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no archive will restore you
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Fig. 1. Hieronymus Bosch, Ship of Fools (1490–1500)
no archive will restore you. Copyright © 2018 by Julietta Singh. This work carries a Creative Commons By-nc-sa 4.0 International license, which means that you are free to copy and redistribute the material in any medium or format, and you may also remix, transform and build upon the material, as long as you clearly attribute the work to the authors (but not in a way that suggests the authors or punctum books endorses you and your work), you do not use this work for commercial gain in any form whatsoever, and that for any remixing and transformation, you distribute your rebuild under the same license. http://creativecommons.org/licenses/by-nc-sa/4.0/
First published in 2018 by 3Ecologies Books/Immediations, an imprint of punctum books. https://punctumbooks.com
isBn-13: 978-1-947447-85-1 (print) isBn-13: 978-1-947447-86-8 (ePDF)
lccn: 2018958567
Library of Congress Cataloging Data is available from the Library of Congress
Book design: Vincent W.J. van Gerven Oei
Cover image: Simryn Gill, Let go, lets go (2013). Courtesy of the artist.
Julietta Singh
The starting-point of critical elaboration is the consciousness of what one really is, and is “knowing thyself” as a product of the historical processes to date, which has deposited in you an infinity of traces, without leaving an inventory…. Therefore it is imperative at the outset to compile such an inventory.
Antonio Gramsci
Acknowledgments
This book could not have done without the friendship, insights, and interventions of: Lisa Smirl, Julie Penner, Cecily Marcus, Sapana Doshi, Ann Pellegrini, Katie Gentile, Jack Halberstam, Macarena Gómez-Barris, Aaron Carico, Allyson Rainer, Susan Wolver, Justin Linds, Jesse Goldstein, Arran Gaunt, Molly Fair, Cara Benedetto, Jagat N. Singh, Christine Common, Giovanni Geremia, and Renate Singh.
Eileen Joy and Vincent W.J. van Gerven Oei embraced this oddball text and offered it a home in the radical land of punctum books. For this remarkable fact, and for being the most badass publishing duo, I thank them so truly.
Then one extraordinary day Erin Manning floated into my world, followed by Brian Massumi, who together understood everything. For simply being, and for folding the book into their 3Ecologies series at punctum, my love and thanks are endless.
Several amazing women shared their sensitivity and enthusiasm for this book at various stages: Thank you especially to Maggie Nelson, Nuar Alsadir, and Orla Mc Hardy. An enormous thanks to Barbara Browning for her sup-
port, and for offering a reader response to this book in the form of a weird and wonderful meditation that let me see the book in strange new ways. Thank you to Simryn Gill for permission to use her gorgeous work as cover art for this book.
I am forever and infinitely thankful to Nathan Snaza, who quite simply holds the world together: for fabricating time and space, for reading me endlessly, for all these years of unbelievable friendship. And to Isadora Singh – herself a stunning little archive – always gathering up and transforming every little thing, including me.
No Archive became manifest through magical encounters with my misfit wonder, Silas Howard. For your infinite inspiration and your extraordinary sensitivity in the world, this book is for you.
A Thief, a Desire
it was 2004 anD unapologetically frigid in Minneapolis. The radio had pronounced it the coldest day of the year, though I had learned by then to trust nothing that came from news channels. The heat in my studio apartment was out again, and I was bundled indoors in woolly socks, long johns, and a bulky coat watching my breath billowing out of my body in smoky plumes. My building had been robbed twice within the past week, though my apartment had been magically spared. This is not quite true, because the intruder had in fact come to my door and taken from my doormat my sole pair of sneakers. He had been at the threshold, not quite inside my home but at its border. And he had taken something from that borderland, something that held value for us both. In this sense, it seemed to me that we were undeniably linked. Despite the fact that he had not entered my space, I could feel him palpably inside – not only in the fearful sense of anticipating his return, but in the sense that some trace of him had been left behind, had made its way across the threshold and into that tiny frozen space that had become my makeshift American home.
Anticipating that the thief would strike again, I searched the apartment trying to evaluate what else of mine might be seen as valuable to him. Attempting to abate my fear,
I decided the ethical move was not to defend against him but to find a way to welcome him, to make his forced entry feel less violating. I put a post-it note in the fridge affixed to a can of Red Bull that read Please Feel Free. The note was a strange welcome to my unwanted intruder; an offering of something that it would not hurt me to lose. In fact, the Red Bull was the remnant of some other visitor, someone I had already forgotten who had left behind an item I would never consume. I knew there was an ethical flaw at work in my act of strange hospitality, of offering something to my intruder that I myself did not want. I was deep in self-critique even before the sticky had stuck; I was young and cold and could feel my body aging.
