Libraries Welcomes Longhorns with a Week of Fun, Creativity, and Community

The Libraries kicked off the fall semester with a slate of engaging events as part of Longhorn Welcome Week 2025 (9/25-29), offering students opportunities to connect, create, and explore library resources and spaces in new ways. From trivia contests and art-making to zine collaging activities, the Libraries helped set the stage for a vibrant start to the academic year.

Game Night

The week began on Monday evening at the Perry-Castañeda Library with Game Night, where nearly 90 attendees gathered for an evening of friendly competition, pizza, and prizes. Students tested their knowledge in UT- and Austin-themed trivia rounds, winning much-coveted Labubu collectibles, while others played Bingo for UTL swag. Tables buzzed with card and board games like Uno, Bananagrams, Connect 4, and dominos. The library also showcased game-related books from its collections – Dungeons & Dragons titles proved especially popular. Beyond the games, the event provided opportunities for connection and community-building, with students exchanging numbers to plan future gaming sessions and meet-ups.

Exploring Color and Geometry in Islamic Art

The Fine Arts Library hosted Color & Geometry in Islamic Art on Tuesday, where more than 30 students explored traditional and contemporary craft techniques. Participants painted wooden puzzles, decorated fabric and paper with Foundry-made stamps, designed jewelry, and experimented with Arabic calligraphy. Foundry tours highlighted the library’s creative technologies, and puzzle- and bead-stringing activities were crowd favorites. The event blended hands-on learning with cultural exploration, giving students a chance to engage with both artistic traditions and cutting-edge library resources.

Zine Making Party

The popular annual Zine Making Party drew about 55 participants on Wednesday, where attendees flexed their DIY muscles, collaging, cutting, and creating minimalist artworks. Students used magazines donated by UTL staff to craft one-page zines on topics meaningful to them, and many explored the Fine Arts Library’s extensive zine collection. Faculty even joined in the fun, underscoring the event’s wide appeal. Past years’ collages remain on display at the library’s entrance, offering a living archive of student creativity.

Bibliogarden

Activities returned to PCL on Wednesday, where the Libraries’ Bibliogarden brought together nearly 50 attendees and UT Libraries staff from across disciplines. Students designed bookmarks, explored leisure-reading recommendations from the new “leisure cart,” and browsed a curated selection of zines, chapbooks, cookbooks, and global literature. Highlights included Southeast Asian cookbooks paired with homemade photos, and a table from Austin Public Library where students could sign up for local library cards. The event fostered community while showcasing the breadth of UT Libraries’ collections and services.

Closing with Cinema: Minari Screening

The week concluded on Friday with a screening of Minari, the acclaimed 2020 film about a Korean American family building a life in rural Arkansas. Students and community members gathered at the Perry-Castañeda Library to share in the story of resilience and belonging – an apt reflection of the welcoming spirit that defined the week. Co-sponsored by the Center for East Asian Studies’ Korea Program and the Center for Asian American Studies, the film drew a full house, and capped an excellent week of introductory experiences for new and returning Libraries users.


The Libraries’ efforts did not go unnoticed. The Libraries’ Game Night was honored as a Longhorn Welcome Event of the Year, a recognition that underscores the event’s positive impact on helping new and returning Longhorns feel at home on the Forty Acres.

Through Longhorn Welcome Week 2025, the Libraries underscored its role not only as a resource hub but also as a vibrant community space where students can learn, create, and connect. Whether through games, art, zines, or shared stories, the Libraries offered students multiple ways to launch into the new academic calendar with curiosity and connection.

Read, Hot and Digitized – A Nobleman’s Life, Digitized: The Jiam Diary Project

Read, hot & digitized: Librarians and the digital scholarship they love — In this series, librarians from UTL’s Arts, Humanities and Global Studies Engagement Team briefly present, explore and critique existing examples of digital scholarship.  Our hope is that these monthly reviews will inspire critical reflection of and future creative contributions to the growing fields of digital scholarship.

