Author Archives: Annie Price

New Resource: A transcript of the letters of John Jarmain (1942-1943)

EUL MS 413/1/147 – Aerogram dated 09 October 1943

The University of Exeter Special Collections is pleased to announce that a full transcript of the wartime letters of John Jarmain (EUL MS 413) to his wife, Beryl Jarmain, is now available to browse on our online Digital Collections platform. This transcript will enable enhanced access, including full-text search, to this collection of unique and deeply personal letters.

We would like to take this opportunity to express our thanks to our student interns, Ruby and Beth, who transcribed the letters; and to Janet Coward, the daughter of John Jarmain, for kindly granting permission for the transcriptions. We are committed to providing access to our collections in many different ways, and hope this new resource will faciliate discovery, use and enjoyment of this archival collection.

The transcript is free to access by everyone here on our Digital Collections platform.

Find out more about students interns Beth and Ruby’s experiences of transcribing the letters of John Jarmain in the blog post: Transcribing the Letters of John Jarmain: reflections on a remote internship project

 

Behind the Scenes at Special Collections: A Week of Work Experience

The new display outside the Ronald Duncan Reading Room

We were delighted to recently welcome Rosie and Scarlett, two Year 12 students from Colyton Grammar School, for a week of work experience at Special Collections. Their task for the week was to create a new display focusing on the Syon Abbey Collection, which involved handling, researching, digitising and curating a selection of rare books and archival items.

The new display is open to everyone and can be found by entering the Old Library on Streatham Campus via the main entrance, turning right at the barriers and walking down the corridor towards Seminar Room A/B. The display is located on the right outside the Ronald Duncan Reading Room.

Scarlett and Rosie have kindly sent us their thoughts and impressions of their week of work experience in Special Collections, which you can read below. We would like to take this opportunity to thank Rosie and Scarlett for their excellent work and wish them every success for the future.

Scarlett’s impressions:

Rosie and Scarlett handling books from the Syon Abbey Library

When I first started work experience at Special Collections, the only time I had seen books older than two hundred years was behind a glass case but by the end of my time I had handled plenty of rare, old books safely.

During my time there I had the opportunity to research extensively and explore their Syon Abbey collection and helped develop a display on it with the other work experience member.

To start with, we began to research Syon Abbey and looked into the vast history of the abbey, its community and the nuns there. As one of the oldest English Catholic communities to continue meeting throughout the Reformation there was much to cover and explore and our research was well aided by the vast collection of such treasured books that brought to life the history of Syon Abbey in our hands.

We also learned how to handle old and delicate books and spent time making sure we would treat them correctly whilst researching. Well accompanied by our book snakes and cushions – tools that help support particularly old books – we began our research.

Installing the new display

To find a starting point, we searched for inscriptions made by the nuns in their books and made note of them. At times handwriting was indecipherable but that difficulty was rewarded with the satisfaction of seeing one nun’s distinctive handwriting or name in multiple books. Their inscriptions ranged from jokes regarding piety, descriptions of nieces getting married or just their own names.

Next, we decided on four nuns to focus on, each of us researching two in great detail for the display. This gave us a wide scope of the abbey as the nuns were from different times and fulfilled different roles for their community. We both created biographies for our nuns which gave a broad overview of what their day to day life would have been like and what they did in the abbey.

Finally, we began putting the last touches together for the display which entailed photographing documents, mounting them on boards and arranging our text and images to create an engaging display.

Rosie’s impressions:

Reshelving books!

I spent the last week with the Department of Special Collections at Exeter University for my Year Twelve work experience, and it was amazing. I was a bit nervous when on the first day, and took a lot of comfort in the fact that one of my friends from school, Scarlett, had the same work experience, but I really shouldn’t have worried. My supervisor for the week was Annie Price, who was absolutely lovely and so helpful, and while I didn’t speak to the other members of the department as much as they were working on their own projects, I still felt so much like part of the team.

Special Collections works with significant historical documents and manuscripts, especially from people who were connected to the South West. For example, there is an extensive William Golding archive – author of Lord of the Flies – , which contains artefacts such as correspondences between Golding and publishers and his friends, as well as the original manuscripts of some of his works, like the Lord of the Flies manuscript.

Scarlett and I, however, were working on the Syon Abbey collection, which involves a great majority of the extensive library of the nuns of Syon Abbey. They had a fascinating history originating in England, traveling around Europe due to external pressures, significantly to Lisbon, and finally returning to England, mainly based in Chudleigh and South Brent, which is where the link to Devon comes in. During our stay, we got to look at and handle books from as far back as the seventeenth century, which was an amazing opportunity. I almost couldn’t believe it! Before we were allowed to handle these precious artefacts, we were trained in the correct way to take the books out of shelves and read them without damaging the spines or the pages. There were a load of things that I had never considered, like what we called book snakes, which are soft weights to hold the pages flat while you read, while not putting oils into the pages like holding it with your fingers would.

Planning the new display

Our task for the week was to create a display about Syon Abbey, so we took quite a few old books and manuscripts out of the library to help us. We went through each book to see which nun had owned each book, and if they had written anything particularly interesting. The majority of them only had a name at the most, but the few that had more were intriguing and occasionally hilarious. My personal favourites of each were, respectively, an account of Napoleon invading Portugal and the subsequent consequences, and one joke about not being able to trick God, but by keeping a religious book she could trick her peers. We narrowed down our options of nuns to research, and chose two nuns each to focus on for the display. I chose Sister Constancia Sorrell – who recorded Napoleon invading – and Lay Sister Mary Gomes – who joked about not being able to trick God.  I think that one of the best parts of the week was constructing the actual display, and seeing the outcome of all our hard work, which I, at least, am very proud of. It felt a bit like being an interior designer, as we wanted the display to be eye-catching and visually appealing while still conveying the interesting things that we learnt in the week, and hopefully getting other people interested in the subject and the monastery. We had to establish a title for the display, and while I’m disappointed that my various nun puns were vetoed, – I was particularly fond of “Nun so Faithful”- I thought that “Her Book” was equally effective, with the reference to how they wrote their names in their books, for example, “Mary Gomes her Book” and also with the extra reference to the “Book” as the Bible.

