Blog

Female Cartographers

March 15, 2019

Thanks to Alissa Simon, HMU Tutor, for today’s post.

Last week’s blog took a look at Artemisia, an ancient female mariner. Despite the lack of discussion in print, women have spent time at sea, either in disguise or as themselves. Artemisia is only one historical example of a strong female capable of captaining her own ships. Unfortunately, many of the stories have been lost or buried in unread journal entries. As an example, a timeline of women at sea presented by the Mariners Museum begins in 1493 and notes how much more research is warranted in this area.

Mapmaking is another industry in which women have been all but elided. Ironically, according to Peter Barber, editor of The Map Book, “In the eighteenth century there were a surprisingly high number of female mapmakers” (212). In truth, it is difficult to find any map of history penned by a woman without digging deep. In much the same way that jobs of clerks and scribes were often denied to women, so too was cartography. Yet, there are pockets of history in which women combined skills of art and science in the form of maps. Barber continues, “In keeping with the eighteenth-century France’s enlightened attitude towards the position of women, this map predicting the eclipse of 1764 was produced by three women: Madame le Pauté Dagelet, Madame Lattré and Elisabeth Claire Tardieu” (220). This map emerged during the boom of the Enlightenment and clearly demonstrates a juncture between science and art. Barber continues, “The map has a more scientific appearance than earlier maps but the title cartouches are very decorative and impart a good balance of the artistic and scientific” (220). The map’s right-hand side incorporates background information regarding the eclipse. Embellishments draw attention to the subject (solar eclipse) and to Madame le Pauté Dagelet as author of the information. Barker also notes, however, that not much is known about her other than she was “an astronomer and member of the Académie Royale des Sciences (Béziers)” (220). Madame Lattré, the engraver, however, was part of a “well-established dynasty of map makers,” (220). No mention is made of how many maps Madame Lattré might have made, or if she officially contributed to the illustrious career of her husband’s map-making business.

Despite their involvement, little was known about the impact that women have had on cartography until recently. With the advance of technology, information can be parsed more quickly which greatly assists our ability to research topics previously thought obscure, such as female cartography. As an example, a current article from CityLab chronicles librarian Alice Hudson’s research in which she restricts herself to the last 300 years in North America alone because she had found thousands of maps by women. In the article, Hudson explains how tricky it is to discover the true identity of the mapmaker. For example, women often used initials rather than full names to hide their identity. As a further complication, indexes only mention male-owned businesses, and rarely the cartographers themselves.

During World War II, while men were sent off to war, women began to fill the gaps in some geography and engineering courses. In the first year alone, Chicago’s Geography Department witnessed more than two hundred women complete the course. After the war, many women went back to their domestic lives, but Marie Tharp continued on with graduate school in order to earn a PhD. She then became a research assistant at Columbia University working alongside Bruce Heezen. In her research, she discovered a large rift along the Atlantic, now known as the Mid-Atlantic Rift. After a year, she succeeded in convincing him about the existence of plate tectonics, however, she still needed his approval and name in order to distribute the information since it was Heezen’s name that legitimized the research.

Today, their map is considered to be one of the most influential maps of the 20th century. Though much of Tharp’s career was marked by limitations, she persevered. Though unable to be on job sites and out in the field, she learned how to parse data efficiently and intelligently. She also found a male colleague willing to listen to her ideas. She partnered with Bruce Heezen for almost thirty years, in part because he saw the brilliance of her work. According to Encyclopedia.com, Tharp was finally able to go to sea in 1965, not through her own institution (which still prohibited women from working at sea), but through a program offered by Duke University. Encyclopedia.com continues, “Largely invisible as a researcher early in her career, Tharp gained recognition for her geographic insights and cartographic skills later in life. She received awards from the Geography and Map Division of the Library of Congress and Woods Hole Oceanographic Institution, as well as the first annual Lamont-Doherty Earth Observatory Heritage Award in 2001. Four years later, Lamont created the Marie Tharp Visiting Fellowship program to aid promising women researchers.”

Along with female mariners, the field of cartography offers rich potential to those willing to do a little digging.

To view an image of the Heezen-Tharp map, click here.

To leave a comment, click on the title of this post and scroll down.

Artemisia at Sea

March 8, 2019

Thanks to Alissa Simon, HMU Tutor, for today’s post.

