been profiled in numerous articles and essays. The most notable of these are Women in Love: Portraits of Lesbian Mothers and their Families by Barbara Seyda and Diana Herrera and American Women Stage Directors of the 20th Century by Anne Fliotsos and Wendy Vierow. Plays Published: TRAIL OF THE OTTER in Staging Coyote’s Dream: An Anthology of First Nations Drama in English Vol. II & HOT ‘N’ SOFT in Two-Spirit Acts: Queer Indigenous Performances- Playwright’s Canada Press. Publications of Spiderwoman Theater plays: PERSISTENCE OF MEMORY in Performing Worlds into Being: Native American Women’s Thetare -Miami University Press; WINNETOU’S SNAKE OIL SHOW FROM WIGWAM CITY in Keepers of the Morning Star: An Anthology of Native Women’s Theater -UCLA American Indian Studies Centre and REVERB-BER-BER-RATIONS in Staging Coyote’s Dream: An Anthology of First Nations Drama in English -Playwright’s Canada Press.
Don Wilmeth joined the Brown English and Theatre faculty in 1967. He retired as Asa Messer Professor Emeritus, Professor Emeritus of Theatre, Speech and Dance, and Professor Emeritus of English in 2004. The first endowed Wilmeth Lecture was presented in 2005.
To request special services, accommodations, or assistance for this event, please contact Jennifer Braga at Jennifer_Braga@brown.edu or (401) 863-6913 as far in advance of the event as possible. Thank you.
On Friday, September 13, 2019 at 6:30 p.m. at the Brown Faculty Club, celebrate the venerable professor of psychoceramics, Josiah S. Carberry, and enjoy a buffet dinner with recipes from The Carberry Cookbook. Dinner will be followed by a rollicking talk from Richard J. Ring, Deputy Executive Director for Collections & Interpretation, Rhode Island Historical Society.
A cash bar will be available.
The cost to attend the dinner is $45 per person, in advance. Pleaseregister online.
For more information on registration, please contact Phoebe Bean at email@example.com.
The Study Hill Club of Providence
In 1927 a group of Rhode Island bookmen formed a bibliophile club, which was eventually named after the home that William Blackstone (1595-1675), the first European to settle in what is now Rhode Island, built in 1635. Blackstone’s home housed nearly 200 books in several languages, making it the most significant collection in New England at the time. Richard J. Ring will identify the members of the club, what they did in their five years of activity, and explain why the club failed despite the fertile bibliophilic ground of Providence, where significant collections have been assembled by avid collectors and librarians for nearly four centuries.
Brown University Library and The Wall Street Journal
Brown University Library and The Wall Street Journal have partnered to provide school-sponsored WSJ memberships to all Brown University students, faculty, and staff. Through the partnership, readers have complete and personalized digital access to The Wall Street Journal and the WSJ app.
How to activate your complimentary WSJ membership:
Students, faculty, and staff at Brown University can activate their complimentary memberships by visiting WSJ.com/Brown, logging into their school portal, and creating an account on the registration page. Those who currently pay for an existing membership may call 1-800-JOURNAL, and mention they are switching to their subscription provided by Brown University. Partial refunds will be dispersed.
About The Wall Street Journal
The Wall Street Journal is a global news organization that provides news, information, commentary, and analysis. Published by Dow Jones, The Wall Street Journal engages readers across print, digital, mobile, social, and video. Building on its heritage as the preeminent source of global business and financial news, the Journal includes coverage of U.S. & world news, politics, arts, culture, lifestyle, sports and health. It holds 38 Pulitzer Prizes for outstanding journalism.
Examine two prints published in 1819 following The Peterloo Massacre and gain insight into an early 19th-century protest for political reform.
On August 16, 1819, a peaceful crowd of between 60,000 and 80,000 workers gathered in St. Peter’s Fields, Manchester, England, to voice their demands for political reform. Poor economic conditions and the lack of parliamentary representation in the years following the Battle of Waterloo led many textile workers who labored under dreadful conditions in the mills of north-west England, to march into the city to hear various speakers including the well-known radical orator, Henry Hunt. He represented the new political radicalism that was growing in the region, and the city magistrates were eager to quash it before serious problems arose. Shortly after the demonstrators had gathered, the magistrates ordered the Manchester and Salford Yeomanry to arrest Hunt and others who were accompanying him. As they charged into the crowd to carry out this order, they knocked down a woman and killed her child. The mass of demonstrators continued to present a threat, and the 15th Hussars were sent to disperse them along with the yeomanry. With sabers drawn, they charged into the crowd creating massive confusion resulting in the deaths of 18 people.
