Check out the zine and arts programs that lead up to the final event in 2024, the Reed Zine Fest!
Save the date
REED ZINE FEST is on Saturday, March 30, 2024 from 11am to 4pm at Kaul Auditorium at Reed College (Portland, OR).
Reed Zine Fest is the first zine fest organized by the Reed College Library to celebrate independent publishing, DIY and zine making. This one day festival will feature both local community and Reedie zinesters, zine workshops, and keynote by special guest James Spooner(graphic novel High Desert, Co-founder of Afro-punk Festival).
Applications to table at the Reed Zine Fest will open in February 2024. Follow Reed Zine Library on Instagram @reedzinelibrary for updates!
Portland-based Chicana author Emilly Pradodelves into the creation process for her award-winning book Funeral for Flaca, which debuted as a handmade chapbook before it was published and expanded by the press, Future Tense Books. She’ll share the various stages of the process including writing, research, revision, and artistic collaborations, as well as the importance of self-advocacy and intersectionality in publishing, particularly for writers of marginalized identities. Plus, hear Emilly give a reading from her book, have some snacks, and get inspired for the upcoming Reed Zine Fest in March 2024!
Risograph Workshop with Timme Lu (students only & registration-based) Thursday, November 2, 3 p.m.- 6 p.m. at the Visual Resources Center L42
Learn Risograph printing techniques from Portland-based artist Timme Lu! Lu is a Portland-based book artist, printer, and furniture maker. They will be introducing the basics of the Risograph, a new printing duplicator in the Visual Resources Center that is available to students, and will lead an engaging group activity. Risograph printing experience is not required.
Watch the award-winning documentary Afro-punk about the Black punk experience and history of Afro-Punk in the United States. Virtually meet the Afro-Punk festival co-founder and author James Spooner. Join us for a punk rock and a pizza party after in the PARC!
Risograph Workshop with Timme Lu (students only & registration-based) Thursday, March 21, 3 p.m.- 6 p.m. at the Visual Resources Center L42
Learn Risograph printing techniques from Portland-based artist Timme Lu! Lu is a Portland-based book artist, printer, and furniture maker. They will be introducing the basics of the Risograph, a new printing duplicator in the Visual Resources Center that is available to students, and will lead an engaging group activity. Risograph printing experience is not required.
The fest includes a day with dozens of zine creators, tours, and workshops celebrating self-publishing, self-expression, and DIY culture. Award-winning authorJames Spooner will be kicking off the event with a keynote about his experience as a Black punk navigating the scene and finding his voice.
Support
This series of zine and arts programs is generously funded by the President’s Office, the Office of the Dean of Faculty, the Office of Institutional Diversity, the Cooley Gallery, the Office of Student Engagement, the Student Life Office, and the Library.
New book display now available in the Library! Come find books centered on themes of climate justice, environmental justice, and activism.
The climate crisis stems from a lineage of colonization and is intertwined with the exploitation and harm enacted on indigenous communities and communities of color, both within the boundaries of present-day United States and around the world. This exhibit seeks to highlight not just this legacy, but also the resilience, the resistance, the activism, and the ongoing creation of new futures.
Books in the exhibit are available to check out, or you can find them in the Library’s featured digital exhibits.
Many thanks to all who contributed to making this exhibit: Lutetia Wang, Ann Matsushima Chiu, Mark McDaniel, Caroline Reul, Lin Liu, Kyle Napoli, Colleen Gotze.
Thursday April 20th 3-4:30pm Reed Zine Library Food & Music
Come explore in this student-led zine exhibit, how the Cumbia and Tejana musician Selena influenced Tejano music and the broader Chicano culture. In this exhibit, you will find zines, books, magazines, and records all pertaining to Latin identities and struggles by Latin creators! The overall mission of this showcase is to critically examine and expand Reed Library’s collection of Latin pieces of media in order to actively diversify the whiteness of the library’s holdings. From a curated selection of zines exposing what it is like being a mujer in society to vinyl records of Selena’s music to Chicana pop culture magazines, come learn about how Hispanic cultures and identities are expressed in art and media.
We’ve made some updates to the library catalog! On May 23rd, Reed Library updated our catalog software. The updated version is much easier for us to manage and maintain, allows us to add content faster, and gives us more options to meet your needs. It also isn’t all that different! Most features will work the same as you’re used to.
