>> From the Library of Congress in Washington, D.C.
>> I think we'll get started
with a few introductions before we begin the formal webinar.
Again my name is Naomi [inaudible].
I'm an education specialist here in the library at the exhibition's office.
We really appreciate you joining today for this session as part
of the World War I webinar series.
As you know, this program's part of a number of events, of webinars and events,
especially connected to the library's exhibition "Echoes of the Great War: American Experiences
of World War I" which is on view here through January 2019.
Today's session will focus on immigrant veterans of the first world war,
and the work of the library's Veterans History Project better known here as VHP.
Our presenter today will be Owen Rogers, a liaison specialist in that office.
The presentation will last approximately 30 minutes with time
after that for Owen to answer questions.
You may note that you can talk with the panelists
and your fellow participants via the chat.
There's a little chat icon at the top of your WebEx window.
And use that to drop down to all attendees if you want to talk to everyone
or if you have just a question for one of the presenters you can send that way,
but we'd love to see everyone's questions there.
Please also, if you haven't already, tell us who you are and where you're watching
from so we have a sense of the breadth of our participants and also
to -- just to practice using the chat.
It really helps.
You can participate there in part because we have another colleague on the chat.
Her name is Megan Harris [assumed spelling].
She's a reference specialist from the Veterans History Project who will answer questions
and respond to inquiries as the session goes on,
and Owen will take additional questions at the end.
Kathy [inaudible] also one of our panelists.
She'd from our ed outreach division, and she's our technical host for the day.
So if you have any concerns, technical concerns, you can drop her a note as well.
We are recording today's session.
The recording will be posted on the library's website once we've been able to caption it.
You should find it there shortly several weeks after the program.
And, with that, I will turn the presentation over to Owen.
>> Thank you, Naomi.
Can everybody hear me?
All right.
Get us started here.
Well, welcome everybody.
My name's Owen Rogers.
I'm a public historian and I have about five years at the Library of Congress.
All of that is at the Veterans History Project, and even before then I worked --
I worked for about eight years collecting, recording, archiving,
and interpreting veterans stories both at a university level all the way
up from a volunteer interviewer which is the lifeblood of VHP.
We'll talk about that in a little bit.
On to a graduate intern and then a graduate assistant.
So my focus as public historian is on archival [inaudible] and at the Library of Congress some
of these vulnerable voices include immigrant veterans who you'll learn a little bit more
about today through the portal of World War I and the library's commemoration of the war.
So you'll see that this is our website,
and it really is the portal to the Veterans History Project.
It is both a participatory and also an archival resource.
And all of our archived veterans recordings can be accessed through --
by searching the veterans collections.
And that includes oral histories, media materials, creative works,
and also looking up around the project how to participate, looking at our blog posts,
and we also [inaudible] out the last archive on planet Earth to get a Facebook page.
You can read more about our collections of materials and see more of the kinds of things
that we're doing in terms of outreach and collections and interpretation here
at the library and also through tremendous coverage in every congressional district
in every state and most of the U.S. territories.
So really oral histories are the bread and butter of the Veterans History Project,
and you can see the broad range of oral histories that we still receive.
To be honest, I can usually mark time on my calendar by the bags of audio cassette tapes
that [inaudible] sends me all the time.
And that really speaks to the breadth of media that we collect.
You can see one of those audio cassette tapes over here.
All the way up through [inaudible].
We have some legacy recordings on Betamax and VHS which we no longer accept.
And most of the materials we'll see coming in today will be optical media.
DVDs, CDRs, with [inaudible] digital oral history recordings.
And those can be done on anything from a digital video camera all the way through those devices
that we carry around in our pockets, our phones, our smart phones, and a variety of manufacturers
and formats are compliant with [inaudible].
I encourage you to check that out later or stick around for the Q and A
and we'll talk a little bit about that more.
So in addition to contemporary oral history recordings, what we do is we collect plenty
of period veterans materials as well, and that includes manuscripts.
So correspondence, any kind of either a recent or an older memoir, diary, recordings,
all of these help put us in the perspective of a veteran while they were experiencing
or in the immediate aftermath of events.
It offers a nice contextual comparison with then and more of the now in an oral history.
So in terms of documentation photographs are one
of my favorite facets of the Veterans History Project.