As a brown Canadian kid, I had imagined America as a two-headed monster. One head was a gleaming blondhaired boy with a mouthful of exotic American candies, a big perverse smile chewing unrelentingly. The other head was cloaked in the clownish headgear of the Ku Klux Klan.
I found both heads silly and terrifying; both in different ways seemed to want to devour me.
I came to the United States to study, urged by keen Canadian professors that a PhD in hand from an American university would make me “golden” upon return. I came with hesitancy, never once considering that I might not return, that moving south would over time transform me into an expatriate. When that frigid day in Minneapolis had come to pass, I had been living in America for months and no longer envisioned the nation as a monster. In fact, I had grown to love monsters, recognizing their social function as the abject edges of society. The creation of the monster, I had discerned, is a way of crafting an outside so that a collective can imagine itself as bounded, cohe-
sive, and impenetrable. The monster is a being who will not or cannot fit normally, whose existence makes others uncomfortable and who therefore must be shunned and exiled. No, America was not a monster, though it was highly skilled at creating monstrous figures and exerting force against them. My intruder-guest felt like a monster – like something lurking at the edges of what I had come to believe was properly mine. Something that threatened to come inside, and in so doing to force me to reckon with my relation to it.
Waiting to be robbed is like waiting for an imminent accident in which both you and your assailant are together in disaster. Your assailant in that single moment wields more control, and in response you become in a sense other to yourself. You cannot uphold the usual fantasy of being a self-governing body; you are palpably exposed. I responded to this crisis of being by doing what I always do in moments of critical uncertainty. I did what I had come to America to do: I studied.
I constructed a makeshift nest on my ratty old orange sofa, aesthetically a cross between a bus seat and a church pew. The cushioning inside was endlessly disintegrating, leaving piles of dust beneath it that spread across the floor like a listless diaspora. But I loved the look of that sofa and in any case had no funds to replace it. I was burrowing myself between blankets, flipping through the pages of a foundational work of postcolonial studies, Edward Said’s Orientalism, when I came upon a passage written by the Italian neo-Marxist political theorist, Antonio Gramsci:
The starting-point of critical elaboration is the consciousness of what one really is, and is “knowing thyself” as a product of the historical processes to date, which has deposited in you an infinity of trac-
es, without leaving an inventory… Therefore it is imperative at the outset to compile such an inventory.1
An infinite history of traces without an inventory! An endless collection of oneself that is impossible to gather… I had no concrete idea of what it meant, or what currency it had in my own life, but I knew how it felt. It felt as though the broken thing I was might be restored, and it felt like an embodied idea I would never stop desiring for myself and for the world.
The heat kicked back on in the middle of the night. I could hear the strange clanking of the radiators fumbling back to life. But by then, it was not the double threat of freezing and burglary that left me sleepless, but the opaque and desperately seductive idea of my own impossible archive.
1 Antonio Gramsci, Selections from the Prison Notebooks, ed. Quintin Hoare and Geoffrey Nowell Smith (New York: International Publications, 1997), 324. Cited in Edward Said, Orientalism (New York: Vintage, 1979), 25.
there are at least two ways to understand the emergence of a desire: one is through a moment, when something shifts and the way you act and react, the way you turn things over, is fundamentally altered. The other is through accrual, how over time and repetition our histories draw us toward certain practices and ways of feeling and wanting. My desire is the idea of the archive. Or, more accurately, it is the idea of what the archive might have to offer. While I know that my desire for the archive is in reality a long accrual, I imagine it as this single solitary moment.
No Archive Will Restore You
We were scrambling toward the archive. We knew it was crucial, but I suspect that few of us knew what it meant, or where it was, or what to do with it.
We were graduate students in a small cultural theory program, plummeting deeper and deeper into debt, which is in a sense its own hellish kind of archive. We were hoping to be one of the rare exceptions that would be plucked into that almost mythical land of tenure-track work. The job market had undeniably tanked, and a PhD had radically changed over time from being a gateway into stable academic employment to being a credential with almost no real currency in the world. As the university became more and more corporatized and increasingly driven by exploited labor, it was also churning us out in droves, spitting us into a world of highly competitive and highly unstable employment.