Check out some things that we’re excited about in the updated version:
Search Reed, Summit, and Articles by default. Want to limit to just Reed materials like books, ebooks, and journals? Select the “Reed Library Only” dropdown.
Search or browse electronic and print journals together in Journal Search.
“Saved searches” will NOT automatically transfer with the update. Before May 23rd, copy your saved searches and keep them safe. After May 23rd, you’ll need to recreate your search, following the instructions below.
Don’t want your saved search anymore? No need to do anything.
Don’t have any saved searches? No need to do anything.
“Saved items” and any labels you’ve added will be copied into the updated catalog; no need to save and recreate these.
How to keep your saved searches
Before May 23rd, login to your saved searches in My Favorites in the library catalog.
Copy your saved search list, and paste it somewhere safe like a text file or google doc.
Graffiti at Reed has been a contentious debate for the past four decades amongst both students and faculty. Some have viewed it as a valuable expression of free speech and student autonomy. Others have considered its presence a nuisance, one that degrades the college’s quality and reputation. Most of Reed’s graffiti has taken on a political bent, though at times it has purely been comical. From the 1980s till now the Reed College Quest has been the primary arbiter between those in support and those against graffiti.
The debates surrounding graffiti in the 1980s were varied, with one article from November 14, 1984, decrying its existence due to its obscene nature. While the author acknowledges that graffiti on campus can be humorous, she critiques its occasional breach into problematic territory. On one such occasion, a student wrote on a bicycle ad that “Women shouldn’t ride bikes anyway.” We can all agree this is a poor use of ink, especially in an era when women’s rights were increasingly threatened. This was the 80s, when Ronald Reagan and the nascent Evangelical right were becoming increasingly powerful, and along with them came attacks on women’s reproductive rights. In 1987, another article, “Metaphysical Graffiti”, praised graffiti’s prevalence. Written in response to the erasure of graffiti by other students and campus services, the author argues that graffiti at Reed is unique when compared to “regular outside of Reed graffiti” insofar as it is creative, witty, and intellectual. Hence, “graffiti at Reed [should not be] thought of as defacing property so much as an anonymous forum for the expression of a diverse number of views”.
The article then discusses how different departments at Reed have their own brand of graffiti, like the Chemistry department’s graffiti which featured a chemical formula to make “Five-Pronged Werewolf Slayer.” Instead of erasing graffiti, the author argues it should be preserved and designated to particular spaces.
The 1990s brought about an era in which students were much less keen on graffiti’s ubiquity. This is, in part, due to dramatic increases in graffiti and general vandalism which occurred at the school during the era. The debate hit its peak in the late 1990s, with 1997 featuring almost monthly articles on graffiti’s prevalence. In February of that year, one article claimed that “graffiti as a means of social expression is tantamount to ethical cowardice insofar as the accountable party does not take responsibility for his/her viewpoints”. This was in response to the defacing of the new commons, which had recently been renovated. Another article published the same year, “Are We Gettin More Destructive?”, presented various arguments for why Reedies are “more destructive” than they once were, and argued that graffiti is the most obvious example of this increase in destructive habits.
Another hypothesis for the rise in graffiti was the closure of Commons’ lower level, a space traditionally used for student activities, which had the dual purpose of serving as a “natural outlet” for destructiveness on campus. Additionally, the lower level of commons was apparently used as a “sexual clearinghouse for the campus,” and because of its closure, students “have taken their excess sexual tension and channeled it into destroying the campus”. Another theory for the rise in graffiti is an increased number of students who are “volatile drunks and addicts [who] roam the campus,” who in their inebriated states wreak havoc on Reed’s infrastructure. While these are all compelling theories, the prevalence of graffiti certainly has not abated and continues to this day.
Graffiti at Reed in the twenty-first century has remained a staple of the SU and in campus bathroom stalls, and the occasional monumental design can be found on the side of buildings. To this day, both graffiti’s presence and its erasure by campus services is still being debated, with 2020 being a particularly controversial year due to the country’s political environment. While most graffiti has been tame, there have certainly been instances where graffiti has been used in harmful ways. If you want to see more pictures check out our digital collections, or visit special collections and archives, or email us at archives@reed.edu.
