Processing Ernest Hemingway-related collections
Here's my blog about processing Ernest Hemingway-related collections that is going out on the Clarke's blog. Enjoy.
Hopefully, while you
enjoyed the Ken Burns Ernest Hemingway special you considered how wonderful it
is that these primary sources are preserved and accessible to researchers. This
is possible because of the work and dedication of archivists, like me. Since
2002, I have processed Ernest Hemingway-related materials almost every year,
either documents created by a Hemingway or one of their friends or family
members, or material created about or inspired by them in multiple formats.
Following archival standards, best practices, and theory, I process and
describe collections of permanent historic research value. Processing primary
sources is both a physical and intellectual process.
Ernest Hemingway’s 1923 passport image of 1923 on a cover of New York Times Magazine
First, I archivally
appraise each collection, deciding what to retain and why. Most collections
include peripheral items of limited or no research value, such as miscellaneous
receipts, blank letterhead, and reading material, which I remove.
Next, I archivally process
the collection. If there is an original order to the collection we retain it to
demonstrate how the creator used and created it. I create an easy, usable order
if one does not exist. Context is critical to maintain the integrity of the
collection as a credible primary source. For description, context is also
crucial. I must also understand the relationships between the creator and the collection
and to people documented in the collection; as well how parts of the collection
relate to each other or to other collections, including those in other
institutions.
Ernest Hemingway movie posters in assorted sizes and languages
Describing the collection is
necessary for it to be accessible to researchers. The finding aid is a
descriptive guide to the collection. It includes vital information such as
biography of the creator, physical description of the material, an intellectual
overview of the information, context, and other points such as copyright,
damage, or an allergy note. Copyright adds a layer of complexity that
archivists must understand and document.
Ernest Hemingway material often has complicated copyright.
Once created,
I encode the finding aid, making it Google-searchable online to provide digital
access to the collection. Finally, from the finding aid I create an original
catalog record including subject headings. All of this requires detailed work,
understanding, multiple software programs, templates, and technical skills.
Special formats like film or movie posters require additional knowledge,
description, and housing. The finding aids are accessible at https://quod.lib.umich.edu/c/clarke/
or you can Google Clarke Historical Library finding aids.
A blueprint of Grace Hemingway’s cottage property
The Ernest Hemingway material in
the Clarke includes a wide range of formats, some created by him, his family or
other individuals. Other materials were inspired by him or his work. Material
most directly related to Hemingway himself is usually found in the Ernest Hemingway
Collection, which includes 8 boxes, 9 Oversized folders, 4 reels in 4 film
canisters and 52 framed items.
The second major Hemingway collection,
Hemingway Family Papers,1861, 2006, arrived mostly in large plastic tubs in
2010 and is now housed in 49 archival boxes. Upon opening the first letter to
flatten it, I realized there were additional letters folded inside. The letters
were from several other family members, some written decades earlier than
others. Careful processing was required to keep them together for context. This
was the case for many letters in the collection. Learning about the
relationships between the many Hemingway family and friends in the collection
was necessary. The detailed finding aid for this collection is more than 60
pages long.
A literal wall of processed Ernest Hemingway family papers
Creating the searchable, online finding aid is a complex,
time-consuming task. For example, consider what needed to be done to create the
online description for a single folder containing correspondence written in
1949-1949 to Grace Hall Hemingway from Mrs. J. J. Jepson, Grace’s daughter,
Ursula. While it is easy to write in prose a single line to describe what is in
the folder, digital access requires nine lines of html text, seen below. Only
those of us who encode see the encoded archival description (EAD) finding aid.
The EAD is always much longer than the original finding aid.
<container type="Box" label="Box">2</container>
<container type="Folder" label="F">27</container>
<unittitle>Hemingway, Grace Hall,
Correspondence to Grace Hall Hemingway from: Jepson, Mrs. J. J. (Ursula),<unitdate type="inclusive">1948-1949</unitdate>
</unittitle>
</did>
</c02>
Multiple penmanship styles,
creative spelling, the use of abbreviations, period slang, nicknames, and
internal family phrases, all of which abound in Ernest Hemingway-related
collections and evolved over the years, pose additional challenges to
archivists.
Four Ernest Hemingway-related scrapbooks were digitized by now retired Clarke staff member Pat Thelen, and are available online. I processed the scrapbooks, created catalog records which are also in the digital description, and linked the online digitized material to the catalog records. If you Google Central Michigan University Digital collections and click on Hemingway Family Scrapbooks, you can access the digitized scrapbooks.
I am proud to say that I was the
person who found the Clarke’s first Ernest Hemingway signature in a 1917 high
school memory book of his childhood
friend, Marion Kraft Larson. The signature resides in the collection of her Marion’s
daughter, Virginia Kjolhede. Click https://quod.lib.umich.edu/c/clarke/ehll--kjolhede?view=text to see the Kjolhede online finding aid.
If you have any
questions, please contact me at marian.matyn@cmich.edu.
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