Category Archives: Special Collections

Keep on Huggin’!

The Evangelism and Missions Collection, located on the third floor of the Billy Graham Center, features an astounding array of books detailing the histories of international mission agencies, institutions, revivals and movements. In addition, the collection contains the biographies and autobiographies of missionaries, pastors, evangelists and other Christian workers, all dedicated to fulfilling the Great Commission.

Hugs1One of the unique ministries archived among the titles in the Evangelism and Mission Collection is chronicled in Hugs (1988) by Henry and Susan Harrison. Henry Harrison, D.D., served as co-host, (until replaced by Tammy Fay Bakker) and announcer for Jim Bakker’s PTL (“Praise the Lord”) Club, located at the Heritage, USA, campus, in Fort Mill, South Carolina.  In addition to evangelism, “Uncle Henry” and his wife, “Aunt Susan,” as they were widely known, specialized in hugging. This excerpt from an interview reveals their passion:

Interviewer: …To me, the most important feature is your license plate.

Uncle Henry: PTL/PHD. That’s PTL’s Pastor for the Hugging Department.

Interviewer: You had that specially made?

Uncle Henry: Yes, and I also designed one for Susan’s car. Her license plate is SUZ/HEN and when you pronounce it together it comes out “Susan.” But it’s for the two of us together, Susan and Henry.

Interview: That’s unique! Here’s a picture of the Upper Room at Heritage, USA. Are you there often?

Uncle Henry: Susan and I are there every weekday afternoon, Monday through Friday, for an hour of sharing and testimonies and hugging. And…I don’t think it is a sacrilege when I sometimes affectionately refer to it as “The Hugging Room.” I truly believe there is sweet communion in hugging on the part of believers.

Aunt Susan: When God said to Jim Bakker years ago, “Jim, if you’ll build me a place I’ll meet you there,” Jim took some of his people to Jerusalem and measured the Upper Room’s every inch and every column. The one at Heritage as as near a replica of that one as the local building code would permit. The Upper Room in Jerusalem has stone floors, but we do have a nice red carpet to kneel on. And we have the atmosphere — the spiritual atmosphere — that is so conducive to praise and worship and healing and salvation and all of the things people come there crying for in their spirits. They pray and intercede for their friends and family back home.

Hugs appeared one year before Jim Bakker’s devastating sexual scandal brought down the PTL empire. The Heritage property has since been portioned and sold to various developers. Quite poignantly, the Harrisons observe at the end of the book:

Aunt Susan: …I’d like to leave a parting thought on this. When a person is truly hurting to the very depths of their being — as in bereavement at the death of a precious loved one — the ear fails to register the meanings of the words being heard. Hugs2But the warmth and concern conveyed by a sincere, loving hug reaches and soothes the wounded spirit as nothing else can…Through this book our hugging people will continue long after we’re gone from this world.

Uncle Henry: I think of this book as being a kin to the Book of Acts in that it has no “amen,” but lives on in the lives of “hugging” believers! I don’t know who wrote these lines, but we’d like to leave them with you….Keep on huggin’!

Day of the Wolf

Coleman Luck, creator of “The Equalizer” and “Gabriel’s Fire,” pulls  no punches in Day of the Wolf: Unmasking and Confronting Wolves in the Church (2015). Throughout the book, Luck offers personal anecdotes in the spiritual and psychological mechanics of dealing with wolves, whether in Hollywood or the church, or both in partnership.

LuckHe writes, “This book has been written to call us all to account. For spiritual wolves, it is the most serious warning to repent while there is still time. Your soul is at stake. For those who follow and encourage wolves, it is a call to Biblical awareness, repentance and action. For those who have been wounded in wolf attacks, it is a call to forgiveness and healing. For everyone in the Christian Church it is a call to vigilance and, where needed, Biblical, Holy Spirit empowered confrontation, because things are going to get much worse.”

The Coleman Luck Collection includes the working materials of this contemporary novelist, television and screenwriter. His work on various network television series, as well as independent projects, are documented in this collection.

Learn more about Coleman Luck’s papers at Wheaton College.