Counternarratives: Critical Race Theory in Context is a new book display that seeks to expand, contextualize, and nuance the conversations about theories of race and racialization in academia and contemporary debate.
Unlike what liberal and conservative media would like you to believe, Critical Race Theory is NOT a catch-all term for anything written by or about people of color. It’s not diversity, equity, and inclusion training. It’s not books like How to Be an Antiracist or White Fragility on your parents’ coffee table. It’s not even academic scholarship written about race.
CRT is a field of legal scholarship about race in America that emerged out of Critical Legal Studies in the latter half of the twentieth century advanced by scholars including Derrick Bell and Kimberlé Crenshaw.1 Since its inception, CRT has expanded and spread into other fields, especially education, and taken on new forms such as AsianCrit, LatCrit, TribalCrit, and Critical Whiteness Studies.
CRT is part of a large web of scholarship and theory about race, racism, and racialization. It exists in conversation, disagreement, and solidarity with other expansive and interconnected fields of thought such as Black Studies, Postcolonial Studies, Black Feminism, Carceral Studies, and Critical Indigenous Studies.
Crenshaw uses the term intersectionality to describe how different structures of oppression intersect to affect marginalized communities. Thinking about the ways these structures and forms of violence overlap is important, but so is their specificity.
Likewise, we can think of these disciplines as intersecting and interwoven attempts to study racism, colonialism, and violence in their many forms. Many of the books on display here could fit into more than one of these fields as well as other disciplines or fields that are not represented here. However, each field has its own traditions, archives, and strategies for thinking about race.
Contextualizing CRT within this larger constellation can help us be smarter and think critically about modern understandings of race and racism.
You can access the materials within this exhibit through the Library’s Featured Collections. You can check out any of the materials in the display by taking the item and your library card to the front desk. You can check out ebooks by scanning the QR codes that take you to the catalog record.
Organized by Ben Read and Ann Matsushima Chiu. Special thanks to Sarah Bavier, Angie Beiriger, Nick Campigli, Lily De La Fuente, Tracy Drake, Kyle Napoli, Caroline Reul, and Bee Yermish. Images from W. E. B. Du Bois.
In a recent email to the campus community, President Audrey Bilger and Chairman of the Board of Trustees Roger Perlmutter declared that Reed would “prohibit any new investments in public funds or private partnerships that are focused on the oil, gas, and coal industries, including infrastructure and field services… [and] phase out all such existing investments in private partnerships in accordance with the funds’ typical life cycles.”
Bilger and Perlmutter acknowledged the efforts of student organizations like Greenboard and Fossil Free Reed in the Board’s decision to divest—but did you know that the history of student organizing for divestment goes as far back as the 1980s? The first big push for selective investment at Reed was driven by increasing concern about the South African apartheid state.
February 1985
The Reed College Quest published a special issue on apartheid, in which the editorial board took an official stance in favor of full divestment of college funds from companies doing business in South Africa. According to the Quest’s estimate, approximately $4.296 million of Reed’s endowment was invested in corporations with ties to the apartheid regime. The Quest editors argued that these investments made the college complicit in the exploitation of Black South Africans. In the following weeks, Quest editor Christopher Phelps and several other students organized the South African Concerns Committee (SACC), and started devising strategies to push the college’s administration toward divestment.
October 1985
SACC held its first mass demonstration, a non-disruptive protest in Eliot Hall. Not long after, SACC presented a petition to the Trustees that demonstrated over 50% of the college community favored full divestment. During the Trustees’ October meeting, the board chose to defer their decision to January 1986. In response, twenty-five students, unsupported by SACC, occupied Bragdon’s office in protest. Their attempts at negotiation with Dean of Students Susan Crimm were unsuccessful, and occupiers left the office after fifty-two hours.
January 1986
Bragdon delivered the college’s official statement on divestment: Reed would maintain its current investment portfolio, to the extent that it followed the Sullivan Principles**. In response, approximately one hundred students immediately took control of Eliot Hall, blocked all access to non-students, and demanded that the Trustees vote in support of full divestment and create more democratic financial decision-making structures. The use of barricades and unarmed guards at Eliot Hall’s entrances made the demonstration far more controversial than any prior SACC or divestment-related protests.
