{"id":143,"date":"2014-11-19T13:25:43","date_gmt":"2014-11-19T13:25:43","guid":{"rendered":"http:\/\/79.170.44.142\/universityofsussextesting.uk\/everydaychildhoods\/?p=143"},"modified":"2014-11-19T13:25:43","modified_gmt":"2014-11-19T13:25:43","slug":"childrens-diaries-in-archives-some-reflections","status":"publish","type":"post","link":"https:\/\/blogs.sussex.ac.uk\/everydaychildhoods\/2014\/11\/19\/childrens-diaries-in-archives-some-reflections\/","title":{"rendered":"Children’s Diaries on Display: Some Reflections"},"content":{"rendered":"
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Dr Liam Berriman<\/strong><\/p>\n

This summer the Museum of Childhood (<\/span>MoC<\/span>) hosted <\/span>an exhibition on children and teenager\u2019s diaries,<\/span><\/a> with <\/span>examples ranging from a 15-year-old teenage girl writing in 1947 about her turbulent love life, to a teenage colliery apprentice writing in 1838 about the death of a fellow miner. These diaries form part of a larger collection called \u2018<\/span>The Great Diary Project<\/span><\/a>\u2019 currently housed at the <\/span>Bishopsgate<\/span> Institute<\/span><\/a>, incorporating both children\u2019s and adults\u2019 diaries from across the 19th and 20th centuries. Accord<\/span>ing to The Great Diary Project website, the aim of the collection is to attempt to \u2018rescue\u2019 as many diaries as possible in order to preserve the highly personal accounts of everyday that they contain. <\/span><\/p>\n

In this short piece I share some reflections on visi<\/span>ting this exhibition by linking together a number of themes I have been thinking through this past year. In particular, the (historical) materiality of children\u2019s media practices, and issues around audience, privacy and authorship.<\/span><\/p>\n

Getting up close and <\/span>personal<\/span><\/strong><\/h3>\n

Viewing the diaries arranged in glass cases, it\u2019s hard not to be st\"\"ruck by their diverse material forms. From pocket-sized, leather-bound journals filled with minute handwriting, to sheets of ruled paper tied together and covered with black biro <\/span>and carefully glued magazine clippings. The exhibition offered a carefully curated selection of diaries from as far back as 1838 and as recent as the mid-90s. Placed in juxtaposition, the diaries made visible a variety of trends in handwriting, ink and pap<\/span>er qualities, the use of visual images and collaging and, of course, the issues of value and significance in each of the writers\u2019 lives. <\/span><\/p>\n

In a recent article, Liz Moor and Emma <\/span>Uprichard<\/span> (2014) describe the significance of the materiality of archival ob<\/span>jects. They propose we need to pay attention to, \u201chow the material qualities of paper and type\/script make the research process a sensory and emotive experience\u201d (<\/span>Moor and <\/span>Uprichard<\/span>, 2014: 6.1<\/span><\/a>)<\/span>. By narrowly focusing on the \u2018content\u2019 of a diary or archival documents, they suggest we may miss \u201cthe sensuous \u2018cues\u2019 and \u2018hints\u2019 offered by the archive\u2019s materiality\u201d (2014: 1.2). <\/span><\/p>\n

In an essay for the <\/span>London R\"\"eview of Books<\/span>, Mark Ford similarly assert<\/span>s the importance of experiencing the poems of Emily Dickinson in their original material form. According to Ford, Dickinson regularly wrote on scraps of paper and envelopes, fashioning her poems around their material form. He describes how Dickinson \u201c<\/span>razor<\/span>ed<\/span> or <\/span>scissored<\/span> the envelopes in a deliberative manner\u201d (<\/span>Ford, 2014<\/span><\/a>) as a way of crafting the poem into a material artefact. <\/span><\/p>\n

Individually, the diaries exhibited at\u00a0the <\/span>MoC<\/span> offer a fle<\/span>eting material and biographical trace of their authors, offering just a glimpse of the values, concerns, and aspirations that they\u00a0<\/span>chose to inscribe on paper at a particular moment. What remains is a material artefact, now spatially and historically separa<\/span>ted from its author, yet still retaining the affective traces of the cares and concerns that they chose to impart on its pages.<\/span><\/p>\n<\/div>\n<\/div>\n

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\u201cWho else but me is ever going to read these letters?\u201d<\/span><\/strong><\/span> <\/span><\/h3>\n

\"\"In the semi-biographical novel<\/span> <\/span>The Boy in the Book<\/span>, <\/span>Nathan <\/span>Penlington<\/span><\/a> recounts his attempts to locate the author of\u00a0a childhood\u00a0diary he finds amongst a set of second-hand <\/span>Choose Your Own Adventure <\/span><\/a>books<\/span><\/a>. <\/span>Penlington<\/span> feels that he and the diary\u2019s author shared a similarly difficult <\/span>childhood and he feels compelled to discover how the diarist\u2019s life has unfolded. During his quest, <\/span>Penlington<\/span> is troubled by a number of ethical questions, in particular: how the diarist will feel about the diary being \u2018discovered\u2019 and read by another per<\/span>son, and whether they will want to be re-confronted with the memories it contains. <\/span><\/p>\n

