Author: Lindsey Loeper

When I started working in an archive, I had a vague vision of what that would look like. Mostly, it involved carefully handling rare, centuries old books, painstakingly cataloging collections, and rehousing the materials in fancy grey acid free boxes. I didn’t expect to become a photography detective. But over the past three months, that’s exactly what I’ve been doing.

Let me start at the beginning. I was hired to be the graduate assistant in the Albin O. Kuhn Special Collections and Archives a year ago, upon my acceptance into the graduate program to study history. I started in August, and spent the first few months training and acclimating to the new position. At the end of October, I got my first long-term assignment, working with the curator and head of the department on their project. 

The year prior was the fiftieth anniversary of our photography collection, and in the fall of 2024, they had put on an exhibit in our gallery showcasing the collection. The project was to turn that exhibition into an exhibit catalogue — a type of art book which contains all the objects from the exhibition and their context. For me, this meant pulling all the photographs which were showcased for digitization and measurement. 

Over the next four months, I went through the process of locating individual photographs in our collection of over two million. Using our database records, I found their shelf location, removed them from the box, measured the sheet and the image, and set them aside for digitizing, before reshelving them in their permanent home. Over that time, more photographs got added to the project, making this a continual cycle, until finally, in late February, we got to our final image set of over two hundred fifty. 

As simple as the process seems, it required meticulousness to ensure the correct items were being removed, and that they were returned to their proper location. In some cases, even the first step of pulling the photograph wasn’t straightforward. A very simple problem-solution set, paired without updating a small detail in the record, can make items much more difficult to find. For example, many of the photographs I couldn’t initially find had been relocated due to size. For the exhibition, they’d been placed into mats, making them larger than the original box they were housed in. When they were reshelved, they had to be moved to a larger box, and sometimes this move got missed in updated records. A few of them even came from unprocessed collections, meaning there was no detailed record of them in the first place!

These miniscule adjustments created a series of miniature mysteries for me to solve. At the end of January, once I’d gone through the entire image set and collected all the photographs, I was left with a stack of images I couldn’t find on the first pass. Double checking the information on the call slips against the information in our online databases quickly helped me find several photographs, which had typos in the original call number or location on my first search. For others, I searched in boxes by photographer last name, or photographic process. 

Eventually, I was left with half a dozen or so odd cases, photographs which were decidedly not in their listed location, but which didn’t have an obvious resolution. Luckily, I had time on my side. These photos didn’t need to be pulled quickly – they needed to be tracked down and recovered through the kind of patient, precise detective work that archival research often requires and caring for a collection demands. I rolled my sleeves up, pulled on my gloves, and got to work. Using the information I had about the photograph as clues, I searched full boxes until, one by one, I found what I needed.

After about a month of this meticulous, slow search, I’d found all but one photograph, and everyone in the archive knew it was going to be the most difficult to track down. The photo had come from our collection of prints and negatives from the Baltimore Sun, a sweeping collection of more than three hundred boxes. The prints we have are arranged by subject, not by date or photographer, and for many of them, we have very little identifying information. Such was the case for this one: all we had was a title, (potentially created by the curator for the exhibition,) the photograph measurements, and a few blurry pictures of it in the exhibition. 

This is where my detective work really came into play. Applying the few clues I had to my growing knowledge of our photography collection, I searched almost two dozen boxes in search of this photograph. Knowing the photo had been matted for the exhibition, I began with our photography collection, guessing it had been reshelved there after the exhibition. The photographer wasn’t identified: I searched the four “photographer unknown” boxes we have, with no results. Knowing the photograph was from the Baltimore Sun, I searched the two boxes of our Baltimore collection: nothing. In the exhibition spreadsheet, it was tagged as “Baltimore Camera Club,” but it wasn’t in our boxes for that collection either. Within the Baltimore Sun boxes, I searched by subject, based on the data I had and on what I was seeing in the images I’d been sent: “Fashion,” “Model,” “Swimsuit,” “Bathing Suits,” “Baltimore Camera Club,” and so on. By this point, I’d recruited most of the department into brainstorming ideas, and was actively encouraging people to think outside the box on where it could be. But after a few weeks of this, I’d still not been able to locate the photograph, and I was ready to give up. 