February 1986
The occupation of Eliot ended when occupiers reached an agreement with Bragdon and Crimm to establish a joint student-Trustee committee to deliberate on divestment and other issues of importance to the student body. Three other students levied an honor case against the occupiers, and argued that they had caused harm to the community by disrupting access to classrooms, the financial aid office, and other important spaces in Eliot. The Judicial Board decided that the occupiers were in violation of the honor principle.
Late 1980s
SACC renamed itself Reed Out of Africa and continued to push for full divestment, but was unsuccessful. Several students occupied the development office in Eliot Hall, but found that the administration was far less willing to attempt negotiation with them than before and received suspensions. Following Bragdon’s departure from the college in 1988, the issue died down.
Interested in learning more about the history of divestment efforts at Reed? Email us at archives@reed.edu, or visit our website!
* Divestment refers to the selective selling-off of business interests and investments, in compliance with set ethical demands. Apartheid divestment campaigns ranged from calls for divestment from companies that directly profited from the exploitation of Black South Africans (known as “partial divestment”), to companies that did any business in South Africa whatsoever (“full divestment”). While divestment has limited efficacy when it comes to placing financial pressure on companies and institutions, its modern proponents argue that it creates a moral stigma around unethical industries and labor practices.
** The Sullivan Principles were first published in 1977 by Reverend Leon H. Sullivan. They urged global “corporate social responsibility” through a set of seven principles intended to promote equal-opportunity employment practices. Over time Rev. Sullivan became increasingly disillusioned by their ability to effect social change, and by October 1985, he issued an ultimatum in an interview with New Yorker Magazine: “If apartheid is not abolished in actuality [within the next two years], all foreign corporations should leave [South Africa]. This should be followed by a total ban on all imports and exports.”
Works Cited
Byshenk, Greg, Lynn Decker, and Michael Ames Conner. “Recent Topical History in Several Parts.” Reed College Student Handbook, August 7 1989.
Kahn, E.J. “Sullivan Redux.” New Yorker Magazine, October 7 1985.
Phelps, Christopher. “Reed and Apartheid.” The Reed College Quest, February 5 1985.
Sullivan, Leon H. 1984. “The Global Sullivan Principles.” University of Minnesota Human Rights Library. http://hrlibrary.umn.edu/links/sullivanprinciples.html
Many have already heard of The Liberator, the 19th-century abolitionist newspaper created by William Lloyd Garrison. However, a new magazine under the same name emerged in the twentieth century. First published in the spring of 1918, the twentieth century Liberator continued the fight for equality: it focused on worker’s rights, women’s rights, and promoted socialism as an alternative to capitalism.
During World War One, the Wilson administration passed the 1917 Espionage Act and the 1918 Sedition Act. The legislation prohibited subversive speech that critiqued the draft, the Constitution, or the United States government.1 Subsequently, the U.S. government shut down socialist political magazine The Masses and prosecuted its editor Max Eastman.2 With the magazine effectively terminated by the U.S. government, Eastman and his sister Crystal founded The Liberator to succeed the defunct Masses.
The Eastmans were an accomplished pair of American activists. Crystal Eastman (b.1881-d.1928) was a labor lawyer, suffragist, socialist, and journalist who worked with her brother (as a co-editor) on the socialist magazine The Liberator. Much of Eastman’s journalistic work focused on the suffrage movement and workers’ rights in the early twentieth century. In 1917, before The Liberator’s creation, Crystal Eastman and other activists established the National Civil Liberties Bureau, which later became the ACLU, to fight government repression of dissenters’ rights during the First World War.3 Eastman is also credited with co-founding the Congressional Union in 1913 (later known as the National Woman’s Party) and supported the Equal Rights Amendment of 1923, a proposed amendment to eliminate federal and state laws that discriminate against women.4
Max Eastman (b.1883-d.1969) was a poet, editor of The Masses and the Liberator, and a prominent socialist and women’s rights activist in the early twentieth century. In 1910 he and other activists founded the Men’s League for Women’s Suffrage.5 Despite his professed belief in men and women’s equality, critics have noted a majority of The Liberator’s articles on women’s issues were written by men. Around 1 January 1922, Eastman passed his editorial position down to literary critic Floyd Dell. Under Dell’s supervision, the magazine’s focus shifted from politics to arts and culture.
