At the end of last year, we wrote about the Huntington Library‘s “Beautiful Science” exhibit HERE. That exhibit was curated by Daniel Lewis, Chief Curator of Manuscripts (History of Science, Medicine, and Technology) and today’s guest blogger. If you can’t get to the Huntington Library yourself, you can watch a YouTube lecture about the exhibit by Lewis HERE.
Daniel Lewis is the author of the new book The Feathery Tribe and draws his guest post from his research into what it means to be an ornithologist. Whether or not you like birds, you’ll find that Lewis’s writing shows his enthusiasm for inquiry, his attention to detail, and his ability to make new, intriguing connections.
THE FEATHERY TRIBE: WHAT RESEARCH MEANS FOR WRITING
I mostly live to write. But more, I live to do original research, rooting around the sometimes-dusty (but often very clean) byways and side-roads of archives around the world, looking for correspondence that has often never been read by anyone other than the original recipient, and virtually none of which has ever been published. It’s a truism that it might take weeks of research to come up with a single sentence for a book. And it’s this kind of research that keeps the hamster wheel in my brain spinning and keeps me moving forward.
I’m an obsessive recorder and transcriber of archival information, storing correspondence I find in a database that records (among many other details) the correspondents, the date, the location written, the text of the letter itself, its call number and the collection it’s from, homegrown subject headings, a summary of the letter, and even where I transcribed the letter (dining room table, airport, hotel room, airplane, etc.). In the course of my most recent book The Feathery Tribe: Robert Ridgway and the Modern Study of Birds, just out from Yale University Press, I transcribed some 1,892 letters totaling 446,000 words, culled from archives around the world: the Natural History Museum in London; the Blacker-Wood Library in Montreal; the Smithsonian; the Bancroft Library in Berkeley; my own home institution, the Huntington Library; and others. I took all of this information, digested it, and tried to bend it into a particular notion.
I had an idea—after corresponding with the late great evolutionist Ernst Mayr, then in his nineties—that I should write a book about what it meant to be a professional in science, using the Smithsonian’s first Curator of Birds, Robert Ridgway, as the lens. What, after all, did it actually mean to be a professional then, and why did it matter? The answer can’t be reduced to a pat phrase, so I’ll resist doing so here, but it was the quest for the archival materials—correspondence, scribbled memos, postcards, marginalia—that fueled me.
Research turns up all kinds of things, some of which I was able to use in the book, but necessarily, much else that I couldn’t. Scientists are people too, as I’m fond of saying, but they also bring a wonky precision to their letters that can thrill.
People writing about birds for descriptive purposes took a variety of approaches to shorten, simplify, and clarify bird identities. One common practice was to refer exclusively to a number in a standard checklist as a shorthand reference in correspondence, assuming the recipient had the same guide in hand. Naturalists’ and collectors’ letters the world over were thus often filled with long strings of numbers, rather than bird names. Referring to a common checklist’s numbering system, a British birder writes in 1907 to his brother, “Before joining the main road, I saw a Reed Bunting; counting up, I found I had [seen eleven different birds]: 126.96.36.199.188.8.131.529.277.278.453.”
Some inventive collectors went so far as to suggest new symbological languages to identify, with a single symbol, such things as a male bird in its first plumage, a male in mature plumage, a bird of unknown sex but of a determinate age, and so on, as noted in the image above.
Letters like these intrigue, and for me, they warrant going down a rabbit hole (almost always dusty) to find out more about scientists’ motivations, urges, and idiosyncratic passions. In the case of the people writing about birds, it was all that they wanted to do. “I am still in the medical profession (I see you took your degree too) but I don’t like it a bit. My life is ornithology,” one German physician wrote to a Smithsonian staffer in 1899, one who also happened to have earned a medical degree but then took a job working with birds.
Coming from diverse backgrounds, and often with great expertise in other areas, numerous people happily applied innovation to the discipline of ornithology. Passionate comments like this ornithologist’s motivated me to look at intersections of all kinds in trying to reach a meaningful set of descriptions of just what constituted a professional in science in the late nineteenth and early twentieth century.