Hope for America

I’ll bet you thought I was about to announce an alternative to fossil fuels, or at least an exciting new political candidate.


No, tonight is the opening reception for a new exhibition in the Bob Hope Gallery at the Library of Congress on which my husband has been working for the past several months. It’s one of many history exhibitions he’s created for the LOC over the years. Hope for America: Performers, Politics & Pop Culture explores the involvement of entertainers in politics throughout the 20th century, often through satirical commentary, sometimes through direct participation. There is also a moving segment on Hope’s work for the USO entertaining troops all over the world, which he did for SEVENTY YEARS. The exhibition features film and television clips and radio broadcasts as well as photos, letters, sheet music, and other artifacts to tell the story.

If you are in the DC area, come visit! I’ll bet you could use a few belly laughs. (This is the cover of the brochure I designed for the exhibit.)


Library of Congress-Part 3

(If this picture is baffling, please see the news story on the Texas school board’s decision to eliminate Thomas Jefferson from its textbooks.)


Continued from Library of Congress–Part 2, May 7th

Spofford proposed a separate building for a library that would equal (or surpass! he suggested temptingly to Congress) the great libraries of Europe. It took about 15 years to hold a design competition and authorize funds, but at last, between 1886 and 1897, an astonishing team of architects, engineers, artists, and craftspeople created the Thomas Jefferson Building, probably the most magnificent structure in Washington, DC, and certainly the most labor-intensive per square inch.

The award-winning design was a building in the style of the Italian Renaissance, “efficient, beautiful, and safe,” and its thoughtful embellishment and finishing—despite a hovering Congress with its eye on the budget—is a suitable tribute to that period of cultural flowering. Stroll through and marvel at the multi-layered ornamentation, in paint, marble, and mosaic, depicting images and figures historical and mythological honoring the higher achievements of humanity: philosophy, natural science, music, art, theology, astronomy, law.

And these many wonders house a collection even more wondrous. Who could have foreseen, on that day in 1800 when John Adams signed the appropriations bill, what would develop from an initial purchase of 740 books and three maps? This is from the Library’s own website:

The Library of Congress is the largest library in the world, with nearly 145 million items on approximately 745 miles of bookshelves. The collections include more than 33 million books and other print materials, 3 million recordings, 12.5 million photographs, 5.3 million maps, 6 million pieces of sheet music and 63 million manuscripts… The Library receives some 22,000 items each working day and adds approximately 10,000 items to the collections daily… In 1992 it acquired its 100 millionth item.

Not only that, but at the Library you will find:

Works in 470 languages. Four Hundred and Seventy.

Newspapers in many of those languages, from all over the world.

Over 5,000 books printed BEFORE 1500, including a Gutenberg Bible.

Library Service for the Blind and Physically Handicapped, with Talking Books and other resources available free of charge.

The Center for the Book, created to promote literacy and reading, with affiliates in all 50 states.

The American Folklife Center, with 4,000 collections of stories, music, and oral history.

An ongoing program of lectures, symposia, exhibitions, concerts, book-signings, films, and tours both general and specific.

The Library of Congress also sponsors the popular annual National Book Festival on the Mall, bringing authors and readers together for readings and discussion.

Whew! And that’s not even all….for the rest of it you must go to the website to discover. Or to the Library itself.

The Library of Congress remains a work in progress, an almost unimaginable organizational, classification, conservation and retrieval challenge. Its evolution from modest beginnings is astounding. It has survived fires, civil and world wars, recessions and depressions, and an international information explosion.

And you, dear Reader, should you manage to make it to Washington, DC, and if you are at least 16 years of age (high school students must show that they have first exhausted their other sources for research) and have a valid identification card, such as a driver’s license: YOU are eligible for a Library of Congress Reader Identification card, and you may pursue your studies, with access to hundreds of years of accumulated knowledge and beauty, in the splendid Reading Room of this marvelous, this amazing, this thank-your-lucky-stars national treasure.


Library of Congress-Part 2

Continued from Library of Congress–Part 1, on April 24th


In its two-plus centuries, the Library of Congress has had a mere thirteen Librarians. They often serve a very long time, a sort of Library Supreme Court Justice. One of them was Archibald MacLeish (1892-1982), whose birthday it is today.