And many of these images you'll never see in another archive
because they're entirely personal.
And they communicate a veteran's firsthand experience.
These right here from the collection Joseph Beimfohr [assumed spelling].
He is an Iraq war veteran, and you can see that this is very much behind the green curtain.
This is what a collection will look like with the polyester housing,
the preservation treatment, and the care and concern that we provide to items to make sure
that collections like Joseph Beimfohr will be around as long as we can possibly share them
and preserve them and make them accessible to researchers, family members.
And then we come on to veterans' creative works which really allow us
to perceive veterans' experiences through their minds' eyes, through their interpretations.
The watercolors.
We have charcoal drawings, illustrations, many, many, many illustrated envelopes.
And if you're familiar with Bill Mauldin's "Willie and Joe," veterans oral history --
The Veterans Oral History Project has interpretive works that are very similar,
ranging from World War II in my memory all the way up through the Vietnam war.
And most likely beyond.
Takes us a little bit of time to dig through the bottom
of 100,000 collections, but you know what?
I'm going to take a note now and I'm going to challenge myself
to find something newer than that.
So all of these collections arrive here at the Library of Congress
through a grassroots methodology.
And you can see here folks in Indiana sitting down and recoding a veteran's oral history.
Like here they're also recording -- Making it in to an audio file available.
We accept both audio and video recordings on a smart device.
And we're really looking in to a portal of kind of a gap in veterans' history.
We don't have a tremendous amount of Persian Gulf War collections,
and it's judging from [inaudible] and that nice sort
of very much grassroots do it yourself using [inaudible] methodology instructions
and media recommendations we've made sure to get his story here.
So in terms of accessibility, here's the awesome thing.
I can talk about all this content all day long and cite stories, but if it's not easy
to get to, in terms of utilization, if we can't use it, what do we do?
So we've made sure that, first of all, every veteran,
their collection is identified as their story.
You know, the story of [inaudible] the story of Jane Smith.
And all of those collections get a collection record that the veteran provides
through a biographical data form, and that will list their [inaudible] service,
the war they participated in, service location, the unit or the ship that they were assigned to,
their highest rank, and also some information about the archives
or the organization that it came from.
You know, whether it's a [inaudible] patrol squadron
or a girl scout troop or a boy scout troop.
And all of our more than 100,000 collections can be found through here,
and about 44,000 of those are digitized.
So for the ones that aren't digitized we make collections accessible
through the American Folklife Center reading room in terms of breaking down, you know,
the organization of the project, we are a special collection
within the American Folklife Center.
And researchers, you know, as a national library, I encourage everybody
to get their Library of Congress reader card, reader registration card.
And once you [inaudible] through those materials [inaudible] in about 10 working days.
>> Sounds like we may have lost --
>> Now we come on to --
>> Give it a second here to see if we can reconnect.
>> In terms of this is how we're more or less -- And you can definitely tell by this sliver
in the corner right here of the World War I collections that this says everything
about the date that [inaudible] was legislated.
So [inaudible] has been around since the year 2000.
I'm seeing a sound problem note.
Can everybody hear me okay?
>> Yeah. It sounds like you're back, but you might want
to repeat the introduction to the slide, please.
>> Oh, will do.
Okay. Great.
So thanks for the note.
So you can tell that the Veterans History Project was legislated
in the year 2000 basically based on the [inaudible] disposition of the veterans
that are included in the project.
So if you looked at a sliver right here for World War I, the project was legislated
in the year 2000 and that was when an era in our history when there were
about 3,400 living World War I veterans, and World War II veterans are passing away
at a rate of more than 1,000 a day.
So there was a congressional act, congressional foresight, that looked at -- Nothing?
Okay. Okay.
Back again.
All right.
That looked at the state of World War II veterans oral histories and said,
"If we don't create a project that can capture these memories,
we're going to lose them forever."
And while we've lost all of our World War I voices,
we were able to capture nearly 100 World War I veterans' oral histories,
and about 65,000 World War II veterans.
So World War II forms the largest part of our archives.
Our next biggest collections are Cold War Korea and Vietnam.
And we continue to receive World War I collections through donations of manuscripts,
photographs, creative works, like I mentioned before.
So there is still potential for those voices to be collected
and interpreted here at the Library of Congress.
