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Annotations C ENTRAL U NIVERSITY L IBRARIES AT S OUTHERN M ETHODIST U NIVERSITY • V OLUME IX, NUMBER 1, SPRING 2007 INSIDE The SMU library of the future By Ezra Greenspan Professor and Chair of English Hamon 2Arts’ latest discovery In current context, the title of this article may sound like an allu- sion to the Bush Presidential Library. In actuality, I mean it to apply to the university’s academic libraries. Few institutions on Women’s3 history in campus will play a more vital role in shaping the future of SMU for Washington our students and faculty in the years to come. We live, as we all know, in a period of sweeping changes in 4 human communications, changes that are fundamentally affecting Railroads through the transmission, preservation and accessibility of the written and the lens spoken word. These changes, in turn, are transforming the status and function of professor and student alike: what, where, even how we read and write; what texts we study and in what form they Touring5 Harlan Crow’s library exist; and what shapes our classrooms and libraries take. ~ Let me make a few observations about this emerging situation A filmmaker’s gift from the perspective of the SMU Department of English, which like many of its peers nationally views its relationship with the univer- sity libraries as central and mutually sus- ‘Vanity6 Fair’ at Hamon Arts taining. What we as professors of English From the DeGolyer Library collection: Billie (left) and Stanley Marcus (right) hosted French designer Coco Chanel at a ranch ~ teach, study and explicate is centered in Remembering a party in 1957 before the first Neiman Marcus Fortnight. journalist the printed word and housed largely in the university’s collections of print. This princi- Celebrate Neiman Marcus ple has been understood to be as nearly an Fortnight once more at the From junk7 yard to “eternal verity” as the values that our texts art gallery supposedly communicate. But in this age of State Fair of Texas ~ Welcome new dynamic changes in communications, the he first Neiman Marcus Fortnight in 1957 made the pages of Ezra Greenspan Friends actual situation is more complicated for T Time magazine, where it was described as “Dallas in Wonder- English Department faculty, students and – to fill out the circle of land.” The flagship downtown Dallas store celebrated its 50th 8 relationships – librarians alike. anniversary that year by creating a French extravaganza. Gallic Exhibits and events Definitions of literary culture that could once be set into black- décor, French fashions, perfumes, food and a visit from designer ~ Library directory and-white terms can no longer be. What our faculty mean when Coco Chanel captivated shoppers. Dallas’ first international flight we say “Texan,” “American,” “literature” and “culture” is less clear landed at Love Field for the occasion – an Air France jet filled with than in past generations. Nor can we as simply identify the mate- French dignitaries, designers, writers and artists. rial embodiment of these constructs, which may come as readily in For the next 29 years Neiman Marcus Fortnight became one of electronic as in printed or scribal form; in film, photograph, musi- the most important events in Dallas, bringing the culture, products cal score, manuscript or periodical as in the printed book. and celebrities from more than 30 countries to the city, says Anne Amid all this change, we retain one core expectation: whatever Peterson, curator of photography at DeGolyer Library. “Mention our operating definitions of literature and culture and whatever Neiman Marcus Fortnight to any Dallas woman over 40 and her forms our texts take, we all look to the university library as the eyes light up.” central repository and/or mediator for support of our scholarship Items from DeGolyer’s collections will be used this fall to cele- and teaching. Neither that expectation nor the situational arrange- ment on which it is based seems likely to change any time soon. brate the 50th anniversary of Fortnight and the 100th anniversary continued on page 2 1 Annotations Fortnight continued from page 1 formed the main store floor into an English manor hall for the 1967 British Fortnight. And an elephant created from fuchsia orchids stood near the elevators at the 1969 East meets West Fortnight. “Fortnights are done with a very theatrical point of view,” said Colt in 1984. “It’s not display, interior design or anything like that. Fortnight design has a whole stamp of its own. It’s an experience, and it’s just the same as when the curtain goes up on a show.” Fortnight was much more than a grand display. “People didn’t travel in 1957 like they do now. Fortnight brought the world to Dallas,” Peterson says. The State Fair exhibit will include photos of Monaco’s Princess Grace and Prince Ranier, Sophia Loren, Estée Lauder, Joan Craw- ford and Britain’s Princess Margaret at the annual Fortnight galas. “Fortnight was a cultural event as well as a marketing event,” said Marcus in an