In the end, the week was so fun and interesting, while also feeling productive and like we achieved something, and I have definitely gained a new respect both for the nuns of Syon Abbey, and for the archivists at Special Collections who work with so many precious artefacts and make them accessible to people like you and me.

I would like to thank everyone who works at Special Collections for being so helpful and welcoming, and especially Annie who made our week there so memorable.

I hope that this has encouraged anyone reading this to think about visiting or researching either Special Collections or the amazing history of the nuns of Syon Abbey.

You can find out more about the Syon Abbey Collection in our blog posts and online guide

 

‘My growing acceptance of myself as a gay man was freeing me as a writer’: A new display about the writer, David Rees

Display of items from the David Rees Collection outside the Ronald Duncan Reading Room

To celebrate LGBT+ History Month in 2022, a new display featuring items from the University of Exeter’s Special Collections has been installed in the Old Library. The display explores themes around sexuality in the David Rees literary papers and book collection, including items such as book covers, manuscript and typescript drafts, and newspaper articles. The display is open to everyone and can be found by entering the Old Library on Streatham Campus via the main entrance, turning right at the barriers and walking down the corridor towards Seminar Room A/B. The display is located on the right outside the Ronald Duncan Reading Room.

David Rees (1936-1993)  

David Rees was an author, lecturer and reviewer, born in Surbiton. Previously married with two children, he came out as a gay man in 1974. In 1968, he moved to Exeter to take up the position of lecturer in Education at St Luke’s College, which merged with the University of Exeter in 1978. He remained at the University until 1984, when he retired early to write full-time. 

Rees was a prolific writer, producing more than thirty works between 1975 and 1993. He also regularly wrote literary reviews and articles for magazines and newspapers, including Gay News and Gay Times. He is best known as a writer of novels for children and young adults.

A common theme in David Rees’ fiction is sexuality, and many of his novels are about the experiences of gay teenage boys discovering and embracing their sexual identity. These novels were noteworthy amongst other young adult books of the 1970s and 1980s in their positive portrayal of gay sex, relationships and love. The novels Quintin’s Man (1976) and In the Tent (1979) were the first books for young adults in the UK to have central gay characters.

‘The Milkman’s On His Way’ by David Rees

In 1987, The Milkman’s On His Way (1982) sparked a nationwide debate on access to gay fiction for young people, after a student complained that the book wasn’t available in their school library. The book was subsequently banned from many school and public libraries in the UK. Due to its positive and detailed descriptions of gay sex, the book was also cited in Parliament during the Section 28 debates in 1988 (Section 28 of the Local Government Act was brought in to ‘prohibit the promotion of homosexuality by local authorities’). However, the archive shows that many other people – including librarians, teachers and young people – also spoke out in support of the book.

Sexuality remained an important theme in David Rees’ later works, many of which were written for an adult audience, including Watershed (1986) and Twos and Threes (1987). In 1985, David Rees was diagnosed as HIV positive. This influenced him to write the novel, The Wrong Apple (1987), a story about a young man who discovers he has AIDS and finds love and support from a new friend. In his autobiography Not For Your Hands (1992), Rees reflected on his experience of coming out in 1974, and the positive impact this had on his personal life and writing career, stating: ‘my growing acceptance of myself as a gay man was freeing me as a writer’.

David Rees lived and worked in Exeter for most of his life, and time and again the city and its history inspired his stories. In 1978, David Rees was awarded the Carnegie Medal for The Exeter Blitz. In his acceptance speech, Rees spoke of the importance of Exeter to his writing, stating: ‘I’m drawn to it, again and again, as to a magnet…I’m glad it’s The Exeter Blitz that has won the Carnegie; it’s a tribute to that other major influence on me, the place where I live and work’. At least six of David Rees’ stories were set in Exeter, including Quintin’s Man (1976), The Ferryman (1977), Risks (1977), The Exeter Blitz (1978), The House that Moved (1978) and In the Tent (1979). 

From 1985, David Rees lived with HIV and AIDS. He continued writing and publishing until 1992. He died in 1993. 

David Rees Collection

Books by David Rees in the Reserve Collection

The University of Exeter Special Collections holds the David Rees Collection, which
includes literary papers as well as Rees’ own copies of his published works. The collection was donated by the Rees Family to St Luke’s Library in 1993. The literary papers include original manuscript and typescript drafts of his novels, short stories, poems, reviews, articles, speeches and interviews; and correspondence, reviews and clippings relating to his works.

The literary papers of David Rees have been catalogued under the reference number EUL MS 271 and can be browsed on the online archives catalogue. 

Books by David Rees are held within our Reserve Collection and are catalogued under the classmark Reserve 828.9/REE-9. You can browse the titles in the library catalogue. 

Items from the David Rees Collection are available for everyone to access, research and enjoy in our reading room.

Further resources 

You can find out more about more the David Rees Collection and other research resources relating to LGBTQ+ history held at the University of Exeter Special Collections in our online guide at: https://libguides.exeter.ac.uk/archives/lgbtq-research-resources 

Newly catalogued: the Maureen Baker-Munton collection of papers relating to Daphne du Maurier (EUL MS 462)

We are delighted to announce that recently-acquired archive material of the novelist Daphne du Maurier has been catalogued and is now available to access for research. The collection comprises literary, personal and family papers that were created or compiled by Daphne du Maurier, and which for many years had been looked after by her close friend, Maureen Baker-Munton. At an auction held at Rowley’s Auction House in Ely on 27 April 2019, items from the collection were sold, and the University of Exeter was successful in purchasing several auction lots. The acquired material complements and expands the already existing collections relating to Daphne du Maurier held at the University of Exeter Special Collections.

Archivist Annie with items from the collection

What makes this material different to some of our other Daphne du Maurier collections are the curatorial elements added by Maureen Baker-Munton. Many of the papers are annotated by Maureen with names, memories or explanations, which not only add extra contextual information about the items, but also provide insight into the close friendship between Daphne and Maureen.