This post was written by Sojeong Ryoo, the Global Studies Digital Projects GRA at Perry-Castañeda Library and a current graduate student at the School of Information.


Sometimes, an ordinary personal diary can be an extraordinary historical resource that provides a glimpse into the times. The Jiam Diary Digital Humanities Project, led by Professor JiYoung Jung at Ewha Womans University, is based on the nearly eight years (95 months) of journals kept by Yun Yi-hu (pen name: Jiam), a yangban (nobleman) of the Joseon dynasty in the late 17th century.

Between 1692 and 1699, Yun Yi-hu — a retired nobleman in the Honam region — kept a meticulous diary of his daily life. Known as Jiam Ilgi, the three-volume, 920-page record captures everything from farming, fishing, and travel to visits with friends, political events, and even the activities of household slaves. It offers a vivid portrait of both personal routines and the broader social world of 17th-century Korea.

The Jiam Diary Digital Humanities Project transforms this rich historical source into searchable, visualized data. More than 80,000 pieces of semantic information have been extracted and organized into interactive maps, timelines, and relationship networks, enabling users to explore the people, places, events, and lifestyles mentioned in the diary. This digital approach opens a new window into the everyday life of a Joseon noble.

On the site, you can explore data visualizations in five themes: Lifestyle, Person, Place, Event, and Slave.

Lifestyle visualization is designed to help users explore lifestyle-related data. The eight-year calendar is arranged vertically by year and horizontally by month, with original and translated diary entries for each day appearing in the blank space on the right. Clicking the small square menu box in the upper left allows you to choose from over 80 lifestyle categories and view related records. Examples of lifestyle categories include: family, returning home, visiting, slaves, bathing, private punishment, guests, lodging, prison, transactions, architecture, capital affairs, civil service examinations, weather, farming, theft, literature, unusual events, funerals, hunting, fishing, arts, entertainment, medicine, disease, and slave hunting.

Person visualization highlights people mentioned in the diary. Yun Yi-hu’s family, kinship ties, and political connections are shown as an interactive network. Clicking a person icon allows you to filter and view the diary text for the date the person was mentioned.

Place visualization displays a map of Korea, marking locations mentioned in the diary. Places can be categorized by type — administrative districts, buildings, roads, mountains, fields, rivers, and islands — and filtered using the menu on the bottom left. Clicking on a place reveals diary entries linked to that location. For example, selecting Seoul — the capital of the Joseon dynasty — returns an impressive 455 entries. Clicking on a diary date on the right reveals the original and translated text of the diary entries that mention “Seoul.”

Event visualization organizes events from the diary along a timeline, making it easy to see which major events Yun Yi-hu experienced and how long they lasted. Clicking on an event box shows the relevant diary entry, with entries displayed chronologically below.

Slave visualization examines the nobi (slave). The slave system existed during the Joseon dynasty. As a nobleman, Yun Yi-hu owned many household slaves. The visualization links each slave in the center to the lifestyle activities associated with them, displayed around the outside. This allows us to examine the roles played by specific slaves in Yun Yi-hu’s life.

Looking into the records of Yun Yi-hu, a man who lived centuries ago, we see him interacting with family and friends, traveling, rejoicing, and grieving — experiences not so different from our own lives today. The Jiam Diary Digital Humanities Project brings this rich life to light through diverse visualizations of his diary, offering deep insight and inspiration.


To learn more about the Joseon dynasty or Korea in general, check out these resources in the UT Libraries’ collections:

Duncan, J. B. (2014). The Yangban in the Change of Dynasties. In The Origins of the Choson Dynasty (pp. 99–153). University of Washington Press.

Park, S. N. (2020). The Korean vernacular story : telling tales of contemporary Chosŏn in sinographic writing / Si Nae Park. Columbia University Press.

LEE Uk(이욱). (2007). The Yangban’s Perception of the Ideal Economic Life During the Mid-Chosŏn Era. International Journal of Korean History, 11, 117–150.

Kang, M. (2010). Chosŏn p’ungsoksa / Kang Myŏng-gwan. (Ch’op’an.). P’urŭn Yŏksa.