First published in the Spring of 1918, a reader could pick up an issue of the magazine for twenty cents and read about the American labor movement, reports from post-war Europe, and John Reed’s reporting from the USSR. Political art and poetry fleshed out the remainder of the magazine. Contributors included prominent writers such as Claude McKay, a Jamaican-born poet and key figure in the Harlem Renaissance.
Born Festus Claudius Mckay (b.1889-d.1948), McKay was one of the most important poets of the Harlem Renaissance. His work ranged from vernacular verses celebrating Jamaica to poems that protested racial and economic inequality.6
In 1912, using a stipend he earned from the Jamaican Institute of Arts and Sciences, McKay left Jamaica for college in the United States. He attended Tuskegee Institute for two months before transferring to Kansas State College. In 1914 McKay departed college for New York City. His experiences with racism in the United States encouraged him to continue writing poetry.7
In 1919, McKay met and befriended Max Eastman, who later hired McKay as co-editor for The Liberator in 1921: a position McKay would maintain until 1922.8 McKay published several poems in The Liberator, most notably the enthralling poem If We Must Die.9 The poem was first published in the July 1919 issue of The Liberator and republished in several magazines.10 The poem’s publication date is significant as 1919 was one of the most tumultuous years of the twentieth century. There was the Influenza A pandemic, workers unrest, and the Red Summer. If We Must Die was a direct response to news of the race riots that spread across the United States. According to Juliana Spahr’s analysis of the poem, “Claude McKay’s If We Must Die is the poem of this moment, one that captured the zeitgeist as if McKay were a prophet, and not a mere writer.”11
Along with politics, the magazine’s visual material included a variety of illustrations and cartoons contributed by artists such as Cornelia Barns, William Gropper, and Art Young.
Born in Philadelphia in 1888, Cornelia Barns was an American illustrator and suffragette. She began contributing illustrations to Eastman’s first magazine, The Masses, in 1914. Barns was one of a few women who played a significant part in the creation of TheMasses. In 1917, Barns moved with her family to California with her husband and child. Committed to radical political and social change, Barns continued to provide art to The Liberator, New Masses, and Suffragist after moving to California.12
One of Barns’ most notable covers for The Liberator, Strike!, depicts women from the International Garment Workers Union who, in 1919, went on strike for a 44-hour work-week in New York.13 Inside the magazine one could learn more: “Our Cover design, drawn by Cornelia Barns, will carry to readers all over the country something of the spirit with which Local 25 of the International Garment Workers is conducting its strike for the 44 hour-week in New York. Eighty-five percent of the strikers are girls. Of the 35,000 who went out on January 21st, 23,000 have already won their terms and gone back to work. The rest are sticking it out magnificently.”14
Contributions from famous American cartoonists Art Young and William Gropper cemented The Liberator’s status as an influential socialist magazine within New York’s publishing scene. Art Young (b.1866-d.1943) was an American illustrator and activist in the late nineteenth and early twentieth centuries. In 1884 he moved to Chicago and studied art and supported himself by drawing newspaper cartoons. In 1903 he moved to New York, and worked as an illustrator for The Masses. After the magazine’s suppression by the U.S. government, Young worked with the Eastmans to produce artwork for The Liberator until the magazine was merged with other left-wing publications to form Workers Monthly in 1924.15
William Gropper was another illustrator who contributed his art to The Liberator. The son of Jewish immigrants, Gropper took art courses as a teenager at an experimental socialist school. After winning awards for his drawings, Gropper took a job with the New York Tribune. His supervisors at the tribune fired him when they discovered his left-wing political connections.16
By 1922, The Liberator achieved a circulation of 60,000 readers, but Max Eastman desired to shift focus towards book writing and left for the Soviet Union.17 When finances became an issue later that year, the Communist Party of America (CPA) moved in for a friendly takeover. The political party worked with Eastman, Dell, and other writers for the transition. By fall 1922, the magazine became an official organ of the CPA, and political content returned to the foreground.18
In 1924 The Liberator was merged with other magazines to form a new publication, Workers Monthly. The magazine would change names again to The Communist in 1927 until settling on the title Political Affairs in 1946.19
To learn more about The Liberator, visit the Special Collections and Archives exhibit, Race, Politics, and Women’s Rights: Visions of a New United States, curated by Nick Campigli, on the library’s main level across from the reference desk. Or, email archives@reed.edu to schedule an appointment with Reed Special Collections and Archives.