Maureen Luschwitz was born in India in 1922. Following the outbreak of the Second World War, she joined the armed forces in India, through which she met Frederick Browning (more commonly referred to as ‘Boy’ or ‘Tommy’), the husband of Daphne du Maurier. He employed her as his personal assistant and she continued working for him when they returned to England In July 1946. Maureen also became a part-time secretary to Daphne du Maurier, and from this initially work-based relationship, a close and lifelong friendship grew. In 1955, Maureen married Monty Baker-Munton (also referred to as ‘Bim’) with whom she had one child. In the 1970s, Daphne du Maurier asked Monty to be her literary executor and Maureen to be her power of attorney. They supported and cared for Daphne du Maurier until her death in 1989. Maureen Baker-Munton died on 03 January 2013, aged 90. (Source: ‘Maureen Baker-Munton (1922-2013) – a short essay inspired by the sale of her archive of Daphne du Maurier related material’ by Ann Willmore (2019), available at https://www.dumaurier.org/menu_page.php?id=147)

Over the past few months, the collection has been catalogued, with each file or item receiving a unique reference number and a contents description on our online catalogue. This will enable the material to be much more easily searched and accessed for research now and in the future. Although any original arrangement of the material was lost through its sale at auction, our collection of items seemed to naturally fall into the three distinct sections: literary papers, personal papers and family papers. You can find the hierarchy of the collection on our online archives catalogue.

The section of literary papers includes drafts of some of Daphne du Maurier’s novels, short stories and scripts. A particularly interesting item is a manuscript notebook containing plot notes for the novels ‘Le Remplaçant’ [‘The Scapegoat’], ‘The House on the Strand’ and ‘The Flight of the Falcon’. Also included in the section of literary papers is a fascinating assortment of draft poems, which include some written by Daphne du Maurier when she was in her early twenties, as well as others that she wrote in the final decade of her life. Drafts of forewords, articles and essays by Daphne du Maurier are also present, as well as a typescript draft speech written by Daphne du Maurier for Queen Elizabeth II’s Christmas Broadcast in 1957. Intriguingly, some elements of this draft appear to have been incorporated into the Queen’s Christmas message that was broadcast via television. This section also includes papers relating to the lawsuit brought against Daphne du Maurier in the 1940s due to claimed parallels between ‘Rebecca’ and a short story and novel by Edwina Lewin MacDonald. These papers complement an item from another of our collections of material by Daphne du Maurier: the ‘Rebecca Notebook’ (EUL MS 144/1/1/4), which is stamped as having been presented as an exhibit in court in 1947.

The section of personal papers mainly comprises correspondence and items of ephemera. These include a folder of 40 letters written and sent by Daphne du Maurier to Maureen and Monty Baker-Munton between 1947 and 1965. The correspondence in this file covers the period from when Maureen Luschwitz began working as personal assistant to Frederick Browning and as part-time secretary to Daphne du Maurier in the 1940s, through to 1965, by which time the relationship between the du Maurier- Browning family and the Baker-Munton family had developed into a close friendship. The letters from Daphne du Maurier concern a range of personal matters, including daily life, family, friends, travel and health.

The third and final section comprises family papers concerning or created by various ancestors and relatives of Daphne du Maurier. These include original letters from her paternal grandfather, the artist and writer George du Maurier, to his mother, Ellen du Maurier; to his future wife, Emma Wightwick; and to his friend and fellow artist, Thomas Armstrong. Also included within the section are a small number of papers of Muriel du Maurier, née Beaumont, a stage actress and mother of Daphne du Maurier. Daphne du Maurier’s maternal relatives featured very little in our du Maurier collections prior to this accession, so we are particularly pleased that this collection includes papers and photographs of Muriel du Maurier, Muriel’s mother, Emily Beaumont, and her sister, Sybil ‘Billie’ Beaumont. The family papers also include one box of photographs of Daphne du Maurier and her relatives, dating from c 1880s to 1960s.

It has been a great pleasure and a privilege for me to catalogue this collection, and especially to get to know Daphne du Maurier and her friends and family through the form of time travel that only archives enable! The Special Collections team warmly invite anyone interested in working on this collection to get in touch. We look forward to seeing how the collection will be used and the avenues of research it might open up.

Descriptions of all the material in this collection can be browsed via our online catalogue and accessed in our reading room by advance appointment (at least 48 hours’ notice). You can find more information about visiting us and how to book an appointment here. Please note that due to copyright restrictions, photography or copying of the material is not possible without prior permission from the copyright holder.

By Annie Price, Archivist

Transcribing the Letters of John Jarmain: reflections on a remote internship project

Earlier this year, Special Collections launched its first remote internship for University of Exeter students. Unable to run our usual in-person work experience programme, and knowing that another lockdown at the start of 2021 was highly likely, we were pleased to offer an opportunity for students to gain valuable archive experience whilst working from home.

The collection we chose for this remote internship was the Letters of John Jarmain (EUL MS 413). William John Fletcher Jarmain (1911-1944) was a novelist and poet. He served throughout the Second World War as a gunnery officer with the 51st Highland Division during their campaigns in North Africa and Sicily. He took part in the D-Day landing and was killed in action on 26 June 1944. The collection comprises 120 manuscript letters that he sent home to his wife Beryl between June 1942 and November 1943. 

EUL MS 413/1/66 – Aerogram dated 10 March 1943

Digitised images of all of the letters are available to view online through our Digital Collections website, making them ideal for our interns to access and transcribe from home. Once proofread, the transcripts produced by the interns on this project will be uploaded to the website to sit alongside the digitised letters, enabling letters of interest to be more easily identified, accessed and understood.

We would like to take this moment to thank our interns, Beth Howell and Ruby, for their hard work, diligence and enthusiasm for this project. Through a combined effort, they recently completed the transcription of all 120 letters – an amazing achievement! Below you can read their reflections on the project.