In a last ditch effort, I decided to really think outside the box, and searched in the box titled “Art.” In that box, I found a folder titled “Art/Photography,” with a subfolder for “Art/Photography/Baltimore Camera Club Exhibition.” My heart jumped; this felt like the breakthrough I’d been waiting for. About twenty images in, suddenly, I saw those recognizable stripes and figures I had been looking for since October. Months of small clues, dead ends, and careful checking had finally come to an end. It was hard to contain my pride and satisfaction — I may have done a Tiger Woods-style fist pump. There’s a particular joy in archival work when patience and persistence pay off like that, a quiet thrill in realizing that a piece of the collection that once seemed lost had simply been waiting in the right place to be found again.

As I continue to learn on the job, I gain new insights to a career in the archives every day. One of the biggest things I’ve learned so far is that we live in an imperfect world. Archivists love order, but try as we might, we can’t control everything, and unfortunately, things like dust, age, and human error can cause real problems. But this doesn’t mean that we should just give up, or stop trying. Instead, it’s even more important to think creatively and approach problems from multiple perspectives. When faced with road blocks, use the information you have, and the people around you, to find a new path to the destination you aim to get. Persistence and optimism will take you far! 

And so, for now, that’s my life in the archive: part preservationist, part cataloger, and occasionally, part detective. Each box and folder holds its own small mysteries, and every solved puzzle feels like restoring a tiny piece of the historical record. While I may still spend plenty of time rehousing materials in those familiar grey boxes, I’ve learned that archival work is just as much about curiosity and persistence as it is about order and organization. The search for a missing photograph might seem small, but moments like that are a reminder of why the work matters: because every item we preserve, find, and make accessible helps ensure that the stories contained in the archive continue to be seen and understood.

This post was written by Reese Finnigan, Special Collections graduate assistant and MA student in the department of History at UMBC. Thank you, Reese!

We often think of books as sacrosanct – and as a librarian, I have to agree! Many people can’t abide writing in, dog-earing, or otherwise defacing a book. But there are cases where changing the structure of a book can be a creative rather than a destructive endeavor. Enter the altered book.

What is an altered book?

Altered books are “a form of mixed media artwork that changes a book from its original form into a different form,” thereby changing both its functionality and its meaning. These alterations can be, according to book artist Barbara Pearman “as simple as adding a drawing or text to a page, or as complex as creating an intricate book sculpture.” Over the past year, I have had the opportunity to catalog two altered books for Special Collections. While they were very different from one another, each presented a similar cataloging challenge, and a similar opportunity to reflect on the meaning of printed books.

1. Index, 2014-2024

The first of these two altered books was Index, 2014-2024, which we added to our Bafford Photography collection in December 2024. In this work, photographer Jordanna Kalman inserted prints of her own photographs into an existing book: The History of Photography by Beaumont Newhall.

Newhall’s book is a seminal work on photographic history, but notably, only 4% of the photographs in his book were taken by women. Kalman’s work is a response to that imbalance: by inserting her own works into the book, she is making a statement about the lack of women’s representation in the field of photography, while simultaneously refuting it.

2. The Worlds to Which we Pass at Death

Kalman’s altered book is a kind of conversation: the substrate (the book being altered) is as much a part of the message as what she adds to it. By contrast, the second altered book I cataloged for our collection appears to have been created with much less intentionality in its choice of substrate.

This second altered book is titled The Worlds to Which we Pass at Death. Written by Rev. George Vale Owen in the 1920s, it is an example of “automatic writing,” a process in which spirits allegedly possess a medium and communicate using their body to write. This piece of Owen’s work was originally published in the newspaper The Weekly Dispatch, but at some point thereafter, an anonymous reader took their newsprint copy and pasted it into the pages of the novel Alton Locke by Charles Kingsley. It was this hybridized hardback copy that I cataloged as part of the Eileen J. Garrett Parapsychology Foundation Collection in August 2025.

Unlike Kalman’s Index, it doesn’t appear as if this creator intended the underlying book to be a notable part of the finished product. In fact, they removed all evidence of the original book by covering its title and publication information and cutting out all additional pages. I even had to shine a light through the title page in order to read the original title and finish my cataloging! This implies that their main motivation was preservation: by pasting the fragile newsprint into a hardcover book, this anonymous reader was attempting to prevent Owen’s work from being damaged. 