Shakespeare on Display

ShakespeareAngle800As part of the E. Beatrice Batson Shakespeare Collection in the College Archives and Special Collections, Buswell Library is pleased to have a copy of Henry the Fourth, both the first and second parts. These plays are taken from the fourth folio edition of Mr. William Shakespear’s Comedies, Histories, and Tragedies (1685) and were donated to the College in honor of Dr. Batson’s retirement from the English Department about 25 years ago. This month, thanks to the generous donation of a custom-made case, our folio has found a new home on permanent display in the lobby of Buswell Library.

In preparation for this display, I had the opportunity to research this special book, and the findings were rather surprising.

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At first, all we knew about this volume was contained in an inscription written in an unknown hand on one of its back fly leaves: ShakespeareNote800

 

“Extracted from the / Fourth Folio of 1685 / Bound in Cambridge calf / antique style by / Bernard Middleton. / hole in the leaf Hh”

I was able to locate the publication information for the “Fourth Folio of 1685” through the English Short Title Catalogue, a database of antiquarian English books hosted by the British Library. A combined author and date search returned three entries:

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Without a title page, it was impossible to tell which of the three imprints our plays contained. Therefore, as “H. Herringman” was the only constant between the three, he was the obvious starting point for further research.

The British Book Trade Index and CERL Thesaurus list “H. Herringman” as Henry Herringman, who worked from 1653-1693 as a bookseller and publisher in London. He specialized in producing fine literature and dramatic texts, which is unsurprising considering his relationship with the poet John Dryden and his many copyrights for Shakespearean works.[1]

To publish Shakespeare’s fourth folio, Herringman employed three printing houses to each produce a section of it. The plays in our copy are taken from the second section, which is particularly interesting due to its errors in layout. More specifically, there were many mistakes made in labelling the signatures. These combinations of letters and numbers in the bottom right corners of certain pages determined the format of the book, and so it was important that they be precise. Our copy of The First Part of Henry IV features an example of such an error on folio 41:  the signature “Ee3” had been mistakenly left off the page, but here someone (likely from the printing house) has corrected it by hand with ink.

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Scholar Giles E. Dawson examined nearly 40 copies of this folio, and in the majority of them “Ee3” was added in this way. He notes that the handwriting is the same in all the copies he examined, and that it is most distinctive in this particular signature.[2]

Having read Dawson’s assessment, I wanted to compare our signature to that in others copies and see if it matched. The ESTC linked to three examples of this text, one with each of the different imprints, in the Early English Books Online database and it seems Dawson was correct: in all of them, there is a forward slant in the uppcase “E” and the crossbar of the lowercase “e” is tilted upwards.

Es

Ours, however, appears different:

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The uppercase “E” has no slant to it (although it certainly has some ungraceful serifs), and the crossbar on the lowercase “e” is flat. Was it written by someone else? Or could the corrector have been experimenting, perhaps using a different pen?

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In another place in the book, we find more markings and they, too, highlight some strange particularities.

Folio 47 features parts of two scenes from The First Part of Henry IV which someone has marked up to note typographical and editorial issues. For example, the “S” in “Scena Tertia” is incorrectly printed in roman, while the rest of the heading is italicized:

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On the other side of the page, a misspelling is noted, where the “e” in “sedden” is crossed out and the correct letter, “u”, is written in the margin:

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And below that, a pound sign in the margin corresponds to a marking within the text:

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This was a convention with which I was unfamiliar. One of the pound sign’s many purposes over time has been to signal the need for a space, which seems to be the significance here. In an attempt to date these notations, I tried to research the history of the pound sign as an indicator of a missing space. While the history of marginal and typographic symbols has been the topic of several books and blogs in recent years, writers have focused on the pound sign’s capacity as an abbreviation for, well, “pound” rather than as an indicator of a lacking space. As a result, I’m uncertain as to when this became common in proofreading, which makes it difficult to determine when these notations were added.

That said, there are two remarks that can be made with certainty. The first is that all of the Shakespeare folios were printed at a time when the English language was yet unstandardized and undergoing continual changes in spelling and punctuation. Each was edited differently, although compositor’s mistakes were to blame as well as emerging conventions.[3] The marks in our volume illustrate one person’s engagement with his or her text in a period where readers, writers, and compositors were experiencing a dynamic evolution of language.