Born in Illinois, educated at Yale with a major in English, and at Harvard Law School, MacLeish might have had a straightforward uneventful law career, with writing and teaching as secondary pursuits, but for having served in the Army in World War I. Perhaps it was this wartime-planted seed that was sprouting when he left his law firm after three years and moved to Paris with his wife. There he spent five years writing poetry and drama and hanging out with the Hemingway-Fitzgerald-Pound crowd.

Well, how do you keep ’em down on the firm, after they’ve seen Paree. Instead of resuming his law practice after returning stateside, MacLeish continued to write, and to work for Fortune magazine. He had been, after all, an English major, and some of them do find employment—look at Garrison Keillor.

The anti-fascist viewpoint expressed in MacLeish’s writing drew the attention of President Roosevelt, who decided to appoint MacLeish as the next Librarian of Congress, over Republican Congressional opposition (“Expatriate!” “Communist!” “Poet!”). Professional librarians weren’t too happy about it either, since MacLeish was a Library World illegal immigrant. Once installed, however, he proved his skills and dedication, beginning with a major administrative reorganization of the rather uneven and semi-catalogued Library, clarifying its collection goals (Where are the holes to be filled?) and acquisitions policies (How can we fill them?), and requesting (and receiving!) a major expansion of Library budget and staff.

MacLeish also brought writers onto Library staff, launched poetry readings, wrote speeches for FDR, and much more which you can read about in detail on the Library’s website. Pretty amazing that he could accomplish all this in his 1939 to 1944 term, move on to serve as Assistant Secretary of State, then follow up with a writing/teaching career, winning Pulitzer Prizes for his drama and poetry, for which he is probably better-known.

The current Librarian, Dr. James Billington, has been a serious advocate of the National Digital Library Program, an ongoing project to digitize resources within the Library of Congress, making them accessible to that part of the world’s population (i.e., nearly everyone) which cannot make a personal visit to the physical Library in Washington, DC. In conjunction with this he proposed the creation of a multilingual World Digital Library, which was launched, with UNESCO, in 2009. Billington is a writer and a Russian scholar with a list of talents, awards, and accomplishments inside and outside the Library that is far too long to include here, but you can peruse his bio on the Library’s website, and then ponder sorrowfully how you yourself have frittered away your allotted time on this earth. Each Librarian brings his (so far it’s only been His) distinctive interests and talents to the post, thus enriching the Library.

Possibly the best known Librarian of Congress—the “Father” of its modern incarnation—is Ainsworth Rand Spofford (served 1865-1897), who increased the Library’s collection dramatically AND acquired for it a new home.

Spofford, born in New Hampshire and homeschooled (homeschoolers take note), was clearly headed for a life among books—avid reader, bookstore clerk, a founder of the Literary Club of Cincinnati, newspaper reporter and editor, and finally Assistant Librarian, then Librarian, of Congress. He managed to get the Smithsonian’s vast library transferred to the Library of Congress, and he persuaded Congress to pass a copyright law of 1870 that centralized all U.S. copyright registration at the Library—huge in itself!—and also required authors to deposit in the Library two copies of every book, map, print, and piece of music registered in the United States. (The copyright protection law extends even to works of foreign origin, with reciprocal protection. But there is apparently nothing the Library of Congress, or anyone else, can do about peculiar Chinese versions of Harry Potter that incorporate Chinese wizards, hobbits, and a belly dancer.) As you might guess, even if you have not a mathematical mind, such a law rapidly increased the Library’s collections.

A terrible fire on Christmas Eve, 1851, apparently due to a spark from an unattended fireplace, had, sadly, destroyed about two-thirds of the Library’s contents, including much of Jefferson’s original library. But the collection had been replenished in the 1850s, and by now the Library was stuffed to the gills. Over its history it had been moved around the Capitol, in and out of various spaces, to accommodate its growth. But the moment had come—the moment that we ourselves experience when we say, “I cannot put one more dishtowel into this kitchen drawer! We need to move!” And Spofford recognized that moment.