Most of us would become underpaid adjunct laborers without access to healthcare, facing our mid-30s without a clear sense of what it had all been for. We told ourselves there was nothing else we would rather do than to study, to be trained into cultural critique over the course of a decade. And it was mostly true. We were trying to stay in solidarity with each other as we competed for scarce fel-
lowships and dwindling jobs, watching the cohorts ahead of us fail to live out the promise of it all, wondering in more and less public ways why we had started down this anxiety-riddled road in the first place.
Why did we stay on, with the odds so stacked against us? I don’t blame the archive per se, but it undoubtedly held out a kind of promise for each of us that kept us tethered to academia. The archive was an elusive hope of our individual salvation. If we could find the right archive, the right stash of materials that was sexy enough to sell ourselves, we could be spared the depression, the anxiety attacks, the pre-mid-life crises that would come when, one by one, we realized we were not going to be chosen. When, in the face of that brutal rejection, we had no idea what the fuck to do with ourselves. If only we could stumble upon the right archive, the secrets that no one else had yet discovered, we might still be one of the chosen ones. The archive was an opaque hope, yet it kept slipping away as though it didn’t want to be found, plundered, excavated. It became outright seductive in its evasiveness, and it kept making clear that it didn’t want our masturbatory desire for it. The archive was pure tease, and we were unabashedly shoving borrowed dollar bills down its skimpy thong.
If you are like me and you didn’t roll into graduate school knowing the highfalutin importance of the archive, you learn it the moment you step into the seminar room. There, everyone is required to pretend to have one, and everyone wants to know yours. “What’s your archive?” you’ll be asked repeatedly, and your answer will reveal how seriously you should be taken. You learn quickly that “archive” in this context can mean almost anything. In its most obvious iteration, the archive might be a physical place where a collection of documents is housed.
(It behooves me here to admit that I have almost no experience of the brick and mortar archive, that in fact I have a long history of becoming discomfortingly overwhelmed in spaces that contain masses of information. Since childhood, I have felt like a shrunken mind that knows too little, that cowers like a beaten dog each time I am confronted by vast architectures of knowledge.)
But “archive” has more expansive meanings too, which can signal a body of literature (as in the literature of a group of politically motivated writers in South Asia between the 1930s–1960s), or a series of monuments, or a collection of images… In other words, “archive” in graduate school simply means what you are studying, and calling what you study an “archive” gives it heft, grants it the status of an intellectual pursuit. Your archive is an expected declaration – a pronouncement that makes manifest your worth and belonging in the great halls of higher learning. The archive, it must be noted, is also your enabling fiction: it is the thing you say you are doing well before you are actually doing it, and well before you understand what the stakes are of gathering and interpreting it.
“nothing is less reliaBle, nothing is less clear today than the word ‘archive,’” writes Jacques Derrida,1 who begins his meditation on the archive (and its particular relation to psychoanalysis) by turning us to arkhē, the linguistic root of the word. Arkhē, Derrida explains, articulates both commencement and commandment. In the first iteration, arkhē is the place from which everything emerges, the location from which the thoughts and things of the world spring forth. In the second, it is the place of authoritative law, from where authority is exercised and externalized. How, the philosopher asks, can we hold these two meanings together? What is this place – the archive – where the beginning of things and the authority to govern over them both emerge? For Derrida, the archive is troubling; it marks a series of secrets between the public and the private, but also and most intimately, “between oneself and oneself.”2
Early in his famous book Archive Fever, Derrida worries over the novelty and value of his meditation on the archive, pausing to confess from the outset that
in the end I have nothing new to say. Why detain you with these worn-out stories? Why this wasted time? Why archive this? Why these investments in paper, in ink, in characters? Why mobilize so much space and so much work, so much typographical composition? Does this merit printing? Aren’t these stories to be had everywhere?3
Derrida’s rumination on the archive turns out for him to be an irresolvable problem from which a whole host of
1 Jacques Derrida, Archive Fever: A Freudian Impression, trans. Eric Prenowitz (Chicago & London: University of Chicago Press, 1996).
2 Ibid., 90.
3 Ibid., 9.
intellectual projects sprung forth. Did they offer something new? Did they merit printing? Whether or not this proliferation of Derridean archival engagements were themselves useful expenditures I cannot say. To be sure, I have never understood how to constitute usefulness. But most certainly they became part of the archive’s archive, marking a moment in intellectual history when none of us understood the archive, and none of us could stop reaching for it.