And yet, the choice to transform the text from newsprint to monograph seems like more than just a utilitarian measure. I think it speaks to the lingering regard for the book as a source of legitimacy that this unknown spiritualist wanted to see Owen’s words between the covers of a hardback book. In a way, Kalman’s work too speaks to this shared regard: it is only because she treats The History of Photography as a stand-in for society’s collective consciousness that her act of adding women literally to the book can take on the significance of adding them symbolically to the annals of human knowledge.

Cataloging challenges

From a cataloging perspective, each of these items presented a unique challenge. While we have to treat the altered copy as a separate work from its unaltered original, it is still important to acknowledge the connection between them in the catalog record. The way I went about recording this was by adding a citation for the substrate text under “Related Titles.” If you click on one of the links above to view the catalog record of either altered book, you will see a hyperlinked title near the bottom of the record:

You will also see the term “Altered Books” listed under “Genre” – clicking this will pull up a list of all items in the library’s collection that are either examples of altered books, or discuss them:

Conclusion

The relationship between books and readers is never a neutral one: we transform books every time we use them, wearing out their spines and hinges little by little. But altered books take this transformational aspect of readership to a whole new level – and in doing so, help remind us of our tactile relationship with the printed word.

In earlier periods of book history, humans would create paper, set type, and sew bindings entirely by hand. In the modern era, when much of this process has been passed along to machines, altered books remind us of the materiality of books – even going so far as to turn an entire, finished book into a raw material to be deconstructed and re-shaped into a new object.

If you’re interested in exploring altered books further, you can check out this online exhibition from the National Museum of Women in the Arts. You can even make your own altered book from an outdated reference book or other work from a secondhand store that no one is likely to need in the future. Artist Lisa Vollrath even has a crash course on altered books on her website. Just make sure you don’t use any books from the UMBC library!

This post was written by Hannah Jones, Catalog & Metadata Librarian in the Albin O. Kuhn Library & Gallery’s Bibliographic and Metadata Services department. Thank you, Hannah!

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Bibliography

• “The Book as Art: Altered Albums.” National Museum of Women in the Arts. Accessed January 16, 2026. https://nmwa.org/whats-on/exhibitions/online/book-art-altered-albums/
• Kalman, Jordanna. Index, 2014-2024. Jordanna Kalman, 2024. (Bafford TR655.K35 2024)
• Newhall, Beaumont. The History of Photography from 1839 to the Present Day. The Museum of Modern Art, 1978. (Bafford TR15.N47 1978)
• Owen, G. Vale. The Worlds to Which We Pass at Death : Messages from beyond the Veil. London: The Weekly Dispatch, 1920. (Eileen J. Garrett Parapsychology Foundation Collection  BF1311.O8 W67 1920)
• Pearman, Barbara. “Altered Books.” Accessed January 16, 2026. https://www.barbarapearmanart.co.uk/altered-books.html.
• Vollrath, Lisa. “A Crash Course on Altered Books.” Mixed Media Club. November 7, 2014. https://mixedmedia.club/a-crash-course-on-altered-books/

In June 2025 Susan Graham, Special Collections Librarian, and Lindsey Loeper, Reference and Instruction Archivist, worked with three amazing undergraduate students as part of UMBC’s Interdisciplinary CoLab: Finley Bandy ’26, history, Dagmawi Delelegne ’26 computer science, and Samantha Nguyen ’26, graphic design. This 4-week summer internship pairs groups of three students with UMBC faculty to tackle a research project. For our project we wanted to update our existing outreach videos, which we use to introduce classes and with new researchers to using Special Collections, with a key focus on peer-to-peer communication.

Throughout the month our student researchers learned about Special Collections, what questions and needs new researchers have, and thought about how these videos could help them. They also had three workshops with Kristen Anchor, professor of media and communication studies, to learn about the best practices of video production.

Finley, Dagmawi, and Samantha completed three videos as part of their Special Collections 101 series: What to Expect, Handling Materials, and Collection Highlights. They also left us with a supply of video footage of our collections and interviews with Library staff that we can use to make additional videos. Check out all three of their videos below!