And our collection scope, I should add -- All of these relate the stories of veterans
of the U.S. armed forces who served in World War I through recent conflicts.
And in any capacity and at any time between effectively the 20th and 21st centuries.
And are no longer serving.
So now when it comes to World War I, World War I veterans and in a discussion
of immigration it's just a fascinating opportunity to explore immigration as a concept
and as an era of the United States.
And also really to look at it as a somewhat substantial,
about 5% of the entire [inaudible] World War I archives is --
communicates immigrant veteran service.
So we have about, as I said before, 400 World War I collections.
And roughly of that amount we found about 20 veterans
who indicated either first or second generation ancestry.
Either they were immigrants or they were the children of immigrants.
And that speaks to a larger [inaudible] conundrum we have
when it comes to interpreting veteran service.
You know, just because ancestry information is entirely optional.
We have ancestry information for about half of our participants.
So effectively this could be the amount that we've collected --
It could be double what is reported on the self identified sheet
that veterans [inaudible] for participation.
But of the amount that we have, this is roughly the perspective of --
This is the lay of the land in terms of where our veterans come from.
For World War I, that is.
And what's so fascinating is that looking through this you can see
that VHP preserved the voices of World War I veterans from both the allies
and the central powers which leads you in to a fascinating interpretation of first
and second generation self identity.
So now we come to the story of Camp Upton,
and Camp Upton was just a fascinating melting pot for World War I service.
I learned about this through "Echoes of the Great War."
This is a photograph that I wasn't familiar with, and so F.M. Sefano recorded the arrival
of the new New Rochelle contingent at Camp Upton.
And by some estimates more than 30 different languages
and dialects were spoken in this camp alone.
So by war's end about half a million of American enlisted troops were recent immigrants
from about 50 different countries, and about 100,000 of them didn't speak English at all.
So we're going to talk a little bit more about avenues
in which immigrants would find themselves in the service of the United States military,
but this just shows you really the sort of scope and the diversity of men in Doughboy uniform.
So when we come to talk about the range of World War I service, I found three collections
that I think would be a fascinating portal in which we would talk about immigrant identity
within the U.S. armed forces of World War I.
So right there on the left, that's Harry Freeman,
and in the middle we have Joseph Rosenblum.
And on the right we have Albert [inaudible].
And they really do speak to the range of both naturalized immigrants, recent immigrants,
and second generation descendents of central powers parents.
So why don't we start with Harry Freeman and it's a really ideal opportunity for us to segue
to the Selective Service Act of 1917?
So in addition to native born and naturalized citizens, the Selective Service Act
of 1917 also included immigrants who intended to apply for U.S. citizenship at some point or,
you know, naturalized immigrants.
And as an extra incentive to military service, Congress amended naturalization laws in May
of 1918 that fast tracked the citizenship process
for immigrants who served in the U.S. military.
So by war's end about 120,000 Doughboys earned their citizenship
as a direct consequence of military service.
And truly set a historical precedent that we've seen to this day of accelerated naturalization
for veterans who served in -- for immigrants who served
in the armed forces to become U.S. veterans.
So yeah. That is the Harry Freeman story where, yes, he was born in Russia,
immigrated to the United States, naturalized, and, as a consequence of his naturalization,
was eligible for the Selective Service Act draft.
And what's so fascinating is that -- And I've yet to look this up.
This is another note for me to look up.
In our collections database it -- So he was sent to Camp Meade
which is now Fort Meade in Maryland.
And quite a few of our World War I collections are currently housed in Fort Meade.
So I wonder if his story came full circle.
That's one for me to look up and report back to you later.
So now when we come to the messaging and the branding for U.S. military service I share this
in -- We see different strategies, different media strategies, through the generations
that engage and elicit military recruitments.
Sometimes they talk about a recent conflict veteran or a collection
who remembers U.S. army national guard coming to his high school with a Humvee, armored truck,
that had a Playstation inside that you could play while driving.
And for some reason that was just the most incredible thing, and then novelty that --
That was used to solicit recruitment.
So back then they didn't have Playstation.
What they had was branding posters.
And so I want you for the U.S. army, this is interesting
because on the right we'll start with this.
For some reason we'll go right to left.
We'll say how this is, you know, a full English very image intense incentive
to join the U.S. army.