A second certain remark is that none of the other aforementioned copies of the fourth edition have these mistakes on this page. The books at the Bodleian Library, Folger Shakespeare Library, and Cambridge University Library all have the italic “S” instead of the roman, the correct “u” in sudden, and while the quality of the EEBO scans makes it tricky to determine for sure, it seems as though all also have a space between “Henry” and the colon.

What does this indicate? To be honest, I’m not sure. Could these markings signal a printer’s copy used to make changes before sending the book to press? It’s possible, although one would assume that the errors in layout would have been flagged then, too.[4] The general design of the page is consistent with that of the fourth edition and only the fourth edition of the Shakespeare folios, leaving me frankly quite puzzled as to where this copy fits into the larger narrative of the publication. Between the differences in the signatures and now this page, our book contains some mysteries which, until further research is completed, must remain unsolved.

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The material composition of this book, on the other hand, is a mystery solved. As stated in the inscription, our copy was specially bound by Bernard Middleton, a renowned British binder who flourished in the twentieth century and literally wrote the book on English bookbinding. The work he did for our copy resulted in an elegant speckled calf leather binding with blind tooling and gilt letters, and he signed his work in the lower left corner of the back cover paste-down using his signature stamp.

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Determining the papermaker, on the other hand, was a bit trickier. Such details aren’t listed in imprints and there was nothing in the inscription. Yet when held up to the light, it became clear that, consistent with folios from the era, our book was printed on antique laid paper with vertical chain lines. Upon closer inspection, I saw a watermark:

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It was hard to make out the letters and shapes, but I saw something resembling a plus sign, a possible fleur-de-lis, and the letters V, A, and L towards the beginning of the word and A, R, and D towards the end. It looked like “OVALGARD”, but this search returned no results. While browsing the Thomas L. Gravell Watermark Database, however, I discovered the name of a seventeenth-century papermaker from Normandy, Denis Vaullegeard, who sometimes used the spelling “DVAVLEGEARD” in his watermarks. As it happens, Dawson had already credited Vaullegeard’s work on the fourth folio paper in an article published more than 50 years ago. According to him, multiple Vaullegeard watermarks are found on the pages of the folio, all containing elements featured in the image above: the name, the shield, and the loopy ribbon bordering it.[5]

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A final clue also appeared on the paper, and while it wasn’t quite as hidden as the watermark, it still originally passed unnoticed. In the top left corner on the back side of the front free endpaper are some tiny words in ink:

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Thanks to a quick Google search, what looks like “LOTHERAN. JACKVILLE ST. LONDON” was revealed to be “SOTHERAN SACKVILLE ST. LONDON”. Sotheran’s of Sackville Street is, according to its website, the oldest antiquarian bookshop in the world, founded in York more than 250 years ago.

Since our provenance information for this item is limited, I emailed Sotheran’s for more information and quickly received a reply from the Managing Director. He informed me that they have sold many plays taken from (typically incomplete) copies of all four folios, and while he wasn’t able to locate the information for our particular plays, he was able to tell me that they must have been sold after 1936, the date in which Sotheran’s moved to Sackville Street. Their archives were destroyed in World War II—bombing and looting during this period have created numerous provenance problems—so it may be that our plays were sold in between those events and the record is gone, or they might have been sold later and Sotheran’s records database is incomplete.  Regardless, we now have some insight into the three centuries between our book’s publication and its arrival in the College Archives & Special Collections.

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Although many details from our book’s past are still unknown, we were able to find out much about this special copy. Perhaps as more editions are digitized and more scholarship is completed, we will discover exactly why our copy stands unique among its peers, and maybe even find out more about its provenance. In the meantime, if you would like to see Henry the Fourth for yourself, please come visit the display in Buswell Library.

References:

[1] See Sonia Massai, “‘Taking Just Care of the Impression’: Editorial Intervention in Shakespeare’s Fourth Folio, 1685,” in Shakespeare Survey Volume 55: King Lear and its Afterlife, ed. Peter Holland (Cambridge: Cambridge University Press, 2007), 257-270; and Giles E. Dawson, “Some Bibliographical Irregularities in the Shakespeare Fourth Folio,” in Studies in Bibliography, 4 (1951/1952), 93-103 for more information on Herringman and the production of this folio.