Reflections by Beth Howell

Transcribing the letters of a person is always a very involved experience, and working on John Jarmain’s war-time correspondence has proven to be no exception. However, perhaps because Jarmain was so engaged with the process of writing, (often demonstrating himself to be an almost obsessive editor of his own poetry), he always seems to write with a real sense of how his words might be read and interpreted in the future, making his letters a real privilege to read. Though most of his correspondence is addressed to his wife, Beryl, he often appears to imagine a reader beyond her, documenting the world around him with a real sense of capturing the present moment. His letters are therefore not only interesting because of what they reveal about his poetic practice, but also the landscapes he found himself in, the relationships he fostered, and his hopes and anxieties for a future after the war.

My favourite element of Jarmain’s writing, though, was probably the way in which he balanced larger concerns with little details. His ability to find joy in the spaces around him, even though the vision of those landscapes necessarily meant his separation from home (and, of course, were imbued with the ever-present anxieties of potential battles), is really heartening and beautiful to read. He loved birds, and many of his letters are preoccupied with identifying species from a little bird book he bought and carried around with him. (Though I have to say that deciphering rare specimens from his sometimes quite hastily-scribbled writing presented a few challenges- I had certainly never heard of a rufous warbler before!)

EUL MS 413/1/85 – Letter dated 30 April 1943, in which Jarmain writes about birds, including the rufous warbler (highlighted)

I also admired his confidence in informing his wife that he had fallen in (platonic) love with various women during his time in service- including Yone May, the subject of one of his poems. Jarmain presents a tangible picture of contemporary technologies (or quite the opposite), which affect his writing in a very material way- he finds himself scribbling in pencil, writing by candlelight in the wee hours, hastily penning an aerogram when he knows the post is leaving soon. He laments his ability to construct suitable diagrams of views and barracks, continues to marvel at unexpectedly quick postal deliveries, and to agonise when the opposite proves to be the case. His letters are a fascinating and absorbing insight into his life away- checked only by the knowledge that his observations would be tragically cut short. Jarmain died, killed by a fragment of mortar shell, on Saturday 26th June, 1944.

EUL MS 413/1/19 Letter dated 11 October 1942, next to transcript by Beth Howell

Reflections by Ruby

It hardly seems right to call this internship “work”. Work refers to something laborious, something that has to be done, but I found transcribing John Jarmain’s letters delightful. It saddens me that the World War II poets don’t receive the same attention as the World War I poets. Jarmain, though brilliant and sensitive, is far from a household name and does not even have a poetry collection currently in print. This is what makes me so genuinely honoured to have been involved in this project, typing up his letters, so that we can start to make Jarmain’s literature more accessible for more people. I hope that, going forward, people will read these letters and be touched in the same way that I was. 

This internship has shown me that there is a big difference between reading for pleasure and reading to transcribe. Transcribing Jarmain’s letters has forced me to read them carefully, sensitively and attentively. I have had to pay attention to punctuation, names and form which I might not otherwise have paid much attention to. When I’ve read letters from authors in the past, I don’t tend to focus on people who are off-handedly mentioned (cousins, distant friends, colleagues etc.), and only really focus on those they are closest to. However, when writing up these letters I had to pay attention to every name — zooming in to make sure that I got every surname right — and, in doing so, I noticed certain people who popped up time and time again (his friend, Harry, for example). Jarmain’s handwriting also means that it’s easy to mistake a semicolon for an exclamation point. At first glance, his semicolons can look like exclamation points, but when you look more closely, they’re usually not. If I were reading these letters at a glance, I would think that he was just heavy-handed with exclamation points, but this project showed me that he is not, and that he actually uses exclamation points quite sparingly. Over the course of the internship, I became more familiar with Jarmain’s writing style and more attentive to quirks in his handwriting. For example, when writing “a”, he tends to attach it to the word in front (i.e. if he says “a ship”, he will write “aship”). This led to some tenuous guessing at the start of the project; however, I was familiar with this by the end, and found transcribing his letters much easier. 

EUL MS 413/1/14 – Aerogram dated 28 September 1942, mentioning his friend Harry (highlighted)

The internship showed me how important it is to read letters attentively and slowly — to savour them and their images and their kindnesses. This is what Jarmain’s wife, Beryl, would have done, and so we perhaps get closer to the experience of these letters when we read in this way. Having to read Jarmain slowly was probably my favourite part about and, as a consequence of having done this, I feel like I know him better than I otherwise would have done. 

One particularly striking part of Jarmain’s letters is just how little he refers to the actual events of war. He hardly talks about what his troops are doing, and any danger they might be in. Rather, he documents domestic experiences — for example, how he spent his time on leave, or how he goes swimming in the morning before starting work, or a joke told by one of the men. Jarmain separates himself from his identity as the “soldier” and presents himself as a real man, the same husband to whom Beryl waved goodbye. Though this is humbling to see, it also points to the separation between war and home which he documents in his poem ‘El Alemein’. The separation between Jarmain as husband and soldier in these letters makes the dramatic irony of his death all the more upsetting. Reading the letters, I knew that he would never come home and safely settle back into domestic life. In one of his last aerograms (EUL MS 413/1/153), he writes of the Christmas presents he plans to give them, clinging to the possibility that the war will end soon and he will be home with Beryl and Janet-Susan. When the letters abruptly stop, there is no warning and, since he was so secretive about his life as a soldier when writing to Beryl, it seems strangely incongruous that he could have been killed in war. 

EUL MS 413/1/33 – Aerogram dated 8 December 1942: draft of poems ‘For Alamein’

Possibly my favourite parts to transcribe were his descriptions of nature — and, in particular, his descriptions of Italy in his final aerogram (EUL MS 413/1/154): “Away to the right, tier upon tier lit in streaks of sun and shade and clotted with white clustering towns, were the hills of Italy across the strait. In England you cannot imagine such beauty, such a scene”. You can feel the wonder in his voice here and the sheer extent of the view he relays. These nature descriptions are occasionally shown in his poems, but only fleetingly, and I enjoyed reading this different writing style from him. It is also so illuminating to see the poems embedded within these letters because the poems will often refer to images he’s already described for Beryl. For example, in letter one (EUL MS 413/1/1), he writes that he “was struck suddenly by willows, English willows, how they stand in rows like thick-handled powder-puffs, grey-green in the evening”. Then, in a poem in letter two (EUL MS 413/1/2), he writes that the train “Passed willows greyly bunching to the moon”. In this, we can see his poems as snapshots of real, personal experience. Indeed, the fact that they are embedded within letters shows just how intimate and personal they are, which can and should encourage us to read them contextually in new ways. 