And that's compared to a poster on the left, and the poster on the left has, you know,
a variety of different languages in which to elicit participation
from the contextual term aliens, from immigrants, who are living in the United States.
Either -- Yes.
And to really sort of cement that connection, seen --
And back through here we go back to [inaudible] day.
Many, many, many sort of nationalistic incentives and,
like we saw in the Camp Upton image,
opportunities to turn military service in to a melting pot.
So coming to Joseph Rosenblum, Joseph Rosenblum's an interesting story
because unlike Harry Freeman who'd lived in the country long enough to become naturalized,
Joseph Rosenblum had been here since 1913, and he immigrated one year prior to the Great War.
So he left Romania and arrived in the United States in 1913, and because he intended
to naturalize, he was also eligible for the World War I draft.
And what's so fascinating is, yes, he returned to Europe
and fought on the side of his homeland.
So, like I said, another example of, you know, this cross Atlantic tug of war
with European immigrants coming to the United States and then returning to combat
and then returning back to the United States.
And I should speak a little bit more about Harry Freeman.
Harry Freeman and Joseph Rosenblum --
Harry Freeman, his collection was actually recently featured
in a World War I educator's book.
He's got a fascinating diary, and in addition it's one of our favorites because --
The reason why I use PowerPoint is because my handwriting is so atrocious,
and I always feel bad for anybody who had to read my handwritten notes.
Harry Freeman is quite the opposite.
His diary is -- His entries are clean and beautiful and also evocative
because you can feel the pit in your stomach as you count the pages from, you know,
November 10th to November 11th and his notes on the end of the war.
So I absolutely recommend perhaps I can throw some links around at the end
and share that material with you.
What's so fascinating is because, you know, World War I is an age of writing,
it's an age of manuscripts, and so looking at that image in front of you right now,
the Joseph Rosenblum image, so as opposed to the, you know, counting out time,
dates on the calendar, Joseph Rosenblum is quite the opposite.
And in addition, I encourage you to [inaudible] link around to this later.
Because he -- First of all, he writes music.
And second of all, he compares his life
and he compares his experience to, you know [inaudible] writers.
You know, cynical writers like Voltaire.
And which, you know, he's plunged in to the first world war
and it's the only thing that makes sense to him.
So throughout his diary he draws these fantastic parallels between his firsthand experience
as a soldier and then also his connection and his interpretation of his life
through works of literature or music.
So it's just an incredible collection.
So coming on to the third in our series, which is somewhat of an outlier compared to Freeman
and Rosenblum, Freeman and Rosenblum both served in -- Oh.
Both immigrated from nations who served with the allied forces
or who were part of the allied forces.
And Albert [inaudible] differs because he's both second generation, his mom was Irish
and his dad was German, and he was born in Chicago.
So he has that immigrant experience by way of his parents,
but also is a volunteer as opposed to a conscript.
So doesn't do Selective Service.
Volunteers for service at age 28.
Looking through my notes, he had been a 28 year old surveyor when he enlisted.
And during his service he -- We had this fascinating
out letter collection back and forth.
And, like I said before in terms of handwriting --
And I'm going to be the first one that I throw under the bus, but there's nothing better
than having a letter collection and also a transcript next to it.
So I've shared some of the typed letters.
And you can really see this amazing complementary back and forth.
So it's interesting.
Now he stayed on in Europe after the occupation, after Armistice Day.
And it's very interesting to sort of talk about that second generation American perspective
and his special note that he sharply observed the French whom he found incredibly grateful
to the allied effort, and coming from a German father he was not allowed
to speak or interact with Germans.
So -- And he's compelled and he makes a special note of that.
And his [inaudible] to that is just much like all of our other collections
and just a biographical and a -- In a memory, you know, throughout generations of veterans
and VHP -- It talks about the haunting, haunting effects of the battles
and skirmishes that he witnessed.
So in addition to these three stories, like I said before,
we have more than 400 World War I collections as a whole.
And what we do quarterly, this is something special
since the library's commemorating the first world war right now --
But quarterly the Veterans History Project will find a theme,
whether that's disabled American veterans or whether that --
Or Japanese American veterans or women in military service
or African American soldiers through the generations.
What we do is we look through our collections and we identify content --
rich content collections with compelling oral histories and a series of photographs
and manuscripts and correspondence, and they're well described.