“My men have behaved like women, my women like men!” - Xerxes

Strong women have always had a complicated relationship with history. They have been feared, reviled, loved, hated, killed, made into men, adored, and crowned (among other things). Artemisia is one such female. She married the king of Halicarnassus (now in present-day Turkey) and from the beginning Artemisia demonstrated strength and wit. After the king died, she became sole ruler. In Book VII and XIII of Herodotus’s History, he writes about Artemisia, leader of Halicarnassus and her involvement in the Greco-Persian Wars. She was an intelligent leader who spoke her mind, and these traits allowed her to become close with Xerxes, leader of the Persian efforts. In fact, Xerxes began to regard her as an advisor at a time when women rarely had a say in anything. This unique treatment of Artemisia bears pondering, as does the way that Herodotus writes of her. The first quotation below is from Book VII, 99. It reads:

“Of the other lower officers I shall make no mention, since no necessity is laid on me; but I must speak of a certain leader named Artemisia, whose participation in the attack upon Greece, notwithstanding that she was a woman, moves my special wonder. She had obtained the sovereign power after the death of her husband; and, though she had now a son grown up, yet her brave spirit and manly daring sent her forth to the war, when no need required her to adventure. Her name, as I said, was Artemisia, and she was the daughter of Lygdamis; by race she was on his side a Halicarnassian, though by her mother a Cretan. She ruled over the Halicarnassians, the men of Cos, of Nisyrus, and of Calydna; and the five triremes which she furnished to the Persians were, next to the Sidonian, the most famous ships in the fleet. She likewise gave to Xerxes sounder counsel than any of his other allies.”

Already, we have a complicated image of Artemisia. Herodotus can only describe her in relation to the men that she is among. He cannot comprehend how a female became so intelligent at battle and wise with words. She is educated to the point of men, and that becomes her bar of measure. She too, according to Herodotus, regards herself by this same measure.

A few chapters later, Herodotus notes a long speech by Artemisia. While he presents many speeches, hers stands out as a sole female voice regarding battle tactics. In fact, Artemisia makes a name for herself by acting, according to Xerxes, as a man should act. Her logic, reasonable discourse, and fearlessness promote the character traits often associated with strong men. When in Book VIII, 68, she is asked about whether or not to engage the Greeks, she replies:

“Spare thy ships, and do not risk a battle; for these people are as much superior to thy people in seamanship, as men to women. What so great need is there for thee to incur hazard at sea? Art thou not master of Athens, for which thou didst undertake thy expedition? Is not Greece subject to thee? Not a soul now resists thy advance.”

She then suggests that they stick to land which would give the upper hand to their army, and might diminish Greek resources. This advice contradicts the advice of nearly every other officer in the room. In other words, Artemisia was either completely unafraid of Xerxes, or she trusted that he would not harm her for speaking her mind. Either way, she ably and nobly offered a wise opinion. Herodotus notes that many leaders in the room thought she might be punished by Xerxes and this filled them with a kind of jealous joy. However, Xerxes praised her more than ever. After praising her ideas, however, he felt compelled to follow the advice of the majority. Xerxes himself is remarkable for publicly noting his pleasure at her wisdom.

It is strange that in making a case which asks the men to listen to a woman, Artemisia would claim the superiority of men to women. This seemingly contradicts her argument and undermines the advice of a woman. However, it also seems a skillful rhetorical tactic which demonstrates how well she understands the audience.

More than merely speaking her mind, however, she also captains her own ship. The final section of Artemisia’s story occurs during the seafight. As the fight became chaotic and crowded, Artemisia found herself pinned in by the enemy on one side and a friendly ship on the other side. She chose to sink the friendly ship. In Book XIII, 87 and 88, Herodotus writes:

“Pressed by an Athenian pursuer, she bore straight against one of the ships of her own party, a Clyndian, which had Damsithymus, the Calyndian king, himself on board. I cannot say whether she had any quarrel with the man while the fleet was at Hellespont, or no – neither can I decide whether she of set purpose attacked his vessel, or whether it merely chanced that the Calyndian ship came in her way – but certain it is that she bore down upon his vessel and sank it, and that thereby she had the good fortune to procure herself a double advantage. For the commander of the Athenian trireme, when he saw her bear down on one of the enemy’s fleet, thought immediately that her vessel was a Greek, or else had deserted from the Persians and was now fighting on the Greek side; he therefore gave up the chase and turned away to attack others.

“Thus in the first place she saved her life by the action, and was enabled to get clear off from the battle; while further, it fell out that in the very act of doing the king an injury she raised herself to a greater height than ever in his esteem. For as Xerxes beheld the fight, he remarked (it is said) the destruction of the vessel, whereupon the bystanders observed him - ‘Seest thou, master, how well Artemisia fights, and how she has just sunk a ship of the enemy?’...Everything, it is said, conspired to prosper the queen – it was especially fortunate for her that not one of the Calyndian ship survived to become her accuser. Xerxes, they say, in reply to the remarks made to him, observed - ‘My men have behaved like women, my women like men!’”