interview before the 1984 British Fortnight. “I The downtown Dallas Neiman Marcus elevator bay design, was very insistent about bringing in folk art, music, dancers, inspired by ancient Greek architecture, was created by Alvin Colt for the 1982 Odyssey: Greece, Yugoslavia, Italy Fortnight. paintings and other things that we wouldn’t sell but that would help educate the public. I think that’s a very essential part of Fortnight.” of Neiman Marcus at the State Fair of Texas from September 28 to Neiman Marcus’ Plaisance won’t try to re-create Fortnight at October 21. DeGolyer houses the papers of the late legendary the exhibit this fall, but visitors can expect to experience its retailer and Fortnight creator Stanley Marcus and Alvin Colt, the grandeur. Tony Award-winning New York costume and set designer who cre- “It will be very powerful, I promise you that.” ated the Fortnight displays. The State Fair exhibit at the Hall of State will use DeGolyer col- lections to capture the essence of Fortnight with videos, photo- graphs, posters, drawings and a video interview with 91-year-old HAMON ARTS DISCOVERY RAISES Colt, says Bill Plaisance, senior designer at Neiman Marcus and designer of the exhibit. A longtime supporter of SMU, Marcus donated his papers in 1993 to DeGolyer. More than 400 boxes “I was very insistent about of correspondence, photographs, newspa- bringing in folk art, music, per clippings and posters are included in dancers, paintings and other the collection. Colt gave 550 Fortnight drawings and nearly 1,000 photographs things that we wouldn’t sell along with blueprints and elevations to but that would help educate the DeGolyer the same year to complement the public. I think that’s a very Marcus collection. In 1957, Marcus, then president of Neiman essential part of Fortnight.” David Garrick as Richard III, based on the painting by Marcus, created Fortnight partly to offset the William Hogarth, and (below right) Laura Addison as Imogen — STANLEY MARCUS pre-Christmas sales slump. Fortnight soon in Cymbeline generated more sales at the downtown Dallas During the 1800s – long before there were stars in Hollywood or store than the holiday season and was copied throughout the retail bright lights on Broadway – actors and actresses struggled to improve world. In 1963 Marcus recruited Colt, who created opulent displays their image. for the next 23 years. In Britain and America, that meant they performed the “respectable” Under Colt’s direction, a live bull was displayed in the china plays of William Shakespeare, says Associate Professor of Theatre Michael Connolly, and to supplement low wages, they sold prints of shop for the Spain Fortnight of 1980, and a crocodile splashed in a themselves in character as souvenirs during a show’s run. pool outside the Lacoste shop at the French Fortnight. Colt trans- Nineteen of these souvenir cards recently were discovered in the Hamon Arts Library’s McCord/Renshaw Collection on the Performing Arts. They depict prominent actors of the day – such as E.L. Davenport and Forbes Robinson – in roles in Julius Caesar and King Henry IV, among others. 2 Annotations Gaining fresh perspectives on the past in Washington embers of the Libraries Executive Board past Mand present and the Archives of Women of the Southwest Advisory Board recently were given a his- toric perspective of “the American woman” in the nation’s capital. Board members gathered for their annual meet- ing in February, along with guests from the Archives, and were given a “The Library of Congress behind-the-scenes look at the staff assembled an impressive Library of Congress’ Manu- range of treasures to help script Division, where they demonstrate the remarkable learned about collecting, pre- serving and making accessible From left: Juli Harrison, Sandy Kraus, Jack Kinsey, Becky Schergens, contributions women have women’s history. Among the Arlette Cranmer, Dominique Inge, Bonner Allen, Ruth Morgan, Andrea Luttrell, made to the history of America.” Gillian McCombs, Janis Cravens, Mark Nerio, Ludwig Michael, Anne Brabham, more than 50 million items held Carmen Michael and Jackie McElhaney wrap up their trip to Washington. — DOMINIQUE INGE in the Manuscript Division are the papers of Susan B. Anthony, women have made to the history of America,” said Libraries Margaret Sanger and the National American Woman Suffrage Executive Board member Dominique Inge. “For me, the reading of Association. selections from the diary of Clara Barton, founder of the American “The Library of Congress staff assembled an impressive range Red Cross, was a particularly moving experience – such large emo- of treasures to help demonstrate the remarkable contributions tions were contained within such a small volume.” The trip commenced with an evening reception at the home of board vice chair Becky Schergens (’68) and Jack Kinsey and THE CURTAIN ON 19TH-CENTURY THEATER included a tour of the State Department’s Diplomatic Reception Rooms, which hold American furnishings and portraits from the 18th and early 19th centuries.