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Library Champion Project Demystifying Archives and Manuscripts: A Journey Through the Special Collections

Written by Chloe Cicely Chandler (MA English Literature)

In March of 2019 I somehow found myself within the British Library’s Manuscripts Reading Room with my eyes delighting over the sprawling handwriting within Coleridge’s notebooks. Ever an inspirer of wonder in me, it was magical to see his mind come alive; the thoughts seeming to burst onto the page with frantic imagination. I was especially fixated by Coleridge’s sketches of the Lake District that recorded the walks he had adventured on with his fellow Romantic visionaries: William and Dorothy Wordsworth. I often reflect on the fact that I touched the paper upon which Coleridge had scribed over 200 years ago. Now, it seems as if it were a distant, hazy dream. This was the first ever encounter I had with physical archival research, and one I would never forget. The research was undertaken during my English undergraduate degree for my third-year dissertation on altered states of consciousness in Romantic literature. In addition to Coleridge, I also focused on the writings of Sir Humphry Davy and Thomas De Quincey. This led me to take a separate journey where I also travelled to the Morrab Library in Penzance to learn more about Davy’s poetical and chemical experimentations from the archives in his Cornish hometown.

Both of these experiences were incredibly rewarding and put into perspective what I most enjoyed about studying English literature: that ability to peer into history through the words that individuals have left behind; as if the gap in time between the past and the present has been momentarily suspended. Such opportunities for research were the highlight of my entire degree – they made me feel more connected to the research I was conducting, and encouraged me throughout the difficult process of writing and editing my dissertation – providing my work with a greater sense of purpose.

Out of these explorations, I became very interested in the ways in which I could make the most of being an English MA student at a research-focused university and partake in opportunities to delve into the archives. This academic year, I joined as one of the Library Champions for English. As part of this role, I act as a liaison between library staff and students, passing along feedback, suggestions, and making book requests on behalf of students within my subject area. I had the opportunity to develop a project of my choosing relating to library services. Consequently, I decided it would be valuable to concentrate my project on the Special Collections based at the University of Exeter. Specifically, I wanted to consider the ways in which students could be made more aware of the unique primary resources available to them in order to increase their engagement with the archives during their degree.

Surveying Student Feedback

It was important for me to first gather insight from my fellow peers, so I put together a survey that was open to students from across the disciplines. This survey aimed to get a sense of general student knowledge of the archival services that the university offers, whilst also offering a space to make suggestions for how the Special Collections could be more integrated into the student experience. Although the responses ended up being mainly from Humanities students – with a majority from English undergraduates – their experiential highlights and suggestions were immensely helpful in terms of evaluating the current dialogue between students and the Special Collections.

Of those who had used the archives, their memories were very positive. One student relayed their enthusiasm as such: “I have only accessed the archives as part of a workshop on accessing them and it was really interesting! [The] Staff [were] great and very informative, I will definitely be in touch if there is something I need to access.” Speaking of the online catalogue, a student mentioned how valuable it was for their research: “I loved it, I accessed it almost daily to complete my assignments.” Others recall their use of the archives as: “[an] Intriguing and … exciting experience”; additionally: “I found the archivist very helpful and friendly and enjoyed the experience.”

The main areas that could improve student engagement with the Special Collections, as suggested by those surveyed, related to the following:

– Accessibility: student responses highlighted how the process can appear daunting, whilst other students were less aware of where to begin researching.

– Visibility: students highlighted a need to increase overall awareness of the collections through visual displays and marketing throughout the university. As a fellow student expressed: “I’d love for more people to handle and see these manuscripts.”

Following this initial feedback collection from my student cohort, I wanted to get a more informed perspective of the process behind performing archival research: this required me to find archival works of interest from the catalogue and then arrange a viewing of them.

The Process

As a starting place, the Collection Highlights page is especially helpful as it presents intriguing items within the university’s collection which you can then search for on the Archives catalogue, or use as a springboard for other research ideas. My personal interests for my MA dissertation relate to Romantic and Gothic literature of the eighteenth and nineteenth centuries. I am also interested in kindred areas such as the supernatural and folkloric. From our discussions, the Special Collections team gave me some fantastic suggestions to consider based on these research topics.