Exhibit Dates: Aug 1 -31, 2019 Exhibit Time: John Hay Library Hours Exhibit Location: Second Floor Landing, John Hay Library, 20 Prospect Street, Providence
American Revolutionary War Prints London: Hogg, 1790 Brown University Library, Anne S.K. Brown Military Collection
Explore Independence Day from a British point of view. “Engraved for Barnard’s New Complete & Authentic History of England,” this collection of 4 copper-engraved plates after William Hamilton, 1751- 1801 (artist) feature significant milestones from the American Revolutionary War (Apr 19, 1775 – Sep 3, 1783).
Exhibit Dates: July 1 -31, 2019 Exhibit Time: John Hay Library Hours Exhibit Location: Second Floor Landing, John Hay Library, 20 Prospect Street, Providence
90.9 WBUR-FM is Boston’s NPR news station and the home of nationally syndicated programs, including On Point, Here & Now, Only A Game and Car Talk, which reach millions of listeners each week on NPR stations across the country and online. More info.
The John Hay Library Undergraduate Fellowship Program serves to assist Brown students with primary source exploration, inviting them to follow their curiosity, questions, and creativity through self-directed projects focused on an area within the vast special collections resources available within the Library. Working closely with Library staff over 10 weeks, the students will each produce an individual research project, to be presented at a symposium in the fall (date/time TBD).
This summer’s inaugural cohort of John Hay Library Undergraduate Fellows includes:
Alan Mendoza Sosa ’20
Alan will create an experimental queer poetry chapbook inspired by and incorporating elements from the gay pulp fiction collection, the Scott O’Hara papers, the Katzoff collection, and the Smith magic collection. The book will explore themes of gender, sexuality, embodiment, and language, while questioning queer media representation, the social distinction between “high” and “low” literature, and between “academic” and “popular” culture.
Finch Collins ’21
“(Trans)formative Fandom: Trans Studies, Problematic Authors, and Reclamation”
Working with the Caitlin Kiernan papers and the gay pulp fiction collection, Finch will investigate negotiations of queer identity through fandom, examine the extent that fandom can serve as a site of reclamation and identity creation, and consider how utopian thinking on fandom’s reclamatory value might fall short. He hopes to produce a 40-50 page paper as a first step toward an honors thesis.
Evan Kindler ’20
“The John Birch Society in the Trump Era”
Evan hopes to examine Trumpism’s roots in Bircherism by looking at how this far-right extremist group’s agenda has been reflected in Trump’s policies and rhetoric. Evan plans to write and submit a paper to an academic journal as well as possibly produce a creative work.
June 8, 2019 marked the 70th anniversary of the publishing of Nineteen Eighty-Four, the best-known work of author George Orwell (the pseudonym of Eric Blair, 1903-1950). He composed the novel between 1946 and 1948 on the Scottish island of Jura while suffering from tuberculosis. The book was published in to critical and popular acclaim; Orwell died six months later.
Orwell’s original manuscript of the novel was presented to Brown University Library in 1992 by Dan Siegel ’57. Containing nearly half of the published text, the document shows countless corrections and revisions in Orwell’s hand. It is the only one of Orwell’s literary manuscripts that survives; the author destroyed all others.
In his preface to his facsimile of the manuscript, Siegel wrote:
The collective survival of the world’s books and manuscripts is a transcendent act. Without books, knowledge becomes arbitrary, truths are disparate and unrelated. Without books, memory fails. Any collection of books which justifies and confirms only the present truth is, in the wrong hands, or in the long run, dangerous. Regardless of how random any collection might be, its very existence is an indication of a society’s political health. Like one of Charrington’s trinkets, the existence of this manuscript is a good sign.
–Dan Siegel ’57
The manuscript is frequently consulted by scholars and used in class visits to the Library; visitors marvel over Orwell’s handwritten corrections of the novel’s famous first line, “It was a bright cold day in April, and the clocks were striking thirteen,” for which Orwell originally wrote, “It was a cold day in early April, and a million radios were striking thirteen”; as well as the first instances of “newspeak” and “Big Brother is watching you.”