[2] See Dawson, “Some Bibliographical Irregularities,” 94.

[3] See Massai’s article, as well as Matthew Black and M. A. Shaaber’s book, Shakespeare’s seventeenth-century editors, 1632-1685 (New York, Kraus Reprint Corp., 1966), for details on the editorial process.

[4] Dawson notes that these layout errors were indeed noted late into the printing, and corrections were made for a small remaining batch of books which technically comprised a fifth edition; see “Some Bibliographical Irregularities,” whole article for more information.

[5] “Bibliographical Irregularities,” 246.

Her fault

AgnesWhen God promises to heal the land, as he does in II Chronicles 7:14, he is predicting the return of the Jew to Israel the homeland, though contingent upon national repentance. When missionaries leave their home country for a foreign field, they often harbor hopes of “healing” the land, or preaching the gospel and serving needy peoples. But when Agnes Sanford, charismatic author and lecturer, moved from the East Coast to California in her later years, she had something far more literal in mind as she applied her extraordinary gifts. She writes in Creation Waits (1976):

When I moved to California in order to be nearer to my children and also to be handy to the San Andreas Fault in order to pray for it, I looked for a house….When I pray for the San Andreas Fault, that is settle its differences, or make its adjustments to the earth that is even now being gradually pushed up from the ocean, I see with the eyes of faith God’s healing and constructive power, God’s life-force of light, shining into the mountains beneath which the fault lurks, and causing these areas of new land to develop so gently, so gradually, that there shall be no destructive earthquakes. Many people, encouraged by the newspapers, seem to gloat in the prospect of a destructive earthquake, and to delight in foretelling it. However, God is more powerful than all newspapers and gloomy prophets who foresee calamity.

The paper of Agnes Sanford (SC-174) are archived in the College Archives & Special Collections.

Turn Your Eyes Upon Jesus

Helen Howarth Lemmel, born in England but raised in the United States, taught music at Moody Bible Institute and the Bible Institute of Los Angeles. Gifted with words as well as music, she wrote columns for a newspaper and directed choral groups for the Billy Sunday evangelistic campaigns. In 1918 at age 55 she acquired a gospel booklet called “Focussed” written by Lilias Trotter, missionary to Algeria. “Turn your soul’s vision to Jesus,” wrote Trotter, “and look and look at Him, and a strange dimness will come over all that is apart from Him…”

Trotter’s exhortation forcibly struck the weary Lemmel. She writes, “Suddenly, as if commanded to stop and listen, I stood still, and, singing in my soul and spirit was the chorus, with not one conscious moment of putting word to word to make rhyme, or note to note to make melody…These verses were written…the same week, after the usual manner of composition, but none the less dictated by the Holy Spirit.” The hymn, initially called “The Heavenly Vision,” appeared in Glad Songs. It was sung at the 1922 Keswick Convention in England and eventually became known by its refrain, “Turn Your Eyes Upon Jesus.” This familiar hymn is now sung in churches throughout the world. Helen Lemmel died in Seattle, Washington, in 1961.

The Keswick Collection (SC-30), comprising books and pamphlets, the Lilias Trotter Collection (SC-225), comprising illustrated journals, and the Hymnal Collection (SC-15) are housed in the Wheaton College Special Collections.

Lemmel

Jean Vanier and the Templeton Prize

The Templeton Prize is annually awarded to a living man or woman who, in the estimation of the judges, “has made an exceptional contribution to affirming life’s spiritual dimension, whether through insight, discovery, or practical works.” Recipients include Desmond Tutu, the Dalai Lama, Brother Roger, Dr. Billy Graham and Mother Teresa.

VanierThe 2015 recipient of the Templeton Prize is Jean Vanier, awarded “for his innovative discovery of the central role of vulnerable people in the creation of a more just, inclusive and humane society.” Vanier is the founder of L’Arche, a community where people with intellectual disabilities and those who accompany them share a daily life rich in mutual relationships, offering an innovative way of living. L’Arche is a Federation of 147 communities in 35 countries and on 5 continents. Jean is the son of Georges Vanier (1888-1967), the celebrated Governor General of Canada.

