Katharine Woods - prize winner
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Katharine Woods - prize winner
- 1. Lizzie Dripping and the Ladies from Sussex: Affective Presence in the Archive Katharine Woods PhD Information Studies, HATII Year 1, Part-time
- 2. Lizzie Dripping „It often looked as if she was telling what most people would call fibs. She wasn't of course. She was just making things up as she went along --- and that is quite a different matter‟ „Lizzie was a very honest fibber.‟ (Cresswell, 1973, pp1-2, p30)
- 3. Ladies from Sussex „I spent a considerable part of each day replying to the letters and was actually glad when, one day, a very rude letter arrived from a lady who lived in Sussex.‟ „no matter where the letters came from, no matter what the sex of the writers might be, Rory [the postman] was always greeted with the words : “Are there any Ladies from Sussex among them the-day, Rory?”‟ (Duncan, 1976, pp75 and 77)
- 4. Affective Presence „There is a deeply affective side to historical work which might not be readily admitted in print but which animates discussions among colleagues and sends historians dashing to archives, pencils sharpened, digital cameras charged, minds racing.‟ „the physical touch of documents is often an essential part of the inspiration that moves a researcher to make a serendipitous discovery--it connects the researcher in a very real way to the period under study. […] the feeling of holding that document has never left me.‟
- 5. Jane Duncan Born 1910, died1976 Lived: Environs of Glasgow, the south of England, Biggar, Jamaica and the Black Isle Attended Glasgow University 1927-1930 and Glasgow Business School Served with the WAAF in WW2, and was commissioned into Photographic Intelligence Did not marry but lived with Sandy Clapperton as man and wife Wrote books to earn a living after Sandy‟s death
- 6. Based on a True Story Seven manuscripts simultaneously accepted for publication by Macmillan Nineteen „My Friends‟ novels Five „Camerons‟ books Four „Jean‟ books Three „Janet Reachfar‟ picture books One autobiographical FAQ
- 7. Readers in Archives „if archives are only for your own family‟s history, for your psychological needs, for your own version of history, and for your own sense of identity, there may not be any room to learn about or identify with others‟ (Little, 2007, p111)
- 8. What‟s the Story? „Along with her worldwide family of readers, we have wondered what is fact, fiction or myth, particularly in the relation of her fictional „I‟, Janet Sandison, to her actual life and self.‟ Hart and Hart (1997, p468)
- 9. Policing the Boundaries „texts that cannot easily be constituted as 'national' texts in their content, theme or style, or writers whose political opinions are not in line with literary nationalism are omitted from the canon – despite its ostensible plurality. This results in a rather one-sided depiction of political views, of the oeuvre of certain authors and of the kind of genres that are considered most representative of the nation.‟ (Preuss, 2011)
- 10. In „History and society merely externalize the sad imperatives of personal growth […] It is the central paradox of elegy: the exploration of loss transforms the lost beloved into a reality of transcendent power; space and time become a new dimension in memory.‟ Hart (1978, p386)
- 11. Out „The most prolific Scottish women writers are those who deal with family life - usually happy - in a couthy, pawky way […] an idealised rural setting, in series such as Jane Duncan‟s Reachfar books‟ (Shepherd, 1980, p53)
- 13. Jane to Janet
- 14. Readers in Books „“The person that hears the story makes it different.” I looked at the boy with admiration. “Sometimes,” I said, “I think that Duncan is the only one in this family who has any real sense. Of course, the person who hears the story or reads the story contributes just as much to it as the person who tells it or writes it.”‟ „In the original script, every other page contained the words „ Dear Reader‟ because I had always liked this direct old-fashioned approach to the reader and I thought it conveyed the thought behind my writing. I write as a friend to a friend who is my dear reader.‟ (Duncan, (1976, 1975)
- 15. Readers in Archives University of Glasgow Library, Special Collections Papers of Elizabeth Jane Cameron (Jane Duncan) MS Gen 1770 MS Gen 1770/A – Published and unpublished manuscripts
- 16. Brown Paper Packages Tied Up With String
- 18. Ask The Expert „interaction, intervention, interrogation and interpretation by creator, user and archivist‟ (Ketelaar, 2005)
- 19. Personal Fonds „Crowded, confused, over-full of memories and associations as my mind was, this was what gave me identity. Without it, I would be a nemo-sign, a non-person‟ (Duncan, 1974, p18)
Notas del editor
- Slide 1: IntroductionThe current working title for my PhD is Lizzie Dripping and the Ladies from Sussex: Affective Presence in the Archive. This is an allusive title, alluding to fictional narratives, which I shall explain during the course of this presentation, and it is these narratives which are used as the instigators and interpretations of archival encounters.