Ruby has very kindly recorded herself reading John Jarmain’s first letter (EUL MS 413/1/1). Click on the play button below to listen to the recording. 

Continue reading

Arrival of the Nursing Ethics Heritage Collection

We are delighted to have recently welcomed the Nursing Ethics Heritage Collection into our Special Collections at the University of Exeter.

The heart of the collection is the personal research library of Professor Marsha Fowler. In 1977, Professor Fowler began collecting books to support her research into the development of nursing ethics and the American Nurses Association code of Ethics for Nurses. Many of these key texts were not available to consult in academic libraries. Professor Fowler later gifted the collection to the International Care Ethics (ICE) Observatory at the University of Surrey and, in 2016, the collection was accepted by the University of Surrey for inclusion within its Archives and Special Collections. The Archives and Special Collections team collaborated with Professor Fowler and Professor Ann Gallagher to develop the collection by acquiring further publications and materials concerning nursing, the history of nursing, bioethics, women, religion and health, with titles leading up to the present day. You can find out more about the collection and its development in this blog post by the University of Surrey’s Archives and Special Collections.

Books in the Nursing Ethics Heritage Collection

The decision was made to transfer the collection from the University of Surrey to the University of Exeter due to Exeter’s more wide-ranging courses and specialist research interests in relation to nursing and ethics. In Exeter, the collection will also enhance educational provision and research opportunities in the Academy of Nursing under the leadership of Professor Ann Gallagher (Head of Nursing and Editor-in-Chief Nursing Ethics). In addition, it will complement existing books on nursing and the history of nursing in the Hypatia Collection. You can find out more about the transfer of the collection in this blog post by the University of Surrey’s Archives and Special Collections. We would like to take this opportunity to thank the Archives and Special Collections team at the University of Surrey for their care and development of the collection, and for the safe transfer of the collection to its new home.

A full catalogue of the collection had already been compiled by the Archivist at the University of Surrey. With both organisations using the same cataloguing software (CALM) it has proven to be a fairly simple process to transfer over the existing records into Exeter’s online catalogue. This was a great time saver, meaning that the collection was searchable online just a day or two after its transfer and minimising the time that it was inaccessible to researchers. The online catalogue for the collection can be found here under collection reference EUL MS 472/NEHC. The six main sections of the collection comprise:

EUL MS 472/NEHC/1 – Texts from the nursing ethics heritage period, 1860s-1965

EUL MS 472/NEHC/2 – Texts relating to Bioethics

EUL MS 472/NEHC/3 – Texts and audio visual material relating to nursing bioethics

EUL MS 472/NEHC/4 – Biographical records relating to nurse ethicists

EUL MS 472/NEHC/5 – Histories of nursing ethics

EUL MS 472/NEHC/6 – Contextual publications for medical practice, nursing and ethics

EUL MS 472/NEHC/7 – Codes of ethics for nurses

The collection comprises almost 500 books, periodicals and articles, including works dating from 1888 to editions of ‘Nursing Ethics: An International Journal for Health Care Professionals’ published as recently as 2017. Many of the books contain the names of former owners inscribed within, as well as annotations and underlined words in the text, highlighting their importance in shaping the study and work of nurses. Though predominantly consisting of English-language works, it is wonderful to also find texts in Italian, Dutch, Hungarian, Russian and Japanese within the collection. Some images of items in the collection can be viewed on the slideshow below.

 

Items from the Nursing Ethics Heritage Collection are now available to consult in our reading room by advance appointment. We hope this wonderfully rich collection will support and inspire research into the study of nursing ethics, both here at the University of Exeter and by visiting researchers.

Enquiries about this collection can be made by email to: libspc@exeter.ac.uk.

Cataloguing the Cecil Harmsworth Archive

Following on from cataloguing two very large archives – the Syon Abbey archive and the Common Ground archive – my new challenge in January 2021 was to catalogue a much smaller but no less compelling archive: the archive of Liberal MP, Cecil Bishopp Harmsworth (EUL MS 435).

Archivist Annie Price with diaries in the Cecil Harmsworth archive

Cecil Harmsworth was a politician, businessman and the first Baron Harmsworth of Egham. Born in 1869, his political career was launched when he became the Liberal MP for Droitwich in 1906, a position that he held until 1910. He then went on to become MP for Luton between 1911 and 1922. Between 1915 and 1922, he also held several junior ministerial positions within the British government. In 1939, Harmsworth was elevated to the House of Lords and gained the title of 1st Baron Harmsworth of Egham, Surrey. He was also involved in his family’s media empire, and published several of his own literary works, including ‘A Little Fishing Book’ (1942). In 1911, Cecil Harmsworth bought Dr Samuel Johnson’s house in Gough Square, London, which he restored and presented to the nation in 1929. Cecil Harmsworth married Emilie Maffet, with whom he had three children. He died aged 78 in 1948.

EUL MS 435/2/5 – An election favour in the Liberal and Conservative Coalition colours, made for the General Election in 1918

Cecil Harmsworth had no direct links to South West England (though he visited Exeter and Devon several times during his life, as recorded in his diaries), but when his archive came up for sale at auction in 2008, the University of Exeter’s History department purchased Harmsworth’s extensive diaries, and then subsequently acquired further documents that had remained unpurchased at the original sale. Professor Andrew Thorpe and Professor Richard Toye edited Cecil Harmsworth’s early diaries, which were published in Parliament and Politics in the Age of Asquith and Lloyd George: the Diaries of Cecil Harmsworth, MP, 1909–1922 in 2016. The diaries and accompanying archive material were then kindly deposited with the University of Exeter Special Collections. Though incomplete, the archive includes a fascinating range of papers that provide valuable insight into Cecil Harmsworth’s personal and professional life.