Malcolm Muggeridge, Roman Catholic British commentator, deeply interested in faith based initiatives, communicated in 1974 with Vanier and his mother, Pauline, about filming the L’Arche story for Canadian television.

Vanier was interviewed by the Chicago Sunday Evening Club in 1995, discussing loneliness, disabilities and belonging. “To hold people tenderly,” he said, “is to reveal to them that they are precious and that they are important and they have value.”

The papers of Malcolm Muggeridge (SC-04) and The Chicago Sunday Evening Club (SC-47) are maintained in the Wheaton College (IL) Special Collections.

Leanne Payne (June 26, 1932-February 18, 2015)

Leanne Payne, beloved author and teacher, died on Ash Wednesday, 2015. Honoring herLP worldwide ministry as a wise spiritual counselor and relentless prayer warrior, the Wheaton College Archives & Special Collections present this invocation requesting fresh anointing from God for Christian service, used by Payne and her colleagues during Pastoral Care conferences:

Come, Holy Spirit, come.
Pour the living water in Your presence
on the thirsty ground of my heart.

Make rivers of living water flow
on the barren heights of my soul,
and springs well up within all its valleys.

I would receive power, Lord Jesus Christ, to be your witness
at home and throughout the earth.
Be thou in me the fountain of living water,
springing up unto everlasting life.

You have qualified me, Holy Father, to share in the inheritance
of the saints in the kingdom of light.
You have rescued me from the dominion of darkness
and brought me into the kingdom of Your dear Son
in whom I have redemption
the forgiveness of sins (Colossians 1).
You have set Your seal upon me
Your Spirit in my heart as a deposit,
guaranteeing what is to come.
In Christ, I stand firm (2 Corinthians 1:21-22).
For adoption in You, I give you thanks.
For this I praise your holy, gracious name.

And I praise You as the One who sends forth Your Spirit
upon those who trust in Your name:
“Thou the anointing Spirit art
Who Doest thy sev’nfold gifts impart.”

I ask You now for the baptism of the Holy Spirit,
and a full freedom to move in the power of your Spirit
to the glory of your Name and the advancement of Your kingdom.
I know, Lord, that the day is coming when
“the earth will be filled with the knowledge of the glory
of the LORD, as the waters cover the sea” (Hebrews 2:14).
I rejoice in this, and ask that even now, Your Spirit
will fill me, cover me, and clothe me in this way.
I ask, also, for the grace and strength to so walk before You
that Your Holy Spirit will in no way be grieved or offended,
but will remain upon me; be ever pleased to rest upon me.

Father, for this baptism of Your Spirit,
one that will continue to well up from within me,
I give you thanks in advance.

It is in Jesus’ holy name that I pray and receive this blessing. Amen.

The papers of Leanne Payne (SC-125) are housed in the Wheaton College Special Collections in Wheaton, IL.

 

100 Years

CairnsDr. Earle Cairns, professor of history and chairman of the department of history at Wheaton College, was commissioned in 1960 to write a book, Saints and Society, about the social impact of evangelical compassion. Cairns profiles reformers such as John Wesley, William Wilberforce and Lord Shaftsbury, chronicling their contributions to the sweeping revivals that shook England and beyond. The book served a dual purpose, also celebrating the 100th anniversary of Wheaton College, founded in 1860. Published by Moody Press in Chicago, the book’s dust jacket sports the college logo (below). Records, documents, photos and memorabilia pertaining to the Wheaton College Centennial are maintained in the Wheaton College Archives (RG 10.4).