Is it too bold to say that the time of the archive has passed? The archive as an intellectual desire seems by now to be cliché. Cliché. A senior professor in graduate school once told me off-handedly that “cliché” is a French onomatopoeia, originating from the sound produced by a particular kind of printing. The sound of something being repeatedly reproduced. Our professional relationship had briefly turned into a silly affair – something entirely predictable and utterly foolish. As I watched his mouth sound out the definition of cliché, I wondered if he knew that he was commenting on our relational breach.
Years later when I confessed with deep shame to a feminist mentor that I had done something so utterly cliché as having an affair with a male professor, she replied: “But of course it’s cliché! It’s cliché because it is continuously reproduced! You are part of a reproductive machine!” It is a story that is “to be had everywhere,” the gendered power dynamics of intellectual mentorship. I was fully aware and critical of these dynamics, and fully reproduced them while imaging myself as unique. Just as our archival chase seems to reproduce a structure of knowledge over and over and over again.
when an archivist FrienD recently visited my home, she noticed stacks of books on the archive scattered about the living room and asked me pointedly over my investment in it. She had just returned from a radical archivist conference in Oregon, where archivists decried the scholarly preoccupation with the site of their impassioned labor. For them, the critique of the archive’s gaps and silences fails to account for their low wages, and for the lack of accessibility to some of the materials they most want to gather. What’s more, my friend declares, they are also affronted by the lack of scholarly attention to the archivist’s own ideas.
In the face of the archivist’s frustration, how do I respond? Writers often balk in those moments when they must explain in quick snippets what they are writing about. We work in words yet struggle to make language capture our engagements. I am someone who writes to understand what I think; I write what I do not yet know how to place into language and thought.
Confronted with the archivist’s frustration, I respond awkwardly that my interest in the archive is more creative than intellectual. This is a lie, since I cannot parse the difference between these modes. I say, also, that my passion for the archive is rooted in the suspicion that its time has passed; it feels already like an intellectual remnant.
If the archive is a remnant, it is one that keeps whispering to me, insisting on its place in my everyday life. What I might have said to her instead is this: “I am a disquieted archive that fumbles in words. A thing made up of infinite, intractable traces.”
Or, I might simply have said: “The archive is a stimulus between myself and myself.”
c haD just returneD from a year of research in Argentina when I met her in my first year of graduate school. She had a no-nonsense sensibility and a rare brisk walking pace that perfectly matched my own. She was several years ahead of me in her PhD, writing about Argentine women who, as political prisoners during the last dictatorship, stored subversive literature in their vaginal canals. She called this “the vaginal library.” Both metaphor and place, the vaginal library seemed to me an embodied archive in organic ruin. It brought the notion of “preservation” into the cell in a doubled sense: into those cages that imprisoned women, and into the cellular structures of their bodies.
Truth be told, I have never once since then heard the word “archive” without thinking immediately of dissenting vaginas. These two things – archive and vagina – have become sutured in my thought.
I learned from C about these dissenting Argentine women just after the building burglaries, after I had stumbled on Gramsci’s summons to compile an inventory of historical traces. It was then that I started to wonder over my own body as an impossible, deteriorating archive – a body that had across my life felt both excessive and insufficient, oftentimes even monstrous. Abandoning the pursuit of a legitimate archive – one external to me and one that might ensure my professional success and upward mobility – I began instead to dwell on the messy, embodied, illegitimate archive that I am.
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Author was formerly chief vulcanizing instructor in a U. S. army school.
Operation and care of vehicle-type batteries. (Prepared with the cooperation of the construction division of the Army, War Department.) Wash., Government Printing office. 94p. Paper 30c. (U.S. Bureau of Standards circular, No. 92.)
An authoritative book on storage batteries for electric tractors and trucks. Describes in detail lead-acid and iron-nickel types of batteries, their construction, testing, charging, storage, etc. Contains U. S. Government specifications and a glossary of terms.
A practical course in roof framing; the underlying principles and their application to practical work, especially written for foremen, journeymen and apprentice woodworkers, and as a textbook for schools. R. M. Van Gaasbeek. Drake. 151p. $1.50.
Plainly written, practical home study book for carpenters and apprentices, or a text book for trade schools. Illustrated with 72 line drawings and halftones made for the book.
Author is head of department of woodworking, Pratt Institute.
Electric welding. Ethan Viall.