Of particular interest to me was the Theo Brown Collection that comes with its own helpful collection guide. Brown was a renowned folklore researcher and Research Fellow within the Philosophy and History Departments at the University of Exeter. Her immense research collection has been in the university’s archive since her death in 1993. Brown had a particular focus on folklore rooted in the South West of England, and, as an individual born and raised here, this sparked my interest. From within the vast collection, I needed to specify particular items, each of which is given a name relating to the overarching topics they contain. I finally decided upon the boxes that covered ‘Fringe Lore and UFOs’, ‘Guising and Hobby Horse’, and ‘Devon and West Country witches and witchcraft’. In addition, there was a fascinating object under the Rare books and maps section that I felt compelled to see as a Gothic researcher: a 1st issue, 1st edition of Bram Stoker’s legendary Gothic novel Dracula from 1897 housed within the Lloyd Collection. This edition is renowned for its strikingly coloured cover. As one of my favourite literary works, I was delighted to hear that the university had such an item available for viewing.

When I went about making my request via the Visiting Heritage Collections webpage, I first had to find the necessary codes for the Collections, which you can search for on the archive database: archival works have a title and MS number; books have a title and call number; journals have a title and volume/issue number. After making my request, I received an email promptly confirming my reading room booking. Before attending my booking, I read up on the handling procedures laid out in the Special Collections handling guide which provided some really useful information about how different types of materials are to be treated. This was practically helpful when I was searching through Brown’s archive as it included an array of different materials, including many pictures, for which I needed gloves. One interesting piece of information which often surprises people is that, in most cases, when handling rare books, it is preferable for you to not wear gloves as this decreases your physical sensitivity to the material itself, making it more likely that you might damage it.

When I arrived at the Old Library on the day, I went over to the Special Collections desk to inform of my arrival. My selected items had already been prepared behind the desk for viewing and were promptly brought out. The items displayed within the Ronald Duncan Reading Room itself were instantly engaging. To one side was a writing desk that had belonged to the much-beloved author Daphne Du Maurier, which came as a wonderful surprise as I was able to sit near it whilst I researched. I had seen one of her writing desks only once before at the Jamaica Inn’s Smugglers Museum on Bodmin Moor. I was also particularly fond of the artworks on the back wall by the artist Leonard Baskin which depicted various birds, including a variety of crows – a favourite Gothic symbol of mine!

I first went about exploring Brown’s items: from memory, a news story she had collected that was immensely intriguing was about a so-called ‘witch bottle’ that had been discovered in a basement. The bottle, under examination, turned out to be filled with a concoction of items that suggested its use in a baneful, magical working, containing nails, human urine, and thorns, amongst other items. Although I had only engaged with a small part of the entire Theo Brown collection, I was amazed by how much was contained within each box and managed to spend the entire afternoon slot searching through an amalgam of pictures, newspaper clippings, and letters – how the time flew by! In light of this, I would suggest to potential Special Collection users to allow themselves ample time to view resources and not try to cram too much into one visit. Rather, take the time to enjoy researching and making notes. And, if needed, return for another visit.

Following this, I handled the 1st edition of Dracula, for which I was given a book snake weight and cushion to use, so that the spine and fragile pages would be supported. I was instantly amazed by the vivid yellow cover that adorned the book. The cover was made even more pronounced by the red lettering that spelt out the book’s title, as if written in blood; very befitting given the contents. There was something strangely modern about the book’s palette of colours that made it feel out of place for the time period in which it was written. The aesthetic choices made about the design seemed to highlight the very alluring nature of the work, presenting the book itself as a kind of fantastical object. I feel incredibly lucky to have been given the opportunity to handle these items from the Special Collection and shall remember the experience fondly.

Call For Archival Research

In recent years, I have found that research of both primary and secondary sources for assignments tends to be confined to online databases. And, although this is undeniably helpful in terms of providing greater access to works from other institutions and aiding in the search for specific terms, I find there is something inherently missing from this experience of research. When you are there in person, there is a certain magic and fascination that can be kindled, which is more difficult to attain through a digitised source. It puts you back in touch with the physical history of these sources – the feel and sensation of them – such things are often lost when searching purely within digitised collections. Whilst at university, we have the unique chance to use these resources which might otherwise be unavailable or more difficult to access were we not students.