An Introduction and Welcome

As we quickly become absorbed in the fall semester, I want to extend a warm welcome to you all – whether you’re arriving on the Forty Acres for the first time or returning for another academic year. I joined the University of Texas at Austin just a little over two weeks ago, and in that brief time, I’ve been struck by the energy, character, and sense of possibility that define this community.

My career path has led me through a variety of roles at institutions including the University of Colorado Boulder, Indiana University, and the San Diego Supercomputer Center (UCSD), where I built expertise in digital preservation, new models of scholarly communication, and library leadership and management all with an eye toward the future of higher education. I am honored to bring that experience to this exceptional university.

In these early days, I’ve been getting to know campus life, meeting colleagues, exploring libraries, and discussing ways to support your work. With new leadership taking on key positions, it’s a period of renewal, and I am grateful to be involved.

The University of Texas Libraries are central to this momentum. More than collections and spaces, our libraries are places where ideas are tested and forged, collaborations are formed, and knowledge is shared. This fall, we have been proud to be part of welcome events across the campus, and we want to welcome and help connect all students both with our unbelievable content as well as with each other. It is the strength of our community that enables our success.

As I continue to settle in to both the campus and the Austin community, I look forward to meeting many of you in our libraries, at events, or simply as we cross paths on campus. Please don’t hesitate to stop and say hello. Together with our dedicated library staff, I am committed to ensuring the Libraries remain a vital partner in your academic, professional, and personal journey. I’m grateful for the opportunity to join you at this exciting moment for UT, and I look forward to what we will accomplish together in the year ahead.

Read, Hot and Digitized: AI for OCR & Translation

Read, hot & digitized: Librarians and the digital scholarship they love — In this series, librarians from UTL’s Arts, Humanities and Global Studies Engagement Team briefly present, explore and critique existing examples of digital scholarship.  Our hope is that these monthly reviews will inspire critical reflection of and future creative contributions to the growing fields of digital scholarship.


The foundation of digital humanities is data.  Lots of it.

As the early phases of AI have shown us, there is a staggering amount of textual data available to manipulate and compute–both openly available and that which exists behind paywalls.  All too often the depth and accessibility of digital scholarly textual data in non-English and non-Roman scripts is lacking.  Rather than be left behind or constrained by these lacuna, individual scholars are working to generate their own digital research corpora, often building upon AI tools.

Recently I was introduced to the MITRA project and have been nothing short of amazed.

A research project from the University of California-Berkeley’s AI Research Lab, MITRA “focuses on bridging the linguistic divide between ancient wisdom source languages and contemporary languages through the application of advanced Deep Learning and AI technologies.”  Using Gemini APIs, MITRA builds upon an extensive digitized text corpus and contributions from translators and researchers alike to “harness AI technologies to promote the scholarly study and personal practice of the dharma and to accelerate academic and individual research through open-source collaboration on datasets, models and applications.”  In so doing, MITRA aims to “overcome the challenges inherent in low-resource language translation,” to “minimize language barriers,” and to create “more equitable access to literature and wisdom.” 

I have engaged with OCR and digital text conversion for years but have always found it to be a labor intensive and ultimately less-than-satisfying [or accurate] experience, especially for non-roman languages and scripts.  Of Interest to me, therefore, is how MITRA has harnessed AI to allow one to drag-and-drop PDF files into the tool at which point it can both detect the language (Sanskrit & other Devanagari-based languages, Tibetan, scriptural Chinese or English) and use OCR to produce a relatively accurate text file.  That unto itself is pretty amazing.  From there, however, one can quickly transliterate, translate and/or explain the text into Sanskrit, Buddhist & Modern Chinese, Russian, Korean, Japanese, German, French, Italian, Hindi or Spanish. 