Daniel G Donalson, The Espionage and Sedition Acts of World War I Using Wartime Loyalty Laws for Revenge and Profit (El Paso: LFB Scholarly Pub., 2012), http://site.ebrary.com/id/10610281, 2-3.
“Max Forrester Eastman (1883-1969) | American Experience | PBS,” accessed October 13, 2021, https://www.pbs.org/wgbh/americanexperience/features/goldman-max-forrester-eastman-1883-1969/.
“Crystal Eastman,” American Civil Liberties Union, accessed October 28, 2021, https://www.aclu.org/other/crystal-eastman.
“Crystal Eastman | American Lawyer, Writer, Activist,” Encyclopedia Britannica, accessed October 13, 2021, https://www.britannica.com/biography/Crystal-Eastman.
“Max Forrester Eastman (1883-1969) | American Experience | PBS.”
“Claude M’Kay, African Poet. Made Co-Editor” The Chicago Defender, accessed October 13, 2021, https://www.proquest.com/docview/491882707?accountid=13475&forcedol=true.
“‘Our Precious Blood May Not Be Shed’ | Claude McKay,” Lapham’s Quarterly, accessed October 14, 2021, https://www.laphamsquarterly.org/roundtable/our-precious-blood-may-not-be-shed.
Juliana Spahr, “Hearing the Pandemic in Claude McKay’s ‘If We Must Die,’” PMLA 136, no. 2 (March 2021): 254–57, https://doi.org/10.1632/S0030812921000158.
“GARMENT WORKERS ORDERED TO STRIKE; Union Calls Upon 35,000 Members to Quit Their Employment At 10 o’Clock This Morning. APPEAL FOR GOOD ORDER Right to Discharge at Issue–Demands Include 44-Hour Weekend Advance in Wages.,” accessed October 15, 2021, http://timesmachine.nytimes.com/timesmachine/1919/01/21/97060727.html?pageNumber=22.
Reed’s dance culture has long been an avenue for the student body to build, strengthen, and maintain community. Before Covid, and hopefully after, Reed students organized balls (dances) on campus throughout the academic year. These balls allow the student community to connect, share information, and build relationships across grade levels.
Today, these dances choose a band, a subculture, or a special event as their theme. For example, during the Reed dance “Theme Reveal,” students gather to learn what the Renn Fayre theme will be that year. Reed Special Collections and Archives has collected three photos that depict this long-standing tradition throughout the twentieth century.
Students Dressed for a Costume Dance, 1915
The first picture, from 1915, shows two couples dressed for a costume dance in the old Reed gymnasium. The picture was taken from the scrapbook of alumni Lindsley Ross ’15 and was donated to the Reed College archive by his widow. The dance was described as a “fancy dress ball” where students dressed in formal Georgian attire.
Student Dance Party, 1937
The second picture was taken in 1937 and was donated by alumni Mary Jackson Gibson ‘39 from a scrapbook. The photo shows the 1937 Story-Book dance. The Amanda Reed Association, a women’s organization named after Amanda Reed whose estate founded the college, sponsored the event.
In the photo, female students paired off to dance with one another. In the background, other students watch on. The location of the Story-Book dance is unknown, but the dance may likely have taken place in the school gymnasium or Student Union.
Halloween Party, 1980s
The Reed student community’s long-running love of dances continued through the twentieth century. However, they became increasingly less formal as time went on. The third picture is from a donation of several photos taken by alumni Larry Clarkberg ‘87, who took this photograph for the Reed College Quest, Reed’s student-run newspaper. The photo displays students at a Halloween party in the Student Union building on campus. The six students in the photo’s foreground are dressed as members of the Village People and are most likely singing the song “YMCA.”
Reed’s dances build ties between different grade levels and act as a part of the foundation for Reed College’s student community. If you want to learn more about Reed dance culture, please visit our digital collections or email the archives at archives@reed.edu.