Every attempt to organize an alternative political party outside the Democratic and Republican Parties has faced the same question: how should they relate to the two dominant parties? Marxist parties in the 1980s were no exception. Though leftists were divided in this period over a variety of issues, one of the most significant splits emerged over how they should relate to the Democratic Party. Should they collaborate with liberal Democrats to seek policy victories that could help their shared constituencies? Publicly denounce the party in hopes of winning over disenchanted Democrats? Or try to do both simultaneously? These strategic differences were publicly aired in communist newspapers, which diverged widely in their coverage of Democrats. Preserved in the Alternative Press Center Collection at UMBC’s Special Collections, newspapers like People’s World, Workers Vanguard, and Workers World represented distinct tendencies within Marxism and belonged to different political parties. This collection serves as an invaluable resource for researchers seeking to understand how radical forces sought to transform the country from a position of weakness.

People’s World is the newspaper of the Communist Party of the United States of America (CPUSA). The Party and the paper were known for their support of organized labor, civil rights, and the Soviet Union. Although the number of Communists was small, they exerted influence through partnerships with liberal Democrats and non-Communist activist groups on a local level.¹ This strategy of cooperation meant that the People’s World took stances to the right of the broader progressive movement. After Democratic nominee Tom Bradley narrowly lost the 1982 California gubernatorial election, People’s World editor Carl Bloice accused the left-wing Peace and Freedom Party of splitting the progressive vote by running its own gubernatorial candidate. In doing so, left-wing opponents of Bradley cost California its first Black governor. Implicit in the Party’s defense of Bradley was a broader defense of liberalism. Bloice made it clear that the paper supported Bradley not just because of his race, although that factor was emphasized, but because he was the best candidate. He thus communicated the CPUSA’s stance to its membership and supporters that the best way to get anything close to socialism is to elect liberal Democrats.²

Workers Vanguard took a more radical line, harshly criticizing liberal Democrats and seeking to establish a separate political pole. This was not surprising given the publisher. The Spartacist League sought to radicalize the civil rights, labor, feminist, and student movements in a revolutionary direction. Tactically, this meant taking the most left-wing stance on every issue. By doing so, the League sought to discredit the Democratic Party by pointing to the contradictions between its actions in government and its claims to represent the most vulnerable.³

Their article “Genocide U.S.A.” is an illustrative example of this. It accuses the Reagan administration and the Democratic-controlled Congress of seeking to commit genocide against Black Americans by cutting welfare. The language was deliberately inflammatory, comparing the name of the bill (the Family Security Act) to the “Work Makes you Free” sign in Auschwitz. Though much of the article was targeted at conservative Democrats in Congress, liberal Democrats were not treated any better. By rallying behind the Democratic Party, liberals were manipulating Black workers to vote for candidates who supported slashing social spending. The obvious solution was to support the real party for the working class: the Spartacist League. Thus, their primary tactics were apparent: using disenchantment with the Democrats as an agitational tool to recruit potential supporters.⁴

Workers World, published by the Party of the same name, took a middle ground on the issue of how to relate to the Democratic Party. Like the CPUSA and the Spartacist League, the Workers World Party (WWP) embedded itself in multiple social movements. Beginning with its role in organizing against the Vietnam War during the 1960s, the Party branched out into civil rights, organized labor, and gay liberation by the 1970s. Despite this coalition-building, the Party sought to retain strategic independence in whatever field it went.⁵ The Party’s desire for strategic autonomy as part of a broader progressive movement is reflected in its relationship with the Democratic Party. Though it harshly criticized the Congressional Democratic Party’s support for austerity, its coverage of Jesse Jackson’s 1988 presidential campaign was laudatory. The paper praised Jackson as someone who could unite working-class Americans across racial lines. Notably, this coverage coincided with the Workers WorldParty running its candidates for president and vice-president. The likely reason for this discrepancy was tactical. By supporting the Jackson campaign, the paper sought to forge links between the Party and Jackson’s base, while also setting the stage to gain support from dissatisfied Democrats if Jackson failed to win the nomination.⁶

Of course, all these tactical decisions emerged from a position of weakness. A bipartisan coalition devoted to cutting taxes and slashing welfare firmly held power in American society during this period.⁷ This mostly unified power bloc contrasted with the fragmented and isolated left. However, Marxist newspapers provide a revealing lens into how people outside the halls of power sought to influence politics. Whether by defending liberal politicians, denouncing Democratic hypocrisies, or forging links with rank-and-file Democrats, the newspapers reflect the complexities of trying to build coalitions that could implement socialist policies in a deeply hostile political environment.