To test it out, I grabbed a small amount of openly accessible text from HathiTrust.  I chose an early Hindi novel, namely Rāmalāla Varmmā’s Banārasī Dupaṭṭā Yā Gularū Zarīnā from 1916 which is readily available in PDF form on HathiTrust.  I grabbed the first page of the novel which looks like this:

Page one of Banārasī Dupaṭṭā Yā Gularū Zarīnā from HathiTrust

I then put a PDF of that page into MITRA to see if it could OCR the text.  Despite some blurriness of the original source text, it most certainly could OCR it (even if not 100% accurate):

MITRA’s OCR of page one of Banārasī Dupaṭṭā Yā Gularū Zarīnā

Encouraged, I then asked MITRA to both transliterate (take the text written in Devanagari script and convert to roman script) and to translate the text which it also did quite quickly and easily:

Ever more optimistic, I then clicked on “English explained” and MITRA was also quite adept at parsing the translated text, the original script of the text, and the grammar and vocabulary. 

MITRA’s “English Explained” of page one of Banārasī Dupaṭṭā Yā Gularū Zarīnā

I repeat, I stand amazed.

While MITRA has clearly captured my attention and my appreciation, I will note that there are other similar projects currently available and equally commendable, from Andrew Ollett’s Indological and OCR tools [and fabulous related explanations] to Tyler Neill’s toolkit, Skrutable

Likewise, the UT Libraries is here to help explore the production of your own digital content for research.  The Scan Tech Studio in the PCL Scholars Lab has the hardware and software you might need to convert print into digital texts, as well as a group of specialists to help you.  We have online guides to introduce the practices and concepts of OCR as well as recordings from OCR workshops

I encourage anyone interested in exploring non-English or non-roman digital texts to jump in, kick the tires, and have some fun with these impressive conversion projects. 

Historic Maps, New Coordinates

Machine Learning Meets the Sanborn Maps

In the digital age, historical maps hold a wealth of information, but unlocking their full potential for geospatial analysis and historic research often requires labor-intensive georeferencing. An innovative project the University of Texas Libraries is evolving this process through the power of machine learning.

The Libraries boast a vast cartographic collection in the Perry-Castañeda Library Maps Collection including thousands of items that have been scanned for online and digital use, yet only a fraction of them are georeferenced, hampering their utility for scholars and researchers. Recognizing the immense challenge of manually georeferencing tens of thousands of maps, the Libraries have turned to cutting-edge technology to automate this arduous task.

Georeferencing – the process of assigning geographic coordinates to a map image – is essential for accurately situating maps on the Earth’s surface within GIS (Geographic Information System) software. Traditionally, this has been painstaking manual work, but the emergence of machine learning offers a promising alternative.

Enter the proof-of-concept project spearheaded by geospatial and data specialists at the Libraries, which focuses on automating the georeferencing of Sanborn Fire Insurance maps–a pivotal component of their collection. Sanborn maps provide invaluable insights into urban development and infrastructure from the late 19th and early 20th centuries.

To tackle this ambitious undertaking, the project team developed a custom annotation tool to identify street intersections on a small subset of maps from the collection. Leveraging object detection models trained on machine learning algorithms, the tool automatically detects these intersections, streamlining the georeferencing process.

Optical character recognition (OCR) technology is then employed to extract street labels associated with the intersections identified by the object detection model. This data is then cross-referenced with a modern street intersection dataset derived from OpenStreetMap, enabling the precise georeferencing of the historical maps.

Remarkably, the automated process has already achieved a significant milestone, successfully georeferencing 14% of the Sanborn maps with a level of accuracy comparable to manual methods. This initial success paves the way for scaling up the project to encompass the entire collection of Sanborn Fire Insurance maps, as well as extending the approach to other map collections in the future.

Looking ahead, the project team is ideating enhancements of the process and further refining its accuracy. Continuous refinement of the machine learning models, improvements to the OCR process for reading street labels, and collaboration with other experts in the field are just a few avenues being explored to optimize the georeferencing workflow.

In an era where data-driven insights are increasingly shaping our understanding of the past, initiatives like the Libraries’ machine learning project offer a glimpse into the transformative potential of technology in historical research. By harnessing the power of machine learning, the Libraries are discovering ways to unlock the spatial dimensions of history and illuminate new pathways for scholarship and discovery.