The archive comprises 27 boxes of material created during Cecil Harmsworth’s lifetime, as a well as some papers added by subsequent family members following his death in 1948. It has been catalogued into the following sections: diaries; correspondence and papers; speeches and literary papers; financial papers; legal and property papers; family papers; photographs; printed material; and papers relating to the Cecil Harmsworth archive. You can explore the archive by clicking on the image below.

The highlight of the archive are without a doubt the collection of diaries kept by Cecil Harmsworth between 1900 and 1948. Harmsworth was a keen angler and his diary began as a record of his fishing trips. Following his election as an MP in the House of Commons in 1906, his diaries became increasingly political. Harmsworth’s diaries are full of observations and notes on domestic and foreign policy, parliamentary colleagues, and his political duties as an MP. In addition, Harmsworth lived through several key historical events, including the Easter Rising in Ireland and the First and Second World War. Other notable features of his diaries are descriptions of family life, travel around the world, involvement in the Garden Cities movement, and the restoration of Dr Samuel Johnson’s House in London.

EUL MS 435/1/1/1 – Cecil Harmsworth’s diary for 1900 is the first in the series

The archive also includes five boxes of political, business-related and personal correspondence and papers. These include papers relating to his career as a Liberal MP in the House of Commons, as Parliamentary Under-Secretary for the Home Department under H.H. Asquith (1915), as a member of the Prime Minister’s Secretariat under David Lloyd George (1917-1919), and as Parliamentary Under-Secretary for Foreign Affairs in the Liberal-Conservative Coalition government (1918-1922). This section of the archive also includes a scrapbook which, though only partially complete and containing mostly loose items, provides a fascinating glimpse into life as an MP in the House of Commons in the early 20th century. It includes letters from the Chief Whips, dinner menus, press clippings, and items of ephemera, such as tickets to the opening of the Parliament.

EUL MS 435/2/14 – Scrapbook of items relating to the House of Commons, 1906-1922

Though the archive predominantly comprises material created or compiled by Cecil Harmsworth, it also includes some material relating to other members of his family, including his wife, Emilie. Her name appears regularly in Cecil Harmsworth’s diaries, but I was particularly pleased that the archive also includes some of Emilie’s own papers. These include several files of correspondence, as well as papers relating to her training and qualification as a nurse during the First World War.

EUL MS 435/6/3 – Emilie Harmsworth’s papers relating to nursing

The Cecil Harmsworth archive is now fully catalogued and available to browse on our online catalogue and to access in our reading room.

By Annie Price, Project Archivist

Cataloguing the Common Ground Archive: Project Completed!

I’m very pleased to announce that after two years and four months (extended due to the coronavirus pandemic), the project to catalogue the Common Ground archive has now been completed. The new catalogue descriptions will allow this extensive archive (measuring approximately 125 linear metres!) to be more easily searched, accessed and used. The archive has been arranged into sections, series and files, and descriptions are available for all to browse via our online catalogue. You can explore the new archive catalogue here.

 

Common Ground is an arts and environmental charity, which was established in the early 1980s (founded in 1982 and charitable status gained in 1983) with a mission to link nature with culture and use celebration of the everyday as a starting point for local action. The charity has raised awareness of a variety of environmental issues through its innovative projects, which have involved public participation; the commissioning of new artistic works; the organisation of exhibitions, events and conferences; the launching of new calendar customs; and the publication of books, pamphlets, newsletters, leaflets and postcards. Many of the projects – in particular, ‘Parish Maps’, the ‘Campaign for Local Distinctiveness’ and ‘Apple Day’ – have proven to be highly sustainable, continuing long after Common Ground’s active involvement in them ceased.

The Common Ground archive comprises a wide range of material created and collected by the charity in the course of its activities between 1982 and 2013, including project planning papers, correspondence, reports, financial papers, research material, press clippings, photographs, promotional material, and publications. The largest section of the archive concerns Common Ground’s work on its various projects. These files are organised into sub-sections according to project, reflecting the archive’s original order and the use of the material by Common Ground. However, as many of the projects overlapped chronologically and thematically, some sub-sections relate to more than one project. It is therefore worth browsing the archive both via the hierarchical tree, as well as through an advanced search of the entire archive (enter EUL MS 416 followed by a * in the ‘Ref No’ field and enter a keyword e.g. Parish Maps in the ‘Any Text’ field.

 

For me personally, the aspects of Common Ground’s work that really shine through the archive are project conception, public participation, and engagement through the arts. For each project there are project proposals and project planning notes, which reveal the thought processes and creative ideas behind Common Ground’s projects. The excitedly scribbled questions and ideas on pages of lined paper are particularly wonderful! All of Common Ground’s projects involved public participation to a certain degree, but my favourites are those that invited members of the public to share their own knowledge and experiences. Thousands of letters from people around the UK (and, in some instances, around the world) relating to projects such as the Flora Britannica, Orchard Observances and Parish Maps provide fascinating insight into the relationship between people and the environment. And finally, the archive contains correspondence, photographs and publications relating to Common Ground’s collaboration with artists, sculptors, craftspeople, photographers, writers, poets, playwrights and composers. The directors of Common Ground understood that the arts are an effective means to engage and excite people about their local environment, and made a special effort to work with a wide variety of practitioners, including Peter Randall-Page, David Nash, James Ravilious, David Wood, James Crowden, and Karen Wimhurst.

The Common Ground archive has the potential to be used for research in a wide range of areas, including environmental studies, geography, literature, visual arts, cultural studies, sociology, and business studies. The archive may also be of general interest to anyone keen to know more about environmental issues, arts, culture, or their local area (the archive includes material relating to thousands of towns, cities and villages across the UK). We hope that this cataloguing project will enable the archive to be more easily and effectively accessed and used for research, teaching and pleasure.