Library of Congress–Part 3


Renaissance Man

In the middle of Italy, in the middle of the 15th century, a prosperous Florentine attorney had an assignation with a peasant girl who subsequently became pregnant. Having no intention of marrying out of his class, he nevertheless adopted the child (and married someone else). But it’s doubtful either suspected that their dalliance would produce one of the most extraordinary geniuses of an extraordinary era. Or perhaps of any era. Today is the birthday of that baby, Leonardo da Vinci (1452-1519), and what can I say of this man that hasn’t already been said a thousand times, and much better too? But in respect I devote today’s post to him, along with a sketch I made at a Smithsonian Discovery Theater performance about his life (signed by the actor, Oran Sandel).

The period we call the Italian Renaissance stretched from the 14th to the 16th centuries, when the disposable wealth of a growing middle class helped to fund travel, trade, manufacture, learning and art, and the educated citizen reached back beyond a medieval sleep to rediscover the classical world and open his mind to earth and sky. Leonardo’s life-span fell at the heart of this era. He was not an isolated pheomenon; he was part of a continuum that stretched from Piero della Francesca and Donatello to Michelangelo and Raphael. And yet within this continuum he is remarkable.

Little Leonardo had no formal schooling, but apparently showed an early aptitude for mathematics, music, and drawing, and at fourteen was apprenticed to the artist Andrea del Verocchio. Now, “artist” is a label with a shifting interpretation, and in 15th-century Italy it did not mean a superstar who sat pouring out his heart and his genius before an easel or a block of marble. No, an artist was a bloke whom you hired to manage all sorts of practical and decorative tasks. Verrochio got his start as a goldsmith, and when his work sent him to Rome and he perceived the city’s appreciation of statuary, he said to himself, “Allora—I can do that!” And so he did, creating sculpture in plaster, marble, and bronze, with the occasional bell-casting to keep pasta on the table.

Leonardo was a gifted pupil who studied both artistic and technical skills, working in metal, plaster, leather, and wood as well as paint, and, the story goes, he quickly surpassed his master. At 20 he was admitted to a guild composed of artists, chemists, and physicians (perhaps this made it handy to study anatomy).

He began to receive commissions, and after a few years applied to the Duke of Milan for an appointment, writing that he could design bridges, canals, and buildings; make light and heavy weaponry; create sculpture; and paint. How’s that for a resume? He was hired, and his many tasks included not only those above but decorating palace rooms, creating pageants, and designing costumes for festivals. It seems like a waste of his talents, but one of the most striking and curious aspects of Leonardo was his apparently inexhaustible interest in everything and its effect on his limitless imagination.

The list of his interests is stunning. Of course he was interested in the human face and form in all its positions, moods, and stages of life, from the beautiful to the grotesque, from the skeleton to the fetus to the movement of blood. But he also loved animal life, and all of nature, not just its forms but its structures and functions. He was fascinated by the movement of water, by clouds, by astronomy. He explored the wonders of geometry, optics, color, light, heat, sound, magnetism, geology, fossils, the chemistry of pigments, the flight of birds. He filled thousands and thousands of journal pages with his observations and sketches. He designed (famously ahead of his time) predecessors of the armored tank, the helicopter, the hang-glider.

And, yes, he painted. Probably, although we are aware of his multi-faceted pursuits, we remember him best for his painting. The Mona Lisa. The Last Supper. The Virgin of the Rocks. He didn’t leave us many (and what he did leave is astonishing)—a mere handful of finished paintings and sculptures. Thousands of sketches. And a number of works that are unfinished, or deteriorating because of his use of experimental materials. When we gaze upon his people, living and breathing and thinking and feeling upon the canvas, we might wonder:

What was going on with this artist that he didn’t feel compelled to bring forth a few more amazing works of art?

Was he such a perfectionist that the energy for his approach was limited? (He was famous for—and exasperated his clients with—the preparation, the thought, the hundreds of studies that preceded any final work.)

Was the process more interesting to him than the product?

What’s with all the hobbies? Did he think he was going to live FOREVER, for heaven’s sake?

Near the end of his life, when he was working for the French king François I (designing canals, arranging pageants), he wrote despairingly in one of his notebooks, “I have wasted my hours.” But in another he wrote, “As a day well-spent makes it sweet to sleep, so a life well-spent makes it sweet to die.” I am hoping it is the latter thought that was with him at the end.