A point of commonality across the diaries on display at the <\/span>MoC<\/span> was their often highly\u00a0personal disclosure of thoughts and events significant to the writers\u2019 lives. Lookin<\/span>g through them I often felt an uneasy sense of prying, despite the <\/span>often substantial<\/span> \u2018historical distance\u2019. Occasionally the diaries were written in a way that appeared mindful of potentially uninvited and unwanted audiences. For example, one of the diarie<\/span>s was transcribed in an elaborate code devised by the author as a way of deterring would-be <\/span>snoop<\/span>ers<\/span>, whilst another diarist\u2019s reference to \u2018getting rabbit food\u2019 was potentially used to hide a smoking habit. In these instances privacy might be seen as a hi<\/span>ghly localised encounter, with information specifically concealed from inquisitive friends, parents or siblings. <\/span><\/p>\n

Our contemporary standpoint on privacy positions all forms of content production as potentially highly \u2018risky\u2019, even when not intended for wi<\/span>der audiences. During the recent spate <\/span>of celebrity photo leaks the EU digital commissioner <\/span>G\u00fcnther<\/span> <\/span>Oettinger<\/span> placed part of the blame on the victims <\/span>for having been \u2018stupid enough\u2019 to create the images<\/span><\/a>. Our contemporary networked world is one in which privacy is positioned as primarily the responsibility of the individual, and where personal content can rapidly cir<\/span>culate through\u00a0<\/span>wider audiences without warning or consent. Consequently, contemporary teenagers are increasingly burdened with the fear of spoiling reputations through the content they produce. This is not to say that the diarists displayed at the <\/span>MoC<\/span> did <\/span>not have their own sets of concerns around privacy and audience, but it is nonetheless important to acknowledge the fundamental differences in the way that such concerns are actualised and played out.<\/span><\/p>\n<\/div>\n<\/div>\n

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Further Reading<\/strong><\/p>\n

Ford, M. (2014). \u2018<\/span>Pomenvylopes<\/span>\u2019, <\/span>The Lond<\/span>on Review of Books<\/span>, 36(12), pp. 23-28. <\/span><\/p>\n

Franks, A. ([1952] 2011). <\/span>The Diary of a Young Girl<\/span>.<\/span> London: Penguin. <\/span><\/p>\n

Moor, L. & <\/span>Uprichard<\/span>, E. (2014). \u2018The Materiality of Method: The Case of the Mass Observation Archive\u2019, <\/span>Sociological Research Online<\/span>, 19(3), 10. <\/span><\/p>\n

Penlington<\/span>, N. (2014).<\/span> <\/span>The Boy in the Book<\/span>.<\/span> London: Headline. <\/span><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Dr Liam Berriman This summer the Museum of Childhood (MoC) hosted an exhibition on children and teenager\u2019s diaries, with examples ranging from a 15-year-old teenage girl writing in 1947 about her turbulent love life, to a teenage colliery apprentice writing in 1838 about the death of a fellow miner. These diaries form part of a larger collection called \u2018The Great Diary Project\u2019 currently housed at the Bishopsgate Institute, incorporating both children\u2019s and adults\u2019 diaries from across the 19th and 20th centuries. According to The Great Diary Project website, the aim of the collection is to attempt to \u2018rescue\u2019 as many diaries as possible in order to preserve the highly personal accounts of everyday that they contain. In this short piece I share some reflections on visiting this exhibition by linking together a number of themes I have been thinking through this past year. In particular, the (historical) materiality of children\u2019s… Read More<\/a><\/p>\n","protected":false},"author":70,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[71757],"tags":[71762,71764,71766,4097,71770,71771,71772],"_links":{"self":[{"href":"https:\/\/blogs.sussex.ac.uk\/everydaychildhoods\/wp-json\/wp\/v2\/posts\/143"}],"collection":[{"href":"https:\/\/blogs.sussex.ac.uk\/everydaychildhoods\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.sussex.ac.uk\/everydaychildhoods\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.sussex.ac.uk\/everydaychildhoods\/wp-json\/wp\/v2\/users\/70"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.sussex.ac.uk\/everydaychildhoods\/wp-json\/wp\/v2\/comments?post=143"}],"version-history":[{"count":0,"href":"https:\/\/blogs.sussex.ac.uk\/everydaychildhoods\/wp-json\/wp\/v2\/posts\/143\/revisions"}],"wp:attachment":[{"href":"https:\/\/blogs.sussex.ac.uk\/everydaychildhoods\/wp-json\/wp\/v2\/media?parent=143"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.sussex.ac.uk\/everydaychildhoods\/wp-json\/wp\/v2\/categories?post=143"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.sussex.ac.uk\/everydaychildhoods\/wp-json\/wp\/v2\/tags?post=143"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}

All too often we read past media through a contemporary lens, judgin<\/span>g their modalities and affordances by our own relationships with digital and online media in the present. The diary, in particular, has been subject to modern comparisons with online blogging and video diaries <\/span>\u2013<\/span> both of which have been described as <\/span>present-day \u2018confessional\u2019 devices<\/span><\/a>. Comparisons between these different forms of cultural practice are, however, highly problematic. Rather than simply seeing them a<\/span>s analogue\/digital equivalents, each cultural practice needs to be seen as shaped through a distinct set of values and technological modalities. I briefly focus here on the significance of privacy and audiences for the diarists. <\/span><\/p>\n