$300 Reward

We just acquired a simple document that says so much. This broadside from 1857, printed in Washington, D.C., for a slave owner in nearby Prince George County, Maryland, offers a reward for the capture of the runaway slave Lewis. At first glance, you are struck by the paucity of details concerning Lewis's appearance: his height, "about" 5' 5"; his "stout and full" face; and his slowness of speech. It would be difficult for anyone to make a positive ID from such a description, but it speaks to how the owner could not see Lewis as a person with unique characteristics.

But it is the details of the reward that caught our attention. Issued well after the Fugitive Slave Law was enacted, the reward is graded to match the potential difficulty of recovering Lewis. The full $300 reward is contingent on his retrieval from a free state--a capture within Prince George County only warrants a $50 reward. Set next to a broadside posted in a free state warning fugitive slaves of the presence of a slave hunter (that we blogged last year), this document helps illustrate the divisive nature of the Fugitive Slave Law, an act originally designed as a compromise to preserve the union.

Find this item under Broadside 001467.

Chinese Comics

Erich Maria Remarque's 1929 antiwar novel All Quiet on the Western Front (Im Westen nichts Neues) became an international bestseller, selling nearly two million copies worldwide and translated into over 20 languages the year it was published. Pirated editions appeared in China, along with a stage play. When the American film of All Quiet on the Western Front was produced the following year, there was an effort to ban it in China because of a perception that its antiwar message would undermine national resistance to Japanese aggression. This is the cultural context for one of Rauner Library's newest acquisitions, Lianhuan huatu xixian wu zhansi, or "The Cartoon-Illustrated All Quiet on the Western Front," published in Shanghai in the 1930s.

Despite the government's official intolerance of antiwar messages, there was some cultural resistance in urban areas of China during the 1930s. The visual arts were also flourishing in Shanghai during this time, and comics, or lianhuanhua, were enormously popular, particularly for younger and less educated readers. The lianhuanhua were sold at street bookstalls, and were issued serially, like many comics today. Readers could rent installments as they came out, rather than purchase copies. After a full run of a comic was completed, the publishers issued a box for the collection. Serialized comics usually don't survive well, because of the cheapness of their production and materials, and because they were often handled by many readers. Our copy of Lianhuan huatu xixian wu zhansi is in excellent shape, and came to us in its original box. Several of the parts, or fascicles, are stamped "Made in China," suggesting that the copy was exported to other markets, which may account for its preservation.

After the Japanese invasion of China in 1937, the comics industry in Shanghai came to an end. Some comics magazines survived as war propaganda, but Remarque's story of young soldiers who face the futility of war was likely less popular.

To see this remarkable book, ask at the Rauner Reference Desk for Rare PN6790.C6 X59 1930z.