A comprehensive treatise, largely a compilation from various sources, describing the apparatus and operations employed in arc and resistance welding for manufacturing and repairing purposes. The different makes of apparatus now in use are described and illustrated, and many examples of work performed are given. Contains chapters on the physical properties and metallurgy of arc-fused steels. The book is fully illustrated.
Author is editor of American Machinist.
Furniture for small houses; a book of designs for inexpensive furniture with new methods of construction and decoration. P. A. Wells. Lond., Batsford, and N. Y. Dutton. 35p. text, and 57 plates. 10½ × 7½ in. 12s. 6d. American price $7.00.
An English book of furniture for small town and country houses. The articles are severely plain in design, small in size, and inexpensive to make. An experienced amateur could make any of the pieces. Pictures of the furniture and detailed drawing for its construction are given.
Author is head of cabinet department, London County Council Shoreditch Technical School, where all the furniture shown in the book was originally made. The text describes the woods used and decorations employed.
The automobile repairman’s helper; a pocket book for the mechanic, owner, chauffeur, and student, covering every trouble likely to be found in all the standard cars and including chapters on inspection and lubrication, drills, taps and lathes, welding storage, batteries, cylinder and piston ring work, bearings, axle adjustments, repairing tops, mudguards, lamps, etc. 2v. S. T. Williams. Each vol. has 448p. $3.00 per vol.
V. 1 appeared in 1918.
The books contain plain instructions for performing all kinds of repair work on automobiles. Fully illustrated.
Modern pulp and paper-making; a practical treatise. G. S. Witham, Sr. The chemical catalog company, inc. 599p. $6.00.
Treats in a practical manner of the materials, plant, and all the operations employed in the production of pulp and paper, according to American practice, quite the best practical book on the subject and valuable in any community where the paper industry is carried on. Paper manufacturers, dealers, salesmen and others interested in the subject, may gain much information from the book.
Author is manager of Mills, Union Bag and Paper Corporation, Hudson Falls, N.Y.
Clothing; choice, care, cost. M. S. Woolman. Lippincott. 289p. (Lippincott’s family life series.)
An instructive book on the clothing and accessories which make up the wardrobe, especially of women and children. Describes the various materials: cotton, linen, silk, and leather, and discusses their uses, cost, care and repair. Contains chapters on thrift, shopping, dyeing, laundry, spot removal, and related matter.
Author writes from experience as teacher and textile specialist.
Subject, Title and Pseudonym Index
To Author Entries, March, 1920—February, 1921
A. E. F. Skillman, W. R. (Je ’20)
Abandoned farmers. Cobb, I. S. (D ’20)
Abbotscourt. Ayscough, J:, pseud. (Je ’20)
Ability tests
Goddard, H: H. Human efficiency and levels of intelligence. (D ’20)
Trabue, M. R., and Stockbridge, F. R. Measure your mind. (My ’20)
Yoakum, C. S., and Yerkes, R. M., eds. Army mental tests. (My ’20)
About it and about. Willoughby, D. (D ’20)
Abraham Lincoln. Hill, J: W. (Ja ’21)
Accepting the universe. Burroughs, J: (N ’20)
Accounting
Carthage, P. I. Retail organization and accounting control. (Ja ’21)
Hodge, A. C., and McKinsey, J. O. Principles of accounting (D ’20)
Acids
Adlam, G: H: J. Acids, alkalis and salts. (Jl ’20)
Acquisitive society. Tawney, R: H: (Ja ’21)
Adam of Dublin. O’Riordan, C. O. (Ja ’21)
Adams, Charles Francis, 1807–1886
Adams, C: F., and others. Cycle of Adams letters. (Ja ’21)
Adams, Charles Francis, 1835–1915
Adams, C: F., and others. Cycle of Adams letters. (Ja ’21)
Adams, Henry, 1838–1918