This post was written by Yoni Isaacs, ’22, history, M.A. ’26, history, a graduate assistant in Special Collections. Thank you, Yoni!

Bibliography

Newspapers

Bloice, Carl. “P&F takes issue; Jews and the Freeze.” People’s World, Jan. 15, 1983.

Chediac, Joyce. “Workfare: an Idea the Rich Always Loved.” Workers World, June 30, 1988. 

“Genocide U.S.A”. Workers’ Vanguard, Oct. 21, 1988.

Moorehead, Monica. “Jackson Victory Jolts Racist Political Machine: Solid Black Support,

Gains Among White Workers, Poor.” Workers World, March 17, 1988. 

Additional Sources

Alexander, Robert. International Trotskyism: A Documented Analysis of the World Movement.

Durham: Duke University Press, 1991.

Becklund, Laurie. “Communist People’s World Traces Its 46 Years: Paper’s Devotees Mix

Causes, Nostalgia.” Los Angeles Times, Jan. 28, 1985.

Rossinow, Doug. The Reagan Era: A History of the 1980s. New York: Columbia University Press, 2016.

1. Laurie Becklund, “Communist People’s World Traces Its 46 Years: Paper’s Devotees Mix Causes, Nostalgia.” Los Angeles Times, Jan. 28, 1985. ↩︎
2. “Carl Bloice,” “P&F takes issue; Jews and the Freeze.” People’s World, Jan. 15, 1983. ↩︎
3. Robert Alexander, International Trotskyism: A Documented Analysis of the World Movement (Durham: Duke University Press, 1991), 920. ↩︎
4. “Genocide U.S.A”. Workers’ Vanguard, Oct. 21, 1988. ↩︎
5. Alexander, International Trotskyism, 912-3. ↩︎
6. Joyce Chediac, “Workfare: an Idea the Rich Always Loved.” Workers World, June 30, 1988; Monica Moorehead, “Jackson Victory Jolts Racist Political Machine: Solid Black Support, Gains Among White Workers, Poor.” Workers World, March 17, 1988.  ↩︎
7. Doug Rossinow, The Reagan Era: A History of the 1980s (New York: Columbia University Press, 2016). ↩︎

“This is To Say Your Own Words. And you ought to view and express yourself the way you see it.”

Marshall “Eddie” Conway¹

Over the course of 50 weeks, from October 1979 to September 1980, the “To Say Their Own Word” prison program invited scholars, journalists, social activists, and incarcerated audience members to discuss various topics surrounding the United States’ carceral system and its social consequences. Some of the issues covered throughout the program included U.S. fascism, capitalism, the prison-industrial complex, and government surveillance. The “To Say Their Own Word” prison program collection consists of 29 videos of these presentations at the then Maryland Penitentiary in Baltimore, Maryland.

The program was a collaborative effort between Marshall “Eddie” Conway, Brenda Vogel, and sponsors, including the National Endowment for the Humanities and Correctional Libraries of the Maryland State Department of Education. Conway was himself incarcerated as a political prisoner when he helped organize the educational outreach program. Brenda Vogel was a librarian with the Maryland Department of Education who collaborated with Conway and wrote the grant to fund the project. Eddie Conway’s work as a leader of the Black Panther Party before being incarcerated provided him with the background to organize to improve the lives of himself and his fellow inmates. At the time, the Maryland Penitentiary was known for its brutality and low literacy rate. As Conway got into the prison movement, he worked to make change, including advocating against beatings by guards and creating a library, newsletter, and radio program.