Read a research article about the project at: https://www.tandfonline.com/doi/full/10.1080/15420353.2025.2462737

“Visiting Days”: An Archive of Family Care at São Paulo’s Largest Women’s Prison

An archive acquired through the LLILAS Benson Archiving Black América–Black Diaspora Archive initiative documents scenes from prison visiting days

Brazil is among the top incarcerators of women worldwide, with Black women accounting for 65 percent of this population. The largest women’s prison in the country is the Penitenciaria Feminina Santana (Santana Women’s Penitentiary) in São Paulo. Every weekend, families of incarcerated women arrive to visit their loved ones on the inside. On Avenida Ataliba Leonel, the busy thoroughfare just outside the prison, two tents, or barracas, serve as informal storage sites where visitors pay to store their belongings prior to lining up to enter the prison. The tents also offer food for purchase.

A group of several dozen people cluster around the entrance gates of the large women's penitentiary in São Paulo, Brazil. One woman sits at the curb, a small child by her side. Many of the people have white plastic bags on the ground near them. The prison entrance is a pale yellow archway, trimmed in medium grayish blue, with a gate if the same blue, the name of the prison written above. In the foreground there is the surface of the street with many lines painted for crosswalks.
Facade of the largest women’s prison complex in Latin America, the Santana Women’s Penitentiary. Photo: Flávia Biazeto. Black Diaspora Archive.

In the archive Dias de Visita/Visiting Days: Strategies for Connections, Affections and Black Encounters in Latin America’s Largest Women’s Penitentiary, LLILAS PhD student Ana Luiza Biazeto has assembled images and oral histories from her visits to the barracas, where she interviewed family members of incarcerated women, as well as some of the people who set up and run the tents. Biazeto became familiar with the prison and the visiting area during research for her master’s thesis, which was about Black incarcerated women in the prison.

A large blue tarp creates a tent with an open front. People can be seen standing or sitting under the tarp—one with an umbrella, one bent over holding a white plastic bag. Various bags and at least one suitcase are visible. On the rainy street in the foreground, a man rides by on a bicycle.
Loira’s tent welcomes visitors on a rainy day. Photo: Flávia Biazeto. Black Diaspora Archive.

While many incarcerated women are completely separated from the lives of their families and loved ones during their imprisonment, others are visited by family on a regular basis. During her first year as a PhD student, in a 2022 seminar on urban Brazil, Professor Lorraine Leu asked Biazeto some pointed questions about the women she had interviewed in the prison: How were their children doing? Who were their families? Leu’s questions inspired Biazeto to think more deeply about the dias de visita and what she could learn in this setting. She applied for, and received, an Archiving Black América–Black Diaspora Archive (ABA–BDA) archival acquisition award, which afforded her an opportunity to better understand the dynamic of the families.

Two small boys, both with shorn heads, face away from the camera. They are standing on a paved median facing a two-lane road. In the background, pale yellow three-story building can be seen. The sky above it is gray. The boys stand with their shoulders touching. They wear flipflop sandals, matching voluminous sweatpants that are light blue with a wide navy blue band across the knee, and long-sleeved sweatshirts.
Brothers, taken by their grandmother, wait to visit their mother in the Santana Women’s Penitentiary. Photo: Ana Luiza Biazeto. Black Diaspora Archive.

“I learned of things that I never would have imagined,” said Biazeto in an interview during spring 2025. “I was in connection with many mothers, many grandmothers, who visit women. There were many children, running around there on the avenue. And as I interviewed, I cried along with the women. The children came and showed me the drawings they were making, many the age of [my youngest child]. And just as my master’s thesis involved a painful process, it is also a painful thing to confront these realities.”

Barraca da Loira and Barraca da Adriana, named for the women who run them, are part of the informal economy and are protected by the Primeira Comanda da Capital, or PCC, an organized crime unit in São Paulo that is sometimes called upon by the state to act. Biazeto says the PCC might be on hand to make sure people line up in an orderly manner to visit the prison.