And what we do is we turn that into what we call a web feature,
and the web feature is narrative driven.
This one's about the first world war, and this one's in sub components arguing over war
and over here [inaudible] the "Echoes of the Great War" exhibit.
Over there on a world overturned,
again paralleling the "Echoes of the Great War" exhibit.
And what you'll have here, and we'll absolutely circulate these links at the end,
are opportunities for you to click through and learn again from dozens
of fully described digitized World War I collections.
You know, that place them in a historical context that talks
about their individual experiences and connect them to a larger work by theme.
And in addition to World War I, we have a good many, I think nearly 100 now, experiencing wars,
each chapter with different themes.
And also all of those searches, all of those well described stories,
can be found by searching through the veteran's name as well which really gives you a nice A
to Z. And conflict experience and nationality diversity as you scroll through our collections.
And, like I said before, learn firsthand from immigrants throughout the generations as well
as natural citizens and really a broad [inaudible] of various narratives
that we have pulled together through the efforts of oral historians, volunteers,
and as I started bringing in in the comments, folks who had taken the stories
of their families and sent them to the Library of Congress where we can share them nationally
through our online collections and through the American Folklife Center reading room.
And also through installations and exhibits like "Echoes of the Great War"
where some VHP materials are featured.
And yes. As I said before, "Echoes of the Great War" is currently on display.
It will be there.
The online exhibition will be online until January 2019.
And just like you can click through VHP materials, I encourage you to look
through "Echoes of the Great War."
To be honest, one of the things that -- So I'm a trained oral historian,
and so I always like to hone in on the oral histories.
And one of the things that was a challenge for me
with this was we quite literally have no World War I veterans who we can ask
in an oral history setting now what age he joined the service.
What motivated you to join?
And by immersing yourself in "Echoes of the Great War," those questions are answered.
For me, just looking around, like I said, at the photograph of --
Or at the poster of "Attention to all aliens,"
or the Uncle Sam [inaudible] it really offers an immersive experience
for a generation that's gone.
But yeah. And with that, I know that that's kind of a deep point to leave you hanging off,
but I'm very interested in hearing from the group and answering some questions.
>> Great. Well, please do let us know if you have questions in the chat.
It looks like there was one question about submitting photographs from World War I,
and Megan [assumed spelling] has replied to look at the VHP website, loc.gov/vets,
and also -- Or email [inaudible] at loc.gov.
But I don't know if you have other thoughts about what you're looking for in terms
of collections, especially when it comes to World War I.
What you do accept.
>> So yes.
We do. So in terms of World War I donations, like I said before, there's --
There is potential for oral history in the form of a legacy recording.
Like if, by chance, your family or a student recorded a story of a World War I veteran
in your life, we would -- And it's in a compliant format or --
Just reach out to us and describe the material.
In addition to those legacy recordings, we're always looking for opportunities
to collect manuscripts and we consider a complete collection as one that has
at least 20 pages of military orders or memoir or journal pages
or at least 10 original photographs or additive correspondence or creative works.
But just in terms of [inaudible] institution and we live on our nuances.
So if you have any World War I materials that you'd like to share with us or talk to us about
or show examples of, we look forward to working with you and seeing what we can do to make sure
that your family history and the experience of your World War I ancestor is preserved here.
So, as I said before, it's a 30/20 [inaudible] or catchphrase.
>> Okay. Well, thank you.
So then another question.
Do you have -- Is there something that you've found truly surprising
about someone's service during World War I or something
that just was a surprise to you in these archives?
>> So I feel like every day I'm finding a new story, and I know that that's sort of a maxim
that gets used up a lot, you know.
What's your favorite story?
You know, the next one.
But there is some truth to that.
In terms of World War I stories, I would honestly say that the Freeman diary is just
so powerful to me because everybody here is, you know --
It's so branded, and I'm not sure if this is the social studies curriculum, but the armistice is
such an epoch, and at least it was in my learning in American learning.
And here Harry Freeman tells a story of being ordered
in to an engagement hours before the armistice.
And having at the end of the battle the smoke clear and realizing
that he was completely -- He was in a pocket.
He was completely encircled.
And that, you know, had the bell not chimed or had the bell not tolled at 11/11/11,
he wouldn't have survived the war.