This is one depiction of an ancient woman, strong, proud, intelligent. She thrived as a female in a man’s world. There are so few accounts about women by women that we must read and reread these passages to understand the woman’s role throughout ages and cultures.

To leave a comment, click on the title of this post and scroll down.


Mary Oliver's Contributions

March 1, 2019

Thanks to Alissa Simon, HMU Tutor, for today’s post.

I never needed a reason to love the world, I simply just always have. With its faults and near-misses, its greed and its hope. I love the way it is patched together like a great quilt of countries and languages, mountains and deserts. Most of all, I love, and am humbled by the fact that somehow I participate in that great, complicated quilt. And so, many years ago, when I stumbled upon Mary Oliver’s poetry, I felt that I had found a kindred spirit. Oliver passed away in January of this year and to speak of her in the past tense grieves me greatly. Fortunately, her words remain so that her light is not altogether lost.

Oliver’s childhood was a brutal one, and yet somehow she turned around and made such beautiful things as the world had never seen. To create beauty from difficult circumstances is the first reason we should admire her. Mary Oliver turned to nature as the first place which gave her comfort. She avoided her family by walking out among rivers, flowers, and trees, but she also came to see struggle as part of the natural world. In fact, hope, in part, arrives as a result of struggle, and Oliver is eternally hopeful.

Her early work finds joy, ecstasy and divinity through nature. Then, in poems like “Rage” and “The River” she begins to address her personal pain and loss of home. She concludes “The River” with: “Home, I said./ In every language there is a word for it./ In the body itself, climbing/ those walls of white thunder, past those green/ temples, there is also/ a word for it. / I said, home.” It is an acceptance that home can be transient, not permanent. Every one of her poems grapple with big questions about love and faith, courage and forgiveness.

Many years later, she would say that she hardly knew herself in those early years. She said she had to go out and find herself, which she did by stumbling over rocky trails and along muddy rivers. That she taught herself the language of nature is the next reason that we should admire her. Countless people have quoted from “Wild Geese” or “Morning Poem” on blogs, mugs, letters, etc. Oliver’s language did not glorify or transcend nature, but put humanity squarely back into it. These poems, among many others, inspired friendship, imagination, and openness. She placed the human world within the most glorious riches of the earth, and then asked for us to witness that glory. The final sentence of “Wild Geese” is: “Whoever you are, no matter how lonely,/ the world offers itself to your imagination,/ calls to you like wild geese, harsh and exciting - / over and over announcing your place/ in the family of things.” She reminds us that we are to participate with nature and to imagine that presence as part of one complicated family.

Oliver’s work has always been profound and moving. Yet, near the end of her life, she began to explore spirituality. In Blue Horses, she discusses all types of faiths as she herself battles cancer. Yet, once again, she finds that beauty is itself the answer. In the poem “Franz Marc’s Blue Horses” she expresses sorrow about Marc’s career cut short by World War I. She writes, “I would rather die than try to explain to the blue horses/ what war is./ … I do not know how to thank you, Franz Marc./ Maybe our world will grow kinder eventually./ Maybe the desire to make something beautiful/ is the piece of God that is inside each of us.” In this poem, the natural world and the human-constructed world collide with dangerous and negative results, and still, Oliver finds beauty and names it. She responds by attending to both Marc’s life and death in a way that offers him thanks. It is this attention to detail which will make us kinder. Again and again, she asks us to use imagination in order to remind us of our connections.

During her lifetime, Mary Oliver won many awards such as the Pulitzer Prize and National Book Award. In addition to her writing career, however, she also taught at Bennington College. She inspired others to seek answers to big, daunting questions. Therefore, her teaching pursuits offer one more reason to admire her. At the end of her short essay titled “Upstream,” Mary writes:

“Teach the children. We don’t matter so much, but the children do. Show them daisies and the pale hepatica. Teach them the taste of sassafras and wintergreen. The lives of the blue sailors, mallow, sunbursts, the moccasin flowers. And the frisky ones – inkberry, lamb’s-quarters, blueberries. And the aromatic ones – rosemary, oregano. Give them peppermint to put in their pockets as they go to school. Give them the fields and the woods and the possibility of the world salvaged from the lords of profit. Stand them in the stream, head them upstream, rejoice as they learn to love this green space they live in, its sticks and leaves and then the silent, beautiful blossoms.

“Attention is the beginning of devotion.”