Adams, C: F., and others. Cycle of Adams letters. (Ja ’21)
Adams, H: Letters to a niece and prayer to the Virgin of Chartres. (Ja ’21)
Administration of village and consolidated schools. Finney, R. L., and Schafer, A. L. (Ag ’20)
Adolescent girl. Blanchard, P. M. (Ag ’20)
Adorable dreamer. Kirby, E. (O ’20)
Advancing hour. Hapgood, N. (O ’20)
Adventure in working-class education. Mansbridge, A. (D ’20)
Adventurers of Oregon. Skinner, C. L. (D ’20)
Adventures and enthusiasms. Lucas, E: V. (O ’20)
Adventures in interviewing. Marcosson, I: F: (Mr ’20)
Adventures in Mother Goose land. Gowar, E: (O ’20)
Adventures in southern seas. Forbes, G: (Ja ’21)
Adventurous lady. Snaith, J: C. (N ’20)
Adventures of a modern occultist. Bland, O. (N ’20)
Adventures of a nature guide. Mills, E. A. (Mr ’20)
Advertising
Allen, F: J. Advertising as a vocation. (My ’20)
Durstine, R. S. Making advertisements. (Ja ’21)
Ramsay, R. E. Effective house organs. (Ap ’20)
Russell, T: Commercial advertising. (Ap ’20)
Advice. Bodenheim, M. (N ’20)
Aerial transport. Thomas, G: H. (S ’20)
Aeronautics
Brown, A. W., and Bott, A. J: Flying the Atlantic in sixteen hours. (Jl ’20)
Sweetser, A., and Lamont, G. Opportunities in aviation. (Mr ’20)
Westervelt. G: C., and others. Triumph of the N. C.’s. (Je ’20)
Wilson, E. B. Aeronautics. (D ’20)
Woodhouse, H: Textbook of applied aeronautic engineering. (N ’20)
Aeronautics, Commercial
Thomas, G: H. Aerial transport. (S ’20)
Wheat, G: S., ed. Municipal landing fields and air ports. (F ’21)
Æsthetic attitude. Langfeld, H. S. (F ’21)
Affable stranger. McArthur, P. (F ’21)
Affinities. Rinehart, M. (Jl ’20)
Africa
Description and travel
Baker, E. Life and explorations of Frederick Stanley Arnot. (D ’20)
Economic conditions
Woolf, L. S. Empire and commerce in Africa. (O ’20)
History
Morel, E. D. Black man ’ s burden. (Ja ’21)
Africa, East
Description and travel
Anderson, W: A. South of Suez. (O ’20)
Africa, South
Leyds, W. J. Transvaal surrounded. (N ’20)
Africa and the discovery of America. Wiener, L. (Ja ’21)
After-death communications. Bazett, L. M. (N ’20)
After the day. Bennett, R. (F ’21)
Against the grain. Eng title of Rolling stone. Scott. C. A. Dawson. (Mr ’20)
Age of innocence. Wharton, E. N. (N ’20)
Agrarian crusade. Buck, S. J. (D ’20)
Agricultural colonization
Mead, E. Helping men own farms. (Ag ’20)
Agricultural extension work
Routzahn, M. B. Traveling publicity campaigns. (F ’21)
Agricultural societies
Buck, S. J. Agrarian crusade. (D ’20)
Agriculture
Findlay, H., ed. Handbook for practical farmers. (Ja ’21)
Aims of teaching in Jewish schools. Grossmann, L: (Ap ’20)
Air pirate. Gull, C. A. E: R. (N ’20)
Airplane photography. Ives, H. E. (Mr ’20)
Airships
Whale, G: British airships. (Jl ’20)
Alaska
Description and travel
Cameron, C. Cheechako in Alaska and Yukon. (F ’21)
Kent, R. Wilderness. (Ap ’20)
Alaska man ’ s luck. Rutzebeck, H. (Ja ’21)
Albany: the crisis in government. Waldman, L: (S ’20)
Alcoholism
Towns, C: B. Habits that handicap. (Mr ’20)
Aldrich, Thomas Bailey, 1836–1907
Aldrich, L. Crowding memories. (N ’20)
Alf’s button. Darlington, W. A. (S ’20)
Aliens’ text book on citizenship. Beck, H. M. (O ’20)
All and sundry. Raymond, E. T. (Jl ’20)
All clear, God of my faith, and God’s outcast. Manners, J: H. (Mr ’20)
All things are possible. Shestov, L. (O ’20)
All-wool Morrison. Day, H. F. (S ’20)
Allegra. Harker, L. A. (Ap ’20)
Almonds of life. Young. F. E. M. (O ’20)
Almosts. MacMurchy, H. (My ’20)
Alsace-Lorraine O’Shaughnessy, E. L. Alsace in rust and gold. (My ’20)
Also Ran. Reynolds, G. M. (N ’20)
Altitude and health. Roget, F. R. (D ’20)
Ambush. White, S: A. (N ’20)
America City club of Chicago. Ideals of America. (Je ’20)
Discovery and exploration
Dark, R: Quest of the Indies. (D ’20)
Wiener, L. Africa and the discovery of America. (Ja ’21)
America and the new era. Friedman, E. M., ed. (D ’20)