To find out more about the different Common Ground projects and the archive material relating to them, you can browse the past project blog posts, or visit our online guide to the Common Ground archive. The online guide has been designed to help you to navigate the archive catalogue, provide guidance on access and copyright, and answer some of your questions. You are also welcome to contact Special Collections by email at libspc@exeter.ac.uk for more information about the archive.

So that just leaves me to say goodbye for now! However, I am delighted to be continuing in my role as project archivist at the University of Exeter Special Collections, where I have already embarked on my next cataloguing project…

By Annie Price, Project Archivist

Cataloguing the Common Ground archive: ‘Trees, Woods and the Green Man’ and ‘Field Days’

The Common Ground archive cataloguing project is now nearing its end and the final two sections of project material – relating to the Trees, Woods and the Green Man project and the Field Days project – have been catalogued. Read on to find out more about these projects and the archive material relating to them.

Trees, Woods and the Green Man

Common Ground started work on the Trees, Woods and the Green Man project in 1986. The aim of the project was to raise awareness of ‘the importance of trees by exploring their aesthetic, spiritual and cultural value as well as their ecological importance’ (King, A and Clifford, S (eds),’Trees be Company’ (1989), p. xi). Throughout the project, Common Ground commissioned works by sculptors, artists, writers, poets and playwrights to explore themes around trees and woods. In 1989, Common Ground won the Prudential Award for Excellence in the Visual Arts for its work on the Trees, Woods and the Green Man project. Common Ground used the prize of £25,000 to commission further sculptural works, including works by Peter Randall-Page. Common Ground also collaborated with sculptors and artists to produce exhibitions about trees and the arts, including ‘The Tree of Life: New Images of an Ancient Symbol’ in 1989 and ‘Leaves’ by Andy Goldsworthy in 1989-1990. Furthermore, the project generated new campaigns and initiatives, such as the campaign to let fallen or damaged trees recover after the ‘Great Storm’ of 1987, and the initiative to develop a new calendar custom called Tree Dressing Day (you can find out more about Tree Dressing Day in our blog post: Tracing the ‘roots’ of Tree Dressing Day in the Common Ground archive). Common Ground produced several publications as part of the Trees, Woods and the Green Man project, including ‘Trees Be Company: An Anthology of Poetry’ (1989 and 2001), ‘In a Nutshell: A manifesto for trees and a guide to growing and protecting them’ (1990), and a special edition broadsheet newspaper ‘Pulp! with contributions from actors, authors, artists and cartoonists (1989)’, as well as a range of leaflets and postcards.

Promotional material relating to the Tree Dressing Day initiative (EUL MS 416/PRO/4/4/1)

Material in this sub-section of the archive includes:

  • files of assorted material relating to the administration of the Trees, Woods and the Green Man project by Common Ground;
  • material relating to the Tree Dressing initiative;
  • material relating to Trees, Woods and the Green Man arts initiatives (including artistic commissions, literary commissions, exhibitions, and events), which include papers relating to Common Ground’s work with artists such as Andy Goldsworthy and David Nash, amongst others;
  • material relating to Trees, Woods and the Green Man publications and promotional material produced by Common Ground, including ‘Trees Be Company’, ‘In a Nutshell’, and ‘Pulp!;
  • press clippings and material relating to publicity of the Trees, Woods and the Green Man project;
  • research material, including general research material about trees, reports and publications produced by governmental and environmental bodies, and research material concerning the Great Storm of October 1987;
  • and photographic material.

You can find the full catalogue description of the Trees, Woods and the Green Man section here or by clicking the image below.

This section of the archive may be of particular interest to anyone researching Common Ground’s collaborations with sculptors, artists, writers, actors, poets and playwrights, as the project involved a large number of commissions. The material relating to the commissions includes correspondence, press clippings, photographs and – in some cases – interviews with sculptors about their work.

There were several personal highlights for me in this section of the archive. I particularly enjoyed a file containing questionnaires completed by local authority tree officers, which gave insight (and some amusing anecdotes!) into common perceptions and complaints from the public about trees. The archive material relating to the Tree Dressing initiative is also fascinating, and includes correspondence, reports, and a large number of beautiful photographs of Tree Dressing events held around the UK in the 1990s. And I was excited to recognise some famous names in this section of the archive! Files concerning Common Ground’s special-edition newspaper ‘Pulp!’ include letters from those invited to contribute to the newspaper, including Victoria Wood, Martin Amis and Germaine Greer.

Field Days

The Field Days project was launched in 1995 to highlight the historical, cultural and social importance of fields, to celebrate their contribution to local distinctiveness, and to encourage people to take a more active role in their conservation. A variety of publications were produced by Common Ground as part of the Field Days project, including postcards, leaflets, pamphlets, and a book entitled ‘Field Days: An Anthology of Poetry’ (1998). A major initiative of the project was to highlight and uncover the variety of field names in the UK, and to encourage people to research, restore and celebrate the field names in their local areas. In July 1996, Common Ground was commissioned by the Department of the Environment to produce a laminated panel exhibition on the subject of Field Days for the Royal Agricultural Show, which was subsequently available for hire. In addition, Common Ground launched a Field Days poetry competition in partnership with Blue Nose Poetry, and collaborated with theatre groups, writers, poets, artists, craftspeople, photographers, and local communities to explore different ways of engaging with the diverse stories a field might tell.

Publications and promotional material produced for the Field Days project (EUL MS 416/PRO/11/2/7)

Material in this sub-section of the archive includes:

  • assorted papers relating to the administration of the Field Days project, including correspondence, project outlines and project planning papers; project reports; funding applications; papers relating to Field Days publications produced by Common Ground, including drafts; papers relating to field names; papers relating to field events; and research material press clippings, and notes;
  • promotional material and publications produced by Common Ground for the Field Days project, including flyers, postcards, leaflets, press releases, pamphlets and books, as well as papers concerning the content, design and printing of publications;
  • papers relating to the Field Days panel exhibition, which was first displayed at the Royal Agricultural Show in 1996 and subsequently went on tour and was available for hire;
  • papers relating to the Field Days poetry competition in 1997, which was organised by Common Ground in collaboration with Blue Nose Poetry;
  • material relating to arts initiatives concerning fields and the Field Days project, including responses from artists interested in being involved in the Field Days project and wishing to be added to Common Ground’s ‘of visual and performing artists, craftspeople and photographers who are interested in expressing and celebrating / documenting the cultural significance of the field in the British landscape’;
  • press clippings and material relating to publicity of the Field Days project, including promotional material, summaries of press coverage, correspondence, and two cassette tape audio recordings of radio interviews;
  • research material relating to fields, including field names and scarecrows;
  • and 18 slide storage sheets containing 35mm photographic slide transparencies relating to the Field Days project.