A group of white plastic bags sit on a dirty orange tarp. Each one is tied with a knot at the top. On some, a small yellow square of paper with a handwritten number is visible attached with a metallic hook. Some belongings, such as a dark plaid umbrella, can be seen peeking out of the bags.
Visitors’ items are put in plastic bags and locked with a password in Adriana’s tent. Photo: Flávia Biazeto. Black Diaspora Archive.

During her fieldwork, Biazeto conducted interviews with Adriana, who runs one tent, and with Karina, the daughter of “a Loira” (“Blondie”), who runs the other. Additionally, Adriana and her son, Paulo, recommended visiting family members for Biazeto to interview.

“They knew the people, they heard their stories, they sold them coffee, they welcomed the people,” Biazeto said.

Closed containers of cake and several individually wrapped sandwiches made with white bread sit on a wooden table. Two cake containers are stacked one atop the other, while a knife sits atop a single container.
The cake and snacks sold at Barraca da Loira. Photo: Flávia Biazeto. Black Diaspora Archive.

In the excerpt below, Biazeto discussed her fieldwork in more depth. The following conversation is translated from the Portuguese and condensed.

Q: What were some of the things that surprised you?

Biazeto: I saw a mother putting on makeup to show her daughter that she was ok. Because she said that her role was to maintain her daughter’s well-being inside the prison. She said, “I cry here with you, but I go in there with a smile for her to have hope, that I’m waiting for her out here, and that everything is all right.” So she puts on makeup, she applies eye shadow, puts on lipstick, fixes her hair.

In a grainy photo, a woman applies red lipstick to her mouth. She holds a mirror and the silver top of the lipstick tube in one hand, while applying the color to her open mouth in the other. She is wearing a leopard-print jacket.
A mother applies lipstick before visiting her daughter in the women’s penitentiary. Photo: Flávia Biazeto. Black Diaspora Archive.

I also saw—although the statistics say the opposite—I saw many men going to visit their women. Taking their kids. So this happens in a way that research doesn’t show. These men are also invisibilized. Principally Black men, because when we talk about the Brazilian prison system, we’re principally talking about race. I saw a grandfather bringing a grandson to see his daughter. I saw a father bringing a little girl in a stroller, giving her a bottle. Cooking for the women. Breaking those gender barriers somewhat.

Professor Christen Smith commented [on my research], “You are bringing in new viewpoints [novos olhares].” Because it’s the man who works the dawn hours as garbage collector, street sweeper; comes back home, cooks, takes his daughter, and goes to the gate of the penitentiary. So those were the things that surprised me.

A slender man in loose gray sweatshirt and sweatpants stands with his back to the camera. He is facing a crowded line across the street from the entrance gate to the women's prison. He holds a small child against the left side of his chest. The child is wearing gray sweats, a blue-and-white hat with ear covers and a pompom on top, and bright red sneakers. The man has short black hair and a cigarette tucked behind his right ear.
Father takes his child to see mother, sentenced and imprisoned in PFS. Photo: Flávia Biazeto. Black Diaspora Archive.

Also, mothers who brought food not just for their own daughters, but for the cellmates, and the block-mates, because they didn’t have visitors. A mother said, “My daughter shares the food I bring, even if it’s a spoonful for each person.”

Q: What are these women serving time for?

Biazeto: In general, it is drug trafficking. Sometimes it’s a family business; sometimes inherited from the mother, or along with a male partner. Generally it is the user who is criminalized, not the dealer.

Q: What more would you like to share about your work?

Biazeto: [I’ve been encouraged by Lorraine Leu to think about the (im)possibilities of Black futures in the context of the prison.] To see the children running around there, in the middle of a busy avenue, is to think about Black resistance. Right there, you witness the formation of a community that supports and sustains its members somehow, whether it’s sharing information on legal issues, or the workings of the prison system. Many times, this information comes from outside, from family members exchanging information between themselves. I could see a solidarity among those family members. I think that this archive keeps alive the memory of people who are resisting the Brazilian police state. It is a new way of resisting.