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Full Circle

FullCircleThe 1960s were years of dizzying upheaval for the United States. Its citizens wearied of the complex, seemingly endless war in Viet Nam. University students experimented with radical philosophies and mind-altering drugs. Racial tensions tightened in the inner city, often exploding. Popular music, particularly rock and roll, assumed an edgier attitude, reflecting the spirit of protest. As culture-shattering challenges shook the American psyche, the church did not remain unscathed. Amid the turmoil, David Mains, formerly assistant pastor at Moody Church in Chicago, with his wife, Karen, determined that the moment was right to implement a “creative” congregation on the edge of the ghetto, using all the gifts of its membership while aggressively reaching the socially disenfranchised and those disillusioned by local churches. Under Mains’ leadership, Circle Church began in 1967 with 28 people. Four years later Circle Church’s membership climbed to 500 congregants,  comprising students, high-rise apartment dwellers and ghetto inhabitants. Mains tells the story in Full Circle (1971). As the years progressed, however, Circle Church began to slowly unravel. Mains picks up the story in a 2004 Christianity Today essay called “Presumption at Circle Church.” He writes, “Today I am embarrassed about some of the attitudes expressed in Full Circle. I still have the same principles, but my comments seem cocky and presumptuous. I saw Circle Church as the tip of a new wave that would sweep across evangelical churches. That didn’t happen. Circle Church still exists, but in a smaller form and with more specialized emphasis.” Mains cites several reasons for the failure of Circle Church, expounding on each point. 1) I often allowed myself to fixate on issues. 2) I was naive about social problems. 3) In encouraging others’ gifts, I minimized my leadership role. 4) I held onto the church too tightly.

“The best thing that happened to me in leaving Circle Church was the breaking of my pride,” Mains writes. “During the breaking time, I felt rejected by the church that I had poured my life and soul into for ten years. For a brief time I questioned my faith in God. I wondered if I could trust him again.” He concludes,”More than a year passed after I left Circle Church before I began to feel like a man again. I have since sensed a new filling of the Holy Spirit, which was the result of a complete surrender to God. The process taught me to put confidence not in myself but in the Lord. As never before I identify with Paul’s words, ‘His strength is made perfect in my weakness.'”

Though Mains expresses a measure of remorse, his experiment in the Chicago ghetto, using liturgy, art and lively worship, waved a banner of salvation and hope for many, while providing a template for later generations of churches employing similar principles.

In 1977 Mains assumed the position of director for the Chapel of the Air, with Karen acting as co-host of the syndicated radio broadcast. Both have authored several books. Their papers (SC-118) are housed at Wheaton College Special Collections at Wheaton College (IL).

Masked: The Life of Anna Leonowens by Al Habegger

A brave British widow goes to Siam and—by dint of her principled and indomitable character—inspires that despotic nation to abolish slavery and absolute rule: this appealing legend first took shape after the Civil War when Anna Leonowens came to America from Bangkok and succeeded in becoming a celebrity author and lecturer. Three decades after her death, in the 1940s and 1950s, the story would be transformed into a powerful Western myth by Margaret Landon’s best-selling book Anna and the King of Siam and Rodgers and Hammerstein’s musical The King and I.

But who was Leonowens and why did her story take hold? Although it has been known for some time that she was of Anglo-Indian parentage and that her tales about the Siamese court are unreliable, not until now, with the publication of Masked, has there been a deeply researched account of her extraordinary life. Alfred Habegger, an award-winning biographer, draws on the archives of five continents and recent Thai-language scholarship to disclose the complex person behind the mask and the troubling facts behind the myth. He also ponders the curious fit between Leonowens’s compelling fabrications and the New World’s innocent dreams—in particular the dream that democracy can be spread through quick and easy interventions.

Exploring the full historic complexity of what it once meant to pass as white, Masked (published by University of Wisconsin Press, 560 pages) pays close attention to Leonowens’s midlevel origins in British India, her education at a Bombay charity school for Eurasian children, her material and social milieu in Australia and Singapore, the stresses she endured in Bangkok as a working widow, the latent melancholy that often afflicted her, the problematic aspects of her self-invention, and the welcome she found in America, where a circle of elite New England abolitionists who knew nothing about Southeast Asia gave her their uncritical support (by rhonda). Her embellished story would again capture America’s imagination as World War II ended and a newly interventionist United States looked toward Asia.

The Kenneth & Margaret Landon Papers (SC-38) are cited as primary source materials and are housed in the Wheaton College Special Collections, available to researchers.

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Alfred Habegger is professor emeritus of English at the University of Kansas. His previous biographies are The Father: A Life of Henry James, Sr. and the highly acclaimed My Wars Are Laid Away in Books: The Life of Emily Dickinson. He lives in northeast Oregon.