And it's just this mix of absurdity and experience that just draws me right in to it.
>> That's great.
You know, we'll have to -- I'm intrigued now.
I haven't read through the Freeman diary.
So I want to go do that now.
There are really such wonderful ones.
I'm especially taken with Irving Greenwald who's not an immigrant,
but he's a child of immigrants, but there are so many wonderful stories on your website.
There's questions coming through about VHP's collecting policies
which I think Megan is addressing.
But a question about Camp Upton.
Is there anything else on VHP's website about Camp Upton?
I think the question was specifically, "Is there a searchable --
Is something searchable about Camp Upton?"
Which I think is not the case, but are there other veteran stories
from Camp Upton that you know of, by chance?
>> Offhand?
>> Oh. And Megan says it is [inaudible] database is searchable by service location.
So that's good.
And she just sent the link.
So that's fabulous.
>> Thanks, Megan.
Yeah. So and there's a variety of different service locations to veterans,
and that includes training and deployment.
So from one pathway to another, all of those that the veteran indicated
on their biographical information when we accepted their collection or it was attributed
in the service history notes, we would be able to find that information on the backend as well
as you'd be able to find it on the frontend through that link.
>> Thanks.
And then a few were content questions.
Is World War I the war they said would end all wars?
That's a -- Is that something you feel like you can answer on?
>> I feel like that's something that, you know, we could write a monograph on that.
Or we could all, you know, settle around in a circle and have a moderated panel.
It's -- It seems without precedent, but also -- So without precedent, and I would say --
And this is me as a public historian, not a [inaudible] historian.
To our veteran stories, we see consistent effects on the veterans of war.
And the consequence of war in general as told through their experience,
as evidenced through their correspondence, manuscripts, and diaries,
and the war to end all wars, seeing that the effects of the war persist through veterans
of World War II, Korea, Cold War, Vietnam, Persian Gulf, Afghan and Iraq wars,
and in to war experiences, I would say that in that capacity it's not unique.
>> Yeah. Thank you.
And I think it's actually -- This question is a nice segue to our -- to closing.
And then a reminder that this is part of a series and maybe you can flip the slide
to the next because I would encourage you, Megan Parker who asked that question,
to come back to the series next month when we will have [inaudible] who's a historian
in a manuscripts division and is one of the curators of the exhibition talking
about Woodrow Wilson's decision to go to war.
And he will talk more about the -- Obviously the reasons that Wilson
through the United States should be involved, and some of the language around the war,
that phrase being, "To end all wars" came later, but this idea about the extent
to which the war was to make the world safe for democracy
and what Wilson's war aims were will be the next session which is October 24, 2017 at 2PM.
After that we'll have -- Well, we'll have one a month
so the next will be November 28th at 2 o'clock.
We'll look at prints of Liberty bond drive prints called [inaudible] liberty Paris
which is a really evocative image of New York City destroyed by the enemy made
by Joseph Pennell who's a famous print maker.
And we'll have a specialist, Catherine [assumed spelling] [inaudible]
from our prints and photographs division.
And the last session will be December 12th, again at 2 o'clock looking
at Charles Hamilton Houston and how his wartime experience as a young officer serving
in a segregated military influenced his later work in civil rights,
including as chief attorney for the NAACP and a mentor to Thurgood Marshall.
So I hope that you will return.
If you have other questions, you can always, you know, add them here.
We'll answer a few more at the end or you can email Owen
and his team at [inaudible] at llc.gov.
We thank you for participating in this session
and would love your feedback at the link that you see here.
Oh. Was hoping to tell the story of an immigrant veteran who resided in Missouri,
able to search VHP site by location.
Again. And Owen?
>> Yes. So we do have a local history plug in, and if you go to our website
and our collections database you can browse by state history.
And from there find him by last name or her.
>> Great. Thank you.
And if anyone out there is a teacher, there's really great material
to support students doing oral histories on the VHP website as well.
So I hope you'll consider that.
And do come back for the next session.
You'll find all of the events and resources related to World War I
and on our online exhibition which is on our online exhibition page loc.gov/exhibits.
If I can --
And thanks very much.
>> Thank you.
Likewise, thanks everybody.
>> This has been a presentation of the Library of Congress.
Visit us at loc.gov.
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