- Slide 2: Lizzie Dripping. Cresswell, Helen, Lizzie Dripping (London, BBC: 1973, reprinted Oxford, Oxford University Press: 2004)“Lizzie Dripping” is the title of a 1973 BBC TV series and book created by Helen Cresswell. Lizzie Dripping is Nottinghamshire slang, a nickname given to the heroine, Penelope Arbuckle, who is someone for whom fact and fiction are inextricably intertwined, manifestations in her everyday world, a reality imperceptible to many of those around her.
- Slide 3: Ladies from Sussex. Jane Duncan, My Friends George and Tom (London and Basingstoke, Macmillan: 1976)The “Ladies from Sussex” is the nickname that the Scottish author Jane Duncan gave to her many fans, after one such lady from Sussex wrote her a letter complaining about the amount of copulation, both human and animal, in Duncan’s books, such things being ‘not one bit nice’.
- Slide 4: Emily Robinson, 'Touching the void: Affective history and the impossible', Rethinking History: The Journal of Theory and Practice, Vol 14, No. 4, December 2010, pp503-520Michael H. Hoeflich, 'Serendipity in the Stacks, Fortuity in the Archives', Law Library Journal, Vol 99, no. 4, 2007, pp813-827Historians such as Emily Robinson and Michael Hoeflich have touched upon the affective nature of the physical encounter with documents in archives, but the affective encounter is seen as being at odds with the production of serious historical research, and having no place in the report of that research.
- Slide 5: Introduction to Jane DuncanJane Duncan is a twentieth-century Scottish author, now much neglected, who is the key exemplar for my exploration of the affective archival encounter. I first started reading her books in my early teens in my local lending library in Sussex, and I have been reading them ever since and collecting them once I was earning enough to do so.
- Slide 6: Based on a True StoryJane Duncan wrote fictionalised versions of her life, which became bestsellers, in various forms, for adults and children, using settings ranging from Glasgow, its university and surrounding towns, the Highlands, border towns, the Thames Valley and Jamaica.
- Slide 7: Readers in ArchivesHannah Little, ‘Archive Fever as Genealogical Fever: Coming Home to Scottish Archives’, Archivaria 64, Fall 2007, pp89-111I have mentioned historians already as being figured as the main protagonists in the archival encounter; genealogists are the other most frequently referenced, and such types of researcher are concerned with grounding stories in facts, the underpinnings for their working and personal lives.
- Slide 8: What’s the Story?Francis Russell Hart and Lorena Laing Hart, ‘Jane Duncan: The Homecoming of the Imagination’,A History of Scottish Women’s Writing ed. by Douglas Gifford and Dorothy Macmillan, (Edinburgh, Edinburgh University Press: 1997), pp468-480):Just as Jane Duncan’s fictional versions of her life were not told in a straightforward chronological progression, neither is the reading of her life a simple matter of mapping fiction to a factual dead end, whether within the archive or outside it.
- Slide 9: Policing the BoundariesStefanie Preuss, ‘Occasional Paper: Now That’s What I Call a Scottish Canon!’, International Journal of Scottish Literature, Issue Eight, Autumn/Winter 2011, available at http://www.ijsl.stir.ac.uk/issue8/preussOP.htmThe boundaries of discussions of archive users have been restricted to historians and genealogists, the search for salient facts separating the archive from the story. Similar restrictions apply to the boundaries of the Scottish literary canon, which have constricted to exclude Jane Duncan.