A small dark blue tent, open on two sides and held up by metal poles, reads "Barraca da Loira" in bright yellow letters (Loira's Tent). Inside the tent, there is a small metal table with a few full plastic bags, one or two large Thermos bottles, and two round plastic containers containing cake. Suspended from a makeshift clothing line outside strung from a larger pole is a rope with a few articles of clothing hung from it, among them a hot-pint long-sleeved sweatshirt. Several people stand facing the tent with their backs to the camera. In the foreground, a small amount of the street is visible, including an orange traffic cone.
Barraca da Loira sells flip-flops, soft drinks, coffee, cake, and underwear. They also rent out clothes and serve as a locker. Photo: Flávia Biazeto. Black Diaspora Archive.

Ana Luiza Biazeto will spend the 2025–2026 academic year in Brazil to continue her dissertation research on resistance and resilience among Black women and their families in the Brazilian carceral system.

The contents of the Visiting Days archive can be reviewed via Texas Archival Resources Online (TARO). The Black Diaspora Archive is an initiative of Black Studies, LLILAS Benson Latin American Studies and Collections, and the Office of the President. The archive is housed at the Nettie Lee Benson Latin American Collection.

Read, Hot and Digitized: Country of Words | بلد من كلام

One of the more complex questions we encounter in area studies is how we define a nation. Is it lines on a political map? A shared territory? For Palestinians, traditional maps can often feel inadequate, showing borders and divisions but failing to capture the full, lived reality of a people. The remarkable digital-born project, Country of Words | بلد من كلام : A Transnational Atlas for Palestinian Literature, by Refqa Abu-Remaileh (Freie Universität Berlin) rethinks the very idea of a map. Instead of depicting political boundaries, it offers a form of literary cartography.

Screenshot of literature under British occupation essay title
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Screenshot of Literary Diasporas essay title
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At its heart, Country of Words is an interactive, web-based atlas that visualizes the vast geography of Palestinian literature. When you visit the site, you are met with a world map dotted with points and featuring an accompanying timeline. Each dot represents a location—Gaza, Jerusalem, Beirut, but also Paris, Santiago, and Iowa City—that appears in a work of Palestinian fiction or poetry. Clicking on a dot reveals an excerpt from the literary work set in that place, presented in both its original Arabic and in English translation.

The accompanying timeline summarizes essential events in Palestinian history and allows you to read essays on how these historical moments influenced and were shaped by key works of Palestinian literature. Additionally, you can look at an overall network visualization; a variety of visualizations of biographies, historical events, publishing histories, and publishing networks; and audio interviews with key current and recent Palestinian literary figures.

The project is the work of Prof. Dr. Refqa Abu-Remaileh and her team at Freie Universität Berlin. It grew not from a desire to create a simple database, but rather from a potent intellectual argument. The project contends that for a people so often defined by exile and displacement, literature itself has created a “country”—a homeland of memory, imagination, and shared experience that transcends physical borders. This atlas makes that homeland visible.

As a librarian, I see this as a powerful tool for teaching and research. It allows students to literally see the global reach of the Palestinian experience. For scholars, it is a dynamic data visualization that can spark new questions about place, identity, and literary networks. It is a beautiful, poignant, and profoundly human entry point into a rich literary tradition. It invites you to wander through this country of words and discover the stories that connect a people, wherever they may be.

To dive deeper into the literary world mapped by the project, here are a few key works from the UT Libraries’ collections that speak to the themes of place, exile, and memory:

  • غسان الكنفاني، الأثار الكاملة. The complete collection of a foundational writer of modern Palestinian literature, Ghassan Kanafani. Included is his novella, Men in the Sun, about Palestinian men seeking to cross a border in a water tanker. It is a searing allegory of the search for life and dignity in the face of statelessness.
  • After the Last Sky: Palestinian Lives by Edward Said. A landmark book of essays and reflections paired with photographs by Jean Mohr. Said, a major figure in postcolonial studies, meditates on the nature of Palestinian identity in exile.
  • Enter Ghost by Isabella Hammad. Isabella Hammad’s second novel centers on Sonia, an actress who journeys back to Palestine and joins a production of Hamlet in the West Bank. Enter Ghost offers a vivid portrait of contemporary Palestine and explores themes of exile, belonging, and the deep bonds formed through family and collective struggle.