You can find the full catalogue description of the Field Days section here or by clicking the image below.

In the final few weeks of the cataloguing project, I’ll be looking to make the Common Ground’s general papers relating to administration, correspondence, finance and research more accessible. And I will look forward to writing to you again soon with my final blog post of the project!

By Annie Price, Project Archivist

Why not start your exploration of the Common Ground archive via our online archives catalogue today?

You can also find out more about the Common Ground archive cataloguing project by taking a look back at our previous blog posts

Cataloguing the Common Ground archive: Orchards and Apple Day

Cataloguing Update

Following the announcement of a national lockdown in March, the physical work involved in cataloguing the Common Ground archive had to be temporarily put on hold. Attempting to catalogue an archive from home without access to the physical material was challenging, but I was able to draft out arrangements for the final sections of the archive, and use box lists to create file level descriptions. However, important processes such as repackaging and removing harmful fasteners, as well as labelling and moving files, had to wait. As a result, much of my focus between March and August shifted to promoting the archive, which included the creation of an online guide to the Common Ground archive, which I hope will be a useful resource for users to navigate the archive.

Thanks to an extension to my contract (which had been due to end in July 2020), action was able to return to the Common Ground archive in August! The past two months have been ‘fruitful’ indeed, with two further sections of the archive – relating to Common Ground’s Orchards project and Apple Day project – now catalogued.

Orchards

In 1987, Common Ground began work on the Orchards project, also known as the Campaign to Conserve Old Orchards and Plant New Ones. The Co-Directors of Common Ground, Sue Clifford and Angela King, first became aware of the sharp decline in orchards in the UK whilst conducting research for the Trees, Woods and the Green Man project. They realised that, in addition to the ecological impact, this decline also signified a loss of associated cultural practices. The Orchards project aimed to promote the ecological and cultural importance of orchards, to campaign for orchards to be conserved and planted, and to revive interest in local fruit varieties.

Common Ground’s Orchards project involved a number of different campaigns and initiatives, including ‘Save our Orchards’, ‘Community Orchards’, ‘Apple Day’ and ‘Orchard Observances’. In addition to its own initiatives, the charity also supported other orchard initiatives around the UK. As part of the Orchards project, Common Ground also organised events and exhibitions, and commissioned artistic works, including photographs and sculptures. Several publications relating to orchards were produced by Common Ground, including ‘Orchards: a guide to local conservation’ (1989), ‘The Common Ground Book of Orchards’ (2000), and ‘The Community Orchards Handbook’ (2008).

Publications and promotional material produced for the Orchards project (EUL MS 416/PRO/6/3/9)

Material in this section of the archive comprises: files of assorted material relating to the administration of the Orchards project; material relating to Orchards projects and events; files of correspondence relating to orchards; research material about orchards; press clippings and papers relating to publicity; and photographic material.

The section of the archive relating to the Orchards project was the most challenging to catalogue due to its very large size, as it consists of material stored within 61 lever arch files, 43 box files, 30 ring binders, 23 boxes and 14 magazine files! The number of records that Common Ground compiled during this project reflects how wide-ranging it was and how much it captured the imagination of Common Ground and of the public. Despite being one of the smallest, my favourite initiative created by Common Ground is ‘Orchard Observances’. In 1994, Common Ground circulated a call out to owners and users of orchards in the UK to keep a diary about their orchards, and in particular to make a note of the orchard’s location, age, cultivation, management, tree varieties, and resident and visiting wildlife. The archive contains three files relating to this initiative, including many diary entries sent to Common Ground, which make for fascinating reading.

Apple Day

Apple Day was an initiative to create a new calendar custom based on the apple. The very first Apple Day was organised by Common Ground in the Piazza of Covent Garden on 21 October 1990. In the 20 years that followed, Common Ground took on an advisory role, supporting the increasing number of local organisers around the UK in promoting their Apple Day events, whilst also keeping a record of the development and success of the initiative. In 2010, Common Ground decided that Apple Day had become so well established as a custom that it was capable of continuing without extra support from the charity. Apple Day continues to be celebrated on and around 21 October each year. You can find out more about Apple Day in my previous blog post: Apples and Archives: Getting to the ‘core’ of Apple Day in the Common Ground archive.

Publications and promotional material produced for the Apple Day project (EUL MS 416/PRO/8/4/3)

Apple Day grew out of the Orchards project, but perhaps because Apple Day became such a significant project in its own right, Common Ground arranged the records into two different sections within the archive. Material in the Apple Day section of the archive includes: files of assorted material relating to the administration of the Apple Day project; material relating to the planning of the first Apple Day in 1990; material relating to Apple Day events between 1991-2012; press clippings; promotional material; and photographic material. You can find the full catalogue description for the Apple Day section here or by clicking the image below.

This year marks 30 years since the very first Apple Day was organised by Common Ground in 1990. To celebrate the anniversary, I have filmed a short video featuring some of the Apple Day material in the archive. I hope you enjoy it!

 

The next section of the archive to catalogue is material relating to the Trees, Woods and the Green Man project. If all goes well, cataloguing should be completed by the end of October and my next blog post should appear soon after. I look forward to writing another update for you soon!

By Annie Price, Project Archivist

Why not start your exploration of the Common Ground archive via our online archives catalogue today?

You can also find out more about the Common Ground archive cataloguing project by taking a look back at our previous blog posts.