I highly recommend my fellow students give the archives a go! You may not have a particular text or subject in mind for your research, which is completely fine; using the archives is actually a fantastic way to discover an area you might be interested in. It also incentivises you to produce more distinctly original research to present to your subject area. The archivists, with their expertise in the collection items, are also on hand to provide helpful suggestions, as they did in my case.

Future Prospects

In response to student feedback, the Special Collections team have been putting these suggestions into practice, such as, updating the website pages to make them more accessible and user-friendly. We are also planning some further collaborative projects to improve accessibility and visibility over the next academic year – so make sure to watch this space!

I would be delighted to hear from my peers: if you have any feedback or suggestions you would like to make with regards to the library services, including the Special Collections or book requests for English, please feel free to contact me at cc725@exeter.ac.uk. For more Library Champion information visit: Find your Library Champion – Library Champions – LibGuides at University of Exeter

Helpful Special Collection links

Main website: Special Collections | Special Collections | University of Exeter

Special Collection Highlights: Highlights | Special Collections | University of Exeter

LibGuides: Home – Archives and Special Collections – LibGuides at University of Exeter

Special Collections catalogue: Home Page (ex.ac.uk)

Handling Guide: Handling Materials – Archives and Special Collections – LibGuides at University of Exeter

Bill Douglas Cinema Museum: http://www.bdcmuseum.org.uk/

Digital Collections: http://specialcollectionsarchive.exeter.ac.uk/collections/

Twitter: https://twitter.com/UoEHeritageColl

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

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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 bequeathed 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

Visiting the archive

Belgrave’s Books

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What sort of books might be read by a young British administrator posted to the Middle East? To celebrate World Book Day, it seemed like an interesting exercise to have a skim through the diaries of Charles Belgrave (1894-1969), who was adviser to the rulers of Bahrain from 1926 to 1957. He wrote in his diary almost every day, and in addition to keeping a record of the day’s events, personal meetings, administrative affairs and official matters, he frequently noted details about books that he had read, or films he had seen at the local cinema (which will probably be the subject of a future blogpost.)

Given the extent of Belgrave’s responsibilities on Bahrain, it is remarkable that he found any time for reading at all. In addition to advising Sheikh Hamed Bin Isa Al Khalifa and his successors on financial and legal matters, he was in charge of the police and the law courts, involved in the setting up of schools and hospitals, overseeing improvements in the island’s infrastructure – such as roads, electrical installations, bridge building and harbour construction – as well as dealing with the nascent oil industry, RAF and naval visits, plus the endless round of social calls with Bahraini merchants, pearl fishers, local dignitaries, British officials, American missionaries and visiting clergy.

In spite of this workload – or perhaps because of it – he devoted time to reading a number of novels, both classic and contemporary. Writing in his diary late at night there was neither time nor space for extensive comments, but often he recorded his impressions in a brief sentence or two. The first book to be mentioned was Major Dane’s Garden (London: Hutchinsons, 1926) by Margery Perham, a romantic novel about a District Officer in Somaliland who tries to use his gardening experiments to improve agricultural practices for the locals. Belgrave had arrived on Bahrain on 31 March 1926 and three months later, on 17 June 1926, he wrote ‘Reading a very interesting book called “Major Danes Garden” about Somaliland, really extremely good, the best novel I’ve read for along while.’ Perhaps he saw something in the idealism of Major Dane that he hoped to emulate in his own work on Bahrain?

Next up was The Constant Nymph (London: Heinemann, 1924), by Margaret Kennedy. Set in the Austrian Tyrol in the 1920s, the novel follows the affairs of various members of an extended ‘Bohemian’ family, particularly young Teresa, or Tessa – the ‘nymph’ of the title – and her romantic fixation on composer Lewis Dodd, who shows more interest in Tessa’s cousin Florence. He probably started reading this straight after Major Dane’s Garden as on Saturday 24 July 1926, he noted: ‘Finished reading “The Constant Nymph” a very unusual book, I liked it.’