She paid attention in a way that few humans find time for anymore. She invited all of us to do the same. Mary Oliver’s works never fail to inspire. And yet, certainly, if she were here today and reading this, she would defer not to her work but to the land itself, to the birds and skies that fly above all of our heads.

To leave a comment, click on the title of this post and scroll down.

Baldwin’s Unfinished Notes

February 22, 2019

Thanks to Alissa Simon, HMU Tutor, for today’s post.

James Baldwin was working on an unfinished manuscript when he died in 1987. Baldwin’s family recently gave this manuscript to filmmaker and activist Raoul Peck, who then turned it into a 2016 film entitled I Am Not Your Negro. While a text of the same name accompanies the film, it is worthwhile to seek out the film which includes a stunning array of archival footage. The book, too, includes some photographs, but nothing in comparison to the film itself. Baldwin’s notes deconstruct personal relationships, historical events, and popular films, making it impossible to simply read his notes. It is immensely helpful to see the images and places that Baldwin discusses. Truly, an image contains so much to analyze. In one section, Samuel L. Jackson narrates Baldwin’s discussion of the violence in Birmingham, while video images of Mars plays. This creates a strong image-to-text association, but also shows the great disparity between the barren world of Mars and the overheated passions of Birmingham. Baldwin writes: “White people are astounded by Birmingham,/ Black people aren’t./ White people are endlessly demanding to be/ reassured that Birmingham is really on Mars./ They don’t want to believe,/ still less to act on that belief,/ that what is happening in Birmingham/ is happening all over the country./ They don’t want to realize that there is not one step,/ morally or actually, between/ Birmingham and Los Angeles.” (34) The film also presents footage of Baldwin’s lectures and talk show appearances. Baldwin’s face speaks volumes. While the same is true of his written word, his presence enhances the documentary.

The notes that Peck received from Baldwin’s family were meant to draw parallels between three of Baldwin’s friends: Medgar Evers, Malcolm X, and Martin Luther King, Jr. These very different men were on the front lines of racial discussion and action. While the film gives some details and contains some footage of these men, I truly wish that Baldwin’s voice were able to tell us more about his relationships and interaction with them. There is so much left unsaid.

The film interlaces present day material with images from Baldwin’s life and from films and documentaries. In other words, Peck and Baldwin demonstrate the nation’s complexity. Baldwin’s focus on the arts helps to elaborate a number of points. He begins with questions of beauty, the notions of a young boy who saw equal beauty and likeness in Joan Crawford and a “colored woman, who, to me, looked exactly/ like Joan Crawford.” (25) Then, he moves into ways in which African Americans have been depicted onscreen, most of which played into stereotypes. Peck’s video montage offers a strong reminder of Baldwin’s voice through letters, lectures, analysis, and texts.

Below I have copied a few notes from the text which stood out to me. I recommend seeing the film in its entirety in order to better understand the discussion of race relations both past and present.

----

“To watch the TV screen for any length of time/ is to learn some really frightening things/ about the American sense of reality.

“We are cruelly trapped between/ what we would like to be and what we actually are./ And we cannot possibly become/ what we would like to be until we are willing/ to ask ourselves just why the lives we lead/ on this continent are mainly so empty, so tame,/ and so ugly.

“These images are designed not to trouble,/ but to reassure./ They also weaken our ability to deal/ with the world as it is, ourselves as we are.” (86)

-----

“For a very long time, America prospered:/ this prosperity cost millions of people their lives./ Now, not even the people who are the most/ spectacular recipients of the benefits of this/ prosperity are able to endure these benefits:/ they can neither understand them/ nor do without them./ Above all, they cannot imagine the price paid/ by their victims, or subjects, for this way of life,/ and so they cannot afford to know/ why the victims are revolting.

“This is a formula for a nation’s or a kingdom’s/ decline, for no kingdom can maintain/ itself by force alone.

“Force does not work the way/ its advocates think in fact it does./ It does not, for example, reveal to the victim/ the strength of the adversary./ On the contrary, it reveals the weakness,/ even the panic of the adversary/ and this revelation invests the victim with patience.” (90-1)

-----

“History is not the past./ It is the present./ We carry our history with us./ We are our history./ If we pretend otherwise, we literally are criminals.” (107)

-----

“Not everything that is faced can be changed;/ but nothing can be changed until it is faced.” (103)


Film: I Am Not Your Negro. Directed by Raoul Peck. Narrated by Samuel L. Jackson.

Text: Baldwin, James. I Am Not Your Negro. Edited by Raoul Peck, Penguin, 2016.


To leave a comment, click on the title of this post and scroll down.