Sandra J. Wesser

Dr. Long

American Literature 241

Report #3 - July 5, 2001

On July 2 and 3, I visited the Special Collections room at the John D. Rockefeller, Jr. Library of Colonial Williamsburg. The Special Collections room consists primarily of Eighteenth Century history and culture, particularly of Williamsburg, Chesapeake and the Commonwealth of Virginia. The majority of the collection is political writings, decorative arts and local maps. They also house some other rare collections given to them as gifts or as part of other historical collections that they have acquired. I went there with hopes of finding any piece of original literature or rare book outside the topics we had covered in my American Literature class.

As a first-time visitor, I was unsure what to expect and, although I should have anticipated special rules for a very special room, I still found myself somewhat surprised. The building itself was impressive, and I could feel the importance of what I was about to embark on as I walked past the security guard who looked up just long enough to stare me down.

Before I could commence the task for which I came, it was necessary for me to take in my surroundings and ponder those thoughts for awhile. First, I discovered that rare books and original documents are a very serious business. Before I could enter the Special Collections room of the library, I stood before a glass door looking at my own reflection and waiting for the clerk inside to decide if I was worthy of entering through this security-locked door. Apparently I was. My naive vision of an "original documents" room was shattered when I saw this immaculate, well-organized room. There were not stacks of yellowed newspapers, tattered books, and a table with just enough wobble to irritate you as you gazed at carvings like "Joe was here" upon it. I assume this room was as professional as they come.

My experience did not end there, however. The young male clerk met me at the desk and the questions came without hesitation: "what are you looking for; why; do you have a pencil because you cannot bring a pen in here; do you really have to see a rare book; why can’t you just look in a reprinted book or on the Internet; I have to know exactly what you want to see because you are not allowed back there; what do you want to see?" He finally came through with a suggestion–I believe he was just trying to make my visit as easy for me as possible. Or, maybe he was being graded in his performance as the keeper of the special stuff.

As I waited at the table for my book to arrive from the protected room, I could not help but to stop and appreciate all that this room must do for people–college students, writers, and employees of many different jobs. I took a moment to watch a gentleman fully dressed in his colonial garb and looking at the microfiche screen as though his life depended on it. Maybe his job did depend on it. He seemed very determined and very satisfied at what he had found–perhaps that one document that would teach him how he should react in a certain interpretation scene. I was beginning to love this room.

Ah, at last, the book arrived. It was placed before me, resting upon two foam triangles to aid in its use along with a weighted string to help hold the pages without using any force from my hands. I sat there with my pencil in hand and some blank paper, but just the sight of this great decorative little book overwhelmed me. Because someone carefully preserved this piece of literary history, I was able to not only see it but read it in July of 2001. Even the smell of the pages commanded respect and admiration for the writer and the time that it was written. The security guard, the third degree from the clerk, and no pen–all of it was worth this smell.

The book is from a series of children’s books entitled Rollo goes to Europe. I looked at two books from this series: Rollo on the Atlantic and Rollo on the Rhine. Written in the mid-Nineteenth Century by Jacob Abbott, the series is written for children not only as entertainment but to instruct them on travels to Europe. As adventure books, they all depict a young (12 year old) boy, Rollo, as the returning main character.

The stories drew me in immediately. I could understand how exciting this would be for a young boy or girl in the 1850's. Rollo is without parents and is depicted as a very brave and fascinating boy. It is his adventures that probably brought about fantasy and encouraged young people to seek out new things. I saw him as a positive, mature role model for children.

The first book I studied was Rollo on the Atlantic. As a children’s book written in 1853, I was very impressed with the detail used to instruct children in not only the story but to understand the literature itself. Included in the "Contents" section is a list of "Engravings" (sketches) found in the book with corresponding page numbers for quick reference. The Preface of this particular book explained for what the series was intended with the following note: "This is a history of our little hero, Rollo...The books are intended to be books of instruction rather than of mere amusement...the information is in strict accordance with fact." Before the first chapter begins there is also a list of "Principal Persons of the Story." (Atlantic, Preface) I found it a great addition to this children’s book.

As I looked through the pages, I noticed that every page included a subject summary of sorts listed on the top of the page. It was not just the title of the chapter like most books, but a few words to help the reader remember or understand what that part of the chapter is about. The page would say something like "the lion" and "Rollo escapes in the boat." Footnotes are also included for further explanation of the events that take place.

As promised in the Preface, the story is not only interesting, but written in a serious but childlike manner while making the adventure an exciting learning environment. An example of this is on page 131 where, in describing the travels on the water, a sentence would begin with "First, the height of the waves appear far less impressive when seen from on board an Atlantic steamer than from any ordinary vessel..." and would go on to explain why. Another example is found on page 13 where the writer simply begins his sentence with "This was the reason why,..." On page 12, the author is telling about Mr. Holiday going on the trip with Rollo even though "Mr. Holiday’s health was not good." This passage is followed by: "In certain cases where a person’s health is impaired...nothing is found to have a more beneficial effect...than for him to go away and have a good time." By the author explaining why things are happening, the reader not only understands the story better, but takes a greater understanding of things that might help them in future reading, personal travels, or in life itself.

I also reviewed another book from this series entitled Rollo on the Rhine. This book was an entirely different adventure from the last, but contained all of the extras and was also written as an instructional story. The instruction is found throughout the book, and I found one example particularly interesting. After describing why vegetation is found on ancient ruins even at such

high elevations, the author goes one step further with sentences like "The process is this:..." (Rhine, 34-35). He then explains the scientific growth process of the vegetation.

Reading this collection left me with two particular thoughts. Rollo on the Atlantic was reprinted 34 times from 1853 to the last reprint in 1900. (Provided by library) There were no re-prints after that time. If this book was so obviously popular, why did it disappear from the popular literary world? I wondered if there was a new similar series that surfaced from another writer that might have taken Jacob Abbott’s place as the new "Judy Blume" as it happens today.

My other thought came crashing upon me when I stopped to think about what I had been learning in my American Literature class. How interesting that after years of Americans fleeing from Europe and fighting to break the ties that bound America to Europe, a writer would become so popular writing books for children teaching them about Europe.

Upon further research of the author, Jacob Abbott, I found that teaching was truly one of his passions. In his early career, Abbott taught at Portland Academy where Henry Wadsworth Longfellow was one of his pupils. In June of 1829 he opened the Mt. Vernon School for high school girls in Boston, Massachusetts. (Johnson, 1).

The Rollo series was not limited to the "Tour in Europe." Preceding that ten-volume series, were other Rollo books including Rollo Learning to Read. During his career, Jacob Abbot wrote at least 208 literary works including his Rollo series. (Pflieger, 1-8) It is believed that he is the man responsible for writing the first fictional series for children and introducing many of the key types and techniques of series books. (Johnson, 1)

It seems that by the mid-nineteenth century the literary world was so vast that everyone could enjoy a little piece of it. The days of the Bible being one of the only few stories available to Americans, especially young Americans, was over. I enjoyed these books so much that I might return to the Special Collections room to visit Rollo again.