Unlike many of his contemporaries in diplomatic circles, Belgrave’s tastes at this time seemed to incline towards some of the more unusual and progressive authors on the literary scene. On 26 June 1927 he recorded that he had just read Crazy Pavements (London: Jonathan Cape, 1927) by Beverley Nichols – the ‘original Bright Young Thing’ according to Obsert Sitwell. This darkly satirical swipe at London socialites of the 1920s predated Waugh’s similar Vile Bodies by three years. Belgrave recorded ‘I liked it, though decidedly “modern”.’

Aldous Huxley’s Point Counter Point (London: Chatto & Windus, 1928) was another novel that mocked the elite social circles of the ‘Twenties, but in contrast to the gossipy tone of Crazy Pavements it was a much more a novel of ideas, in which Huxley used thinly-veiled portraits of figures such as Katherine Mansfield, D.H. Lawrence and John Middleton Murry to explore the complex interaction of various intellectual theories and philosophical questions. Heavy on ideas and thin on plot, it nonetheless intrigued Belgrave: ‘5 June 1929 Just finished reading Point Counter Point by Aldous Huxley, one of the Tauchnitz books, quite one of the queerest, most improper and most amusing, in parts, book that I have read for a long time. I should like to read more of his.’ Tauchnitz were a German publisher who specialised in continental reprints of English literary works, Point Counter Point was published as Vols.4872 and 4873 in their library of British and American Authors: due to its length it required two volumes.

A slightly simpler read was Richard Hughes’s novel A High Wind in Jamaica (London: Chatto & Windus, 1929), which Belgrave finished on 14 June 1930 and ‘liked very much.’ Two months later, on 17 August 1930, his diary records: ‘Am reading Jane Austen again and very much liking it; I find several novels I had not read before.’ He seems to have developed an interest in Austen, and on 18 December 1931 he recounted how his wife Marjorie wore a dress that they had copied from a picture in one of Austen’s novels, along with a large bonnet, fan and hair locket as accessories.

Although the Regency world of Jane Austen was far removed from life in Bahrain, some of Belgrave’s reading clearly resonated with his current experience. Regarding Joseph Ackerley’s account of his appointment as personal secretary to the eccentric Maharajah of Chhatrapur – Hindoo Holiday. An Indian Journal (London: Chatto & Windus, 1932) – he wrote in his diary for 23 September 1932: ‘rather improper but very amusing and in many ways not unlike this place.’ Similarly, with regard to Maurice Collis’s biography Siamese White (London: Faber & Faber, 1936) about Samuel White, a 17th century merchant trader from Bath who ended up as a mandarin of Siam. ‘A most interesting book,’ wrote Belgrave on 25 July 1942, ‘the sort I should like to write myself.’

Other novels that he read were clearly just for escapism and relaxation, although it is evident that he kept up to date with what was being published. On 15 April 1946 he wrote: ‘Read after lunch, an historical novel Forever Amber – very long & rather good. Some are scandalised by it but I can’t see why.’ Kathleen Winsor’s novel about a mistress of Charles II had been published in 1944 and she was then in the process of adapting it into a screenplay for the 1947 movie of the same name, which caused even more of a scandal than her book, earning the ire of Hollywood’s Hays Office. Around the same time he was also working his way through some of Trollope’s ‘Barchester Chronicles’ including The Small House at Allinton (‘excellent reading’) and Framley Parsonage, before returning to more contemporary fiction such as Waugh’s Decline and Fall (20 February 1947). There was light relief in the form of Robert Hichens’ satire about decadent London during the ‘Naughty Nineties’ The Londoners, which he found ‘a very funny book – one forgets that he ever wrote comic stories’ (2 June 1955).

Not all Belgrave’s personal reading was fiction, and his diary entries also records him enjoying works such as William Gaunt’s The Aesthetic Adventure ‘an extremely amusing book…about the arty people of the 90s’ and Anthony Glyn’s biography of his grandmother, the novelist and screenwriter Elinor Glyn.

If anyone is seeking inspiration for reading choices for World Book Day, Belgrave’s diary could provide some ideas!