Through the “To Say Their Own Word” program, literacy levels among the incarcerated men at the Maryland Penitentiary increased, with some going to school and graduating from college. In the words of Conway, “We decided to develop a larger university style people’s program in the prison that would help educate prisoners that weren’t necessarily involved in the local politics, but would bring them abreast of what was going on locally, nationally, and internationally.”² For the organizers of the program, the goal was to provide this university-level program to the men at the Maryland Penitentiary and acknowledge the talent, intellect, and ability among the incarcerated men by allowing them a space to speak and share their thoughts.³

The videos in the collection were digitized by The Real News Network (TRNN) from the original Maryland State Department of Education VHS tapes, and are now hosted on the UMBC Special Collections’ Vimeo. In another collaborative effort, much like the original “To Say Their Own Words” program, TRNN, UMBC’s Special Collections department, UMBC’s Public Humanities program, and the Baltimore Field School partnered to develop programming around the collection. Excerpts from the oral history interviews conducted were featured at a free public event on April 26, 2023. Additionally, the Baltimore Field School provided funding to summarize the contents, which is available in each video’s description. Each video begins with the speaker’s presentation on their topic and ends with the incarcerated audience members providing questions, comments, and reflections. A few of the presentations centered around media portrayals of incarcerated people and life in the carceral system. The discussion from January 14th, 1980 featured Eddie Conway and Brenda Vogel along with 4 other panelists to discuss the movie Fugitive from a Chain Gang and the book I Am a Fugitive From A Georgia Chain Gang!. The final presentation of the program centered on Convicts 4 with Constance Goldman, a correspondent for National Public Radio, and the audience reflecting on the movie.

Other panels spoke to national and international concerns such as Askia Muhammad’s talk “Cultural Imprisonment: The Effects of Foreign Policy,” in which the discussion focused on genocidal conflicts in the Middle East, Africa, and Asia as well as the weaponization of United State foreign policy. There were also two panels revolving around women for the final presentations in 1979. The first video features the audience posing questions to Professor Nijole Benokratis on topics such as the power dynamics between gender roles. The second, from December 17th, is another talk centered on media with Alfie Brown speaking on the conceptualization of women through the film I Want to Live and the image of the white American woman incarcerated in the 1950s.

The To Say Their Own Word prison program collection provides an important glimpse into the prison organizing movements of the 1970s, and the importance of having one’s voice heard. Saleem El-Amin, a former participant of the program, remarked that “When people listen and you feel like you’re a part of something, it gave you a chance for change. I think it kind of kept us in touch with our humanity, really.”⁴

The videos in the collection can be accessed through the Vimeo landing page and the Additional Information Descriptions in the collection’s Finding Aid on the UMBC Special Collections website.

This post was written by Annyah St. Louis, ’23, history, M.A. ’25, history, a graduate assistant in Special Collections. Thank you, Annyah!

1. Musa, Mansa. “How Maryland Inmates Organized for University-Level Education in Prison.” The Real News Network, September 8, 2023. https://therealnews.com/how-maryland-inmates-organized-for-university-level-education-in-prison. ↩︎
2. Musa, Mansa. “How Maryland Inmates Organized for University-Level Education in Prison.” The Real News Network, September 8, 2023. https://therealnews.com/how-maryland-inmates-organized-for-university-level-education-in-prison. ↩︎
3. Musa, Mansa. “How Maryland Inmates Organized for University-Level Education in Prison.” The Real News Network, September 8, 2023. https://therealnews.com/how-maryland-inmates-organized-for-university-level-education-in-prison. ↩︎
4. Musa, Mansa. “How a 1970s Prisoner-Organized Literacy Program Changed Maryland’s Penitentiaries.” The Real News Network, April 25, 2023. https://therealnews.com/how-a-1970s-prisoner-organized-literacy-program-changed-marylands-penitentiaries. ↩︎

Sources

Conway, Marshall, and Dominique Stevenson. Marshall Law: The Life & Times of a Baltimore Black Panther. Oakland, CA: AK Press, 2011.

Day, Susie, and Ta-Nehisi Coates. The Brother You Choose: Paul Coates and Eddie Conway Talk About Life, Politics, and The Revolution. La Vergne: Haymarket Books, 2020.

Musa, Mansa. “How a 1970s Prisoner-Organized Literacy Program Changed Maryland’s Penitentiaries.” The Real News Network, April 25, 2023. https://therealnews.com/how-a-1970s-prisoner-organized-literacy-program-changed-marylands-penitentiaries.

Musa, Mansa. “How Maryland Inmates Organized for University-Level Education in Prison.” The Real News Network, September 8, 2023. https://therealnews.com/how-maryland-inmates-organized-for-university-level-education-in-prison.