- Slide 10: InFrancis Russell Hart, The Scottish Novel: A Critical Survey (London, John Murray Publishing: 1978)In 1978, in the critical work ‘The Scottish Novel’, Hart could write about Jane Duncan’s work in terms of transcendence and paradox and elegy, as a Künstlerroman of personal growth, exploring the human condition as it is lived and expressed under the inexorable onslaught of entropy.
- Slide 11:Shepherd, Gillian, "Scottish Women Novelists", Chapman, no. 27-28, Summer 1980, pp50-54Two years later, Jane Duncan’s work is dismissed as being merely ‘couthy’ and ‘pawky’, a nostalgic idyll, unworthy of critical literary attention, becoming unmentionable and outcast, with not even passing acknowledgement in recent companions to Scottish literature.
- Slide 12: Elizabeth to JaneJane Duncan was the pen name for Elizabeth Jane Cameron. This name taken from her own middle name and her father’s forename, distancing the author but still remaining close to the grounds of her identity. Yet it is this pen name that headlines her gravestone.
- Slide 13: Jane to JanetJanet Sandison is the heroine in the 19 book ‘My Friends’ series, in which Janet becomes a writer. The four ‘Jean’ books are published under the name Janet Sandison, and photography links Janet, Jane and Elizabeth in one corporeal form, despite the pseudonymous distancing.
- Slide 14: ReadersJane Duncan, My Friends George and Tom (London, Macmillan: 1976)Jane Duncan, Letter from Reachfar (London, Macmillan: 1975)This composite author incorporates another body with her post-modernist approach to her reader, stating that the reader creates the text as much the author, conceiving and constructing her books as a conversation with her reader.
- Slide 15: Readers in ArchivesSo her reader’s investment in the story of Elizabeth/Jane/Janet turns to her archival presence, one of which is found in her personal archives, now residing in Glasgow University’s Special Collections, currently in the process of being sorted and catalogued.
- Slide 16: Brown Paper Packages Tied Up With StringIn series A, which covers published and unpublished manuscripts, most of the manuscripts were wrapped in paper, labelled and tied with string or tape, a series of presents evoking the author’s presence and a tidiness in organising her personal records that reflects Duncan’s time at Glasgow Business School.
- Slide 17: Order: MS Gen1700/A/1/62In these personal archives, one single manuscript is a haunting three-in-one, a single manuscript that has later dissolved into a trinity of published books closely concerned with Hart’s paradox of elegy, lost and regained. This encounter is an archival exclusive for the Duncan devotee.
- Slide 18: Ask The ExpertEric Ketelaar, ‘Sharing: Collected Memories in Communities of Records’, Archives and Manuscripts, Volume 33, 2005, pp44-61, available as electronic text at http://cf.hum.uva.nl/bai/home/eketelaar/Sharing.doc, accessed on 20 February 2010The depth of the archival encounter relies on a relationship between the creator, the archivist and the user, a dynamic relationship that feeds on itself to create ‘something rich and strange, from decaying papers in boxes and folders, covered with variously coloured markings.
- Slide 19: PersonalFondsJane Duncan, My Friends the Misses Kindness (London and Basingstoke, Macmillan: 1974)On her return from Jamaica, Janet reflects on the “nemo-sign”, the remembered child’s mispronunciation of “Mnemosyne”, the name of the ship in which she travels. The nemo-sign is the absence of identity, of self. Divine memory contained and constructed in the relationship between creator, archiver and user gives rise to an archive of self-identity. This time, it’s personal.
- Slide 20: The Double OuroborosThe ‘sea-change’ which takes place on the journey on the good ship Memory arises from the construction of self in relation to others, using all the experience of encounters within and outside the archive. The story and the facts exist in a constant state of consumption and renewal, a state that is signified by the double ouroboros.