CONTINUED DIVES INTO PULP FICTION

“Illuminating Explorations” – This series of digital exhibits is designed to promote and celebrate UT Libraries collections in small-scale form. The exhibits will highlight unique materials to elevate awareness of a broad range of content. “Illuminating Explorations” will be created and released over time, with the intent of encouraging use of featured and related items, both digital and analog, in support of new inquiries, discoveries, enjoyment and further exploration.


As a part of my Fulbright-Nehru Fellowship, I was back in Delhi in early 2025, continuing research on “hidden archives,” namely the unpublished materials found in institutional settings (places like the Prime Minister’s Museum and Archive at Teen Murti or the National Archives of India) as well as private papers still kept in family homes.  My fellowship allowed me to expand and nuance the work I regularly support here at UT such as the digital archiving projects related to 20th century politico-literary figures but also to delve a little deeper into UT Libraries’ growing distinctive collection related to South Asian popular and pulp fiction. 

In research, like in crime thrillers, you never know where seemingly random clues might lead.

Cover of 65 Lakh Heist.

Early into my stay in Delhi, a colleague from the Fulbright office called me up to invite me to join him in attending a literary “salon” where I could meet some new people.  The event was to welcome a visiting Greek poet, translator, and editor wherein she would read and discuss her poetry at the home of a prominent Indian literary editor.  Poetry? Editors?  “Salon”?  I was in.

In addition to the lovely verse and food which both flowed freely throughout the evening, I was delighted to make multiple new acquaintances at the gathering.  As we went around the room introducing ourselves—one person an activist, one a publisher, another a poet, and so on–one person identified himself as a translator at which point his jovial colleague interrupted him to reveal that he was also an author of pulp fiction.  As I’ve been building UT’s pulp fiction collection for over 10 years now, my ears perked up and I set my sites on meeting this translator/author as soon as the group dispersed for more casual one-on-one conversation. 

The author was lovely and humble about his own work and kindly asked me about which authors were included in UT’s pulp fiction collection.  I started listing off the names—Ibne Safi, Ved Prakash Kamboj, Om Prakash Sarma, Anil Mohan—but when I got to Surender Mohan Pathak he casually asked, “oh, SMP?  You want to meet him? My partner has helped edit and publish his work.”  I tried not to reveal my excitement.  Surender Mohan Pathak, with over 300 published novels to his credit, is one of the biggest, if not actually the biggest, authors of Hindi pulp crime thrillers.  Yes! Yes, yes!  I would in fact like to meet him.

With arrangements made through the generosity of new colleagues, a couple of weeks, multiple WhatsApp chats, and SMS texts later, I was greeted at the elevator gates to his Noida apartment by none other than Surender Mohan Pathak himself. 

SMP with the author in his home office.

Over the course of the next hour or two, as I sat starstruck and in rapt attention in SMP’s home office, surrounded by a lifetime of memorabilia and shelves and shelves of his publications. SMP graciously answered all my questions, generously telling me about his pathway to becoming a writer, the challenges he has faced in getting published, and his expectations about his legacy.  The highlights from this chance meeting, “Surender Mohan Pathak in His Own Words” are now available in the UT Libraries Digital Exhibits.  It was nothing short of an honor to have been able to meet such a legend and I remain tremendously grateful to the kindhearted help of my new network of fellow fans.

Fans and rasikars of pulp fiction don’t just reside in India, however.  A new faculty member to UT recently shared his admiration for the genre and our collection thusly,

SMP memorabilia in his home office.

[The collections] allowed me to reconnect with my own culture, which I could not even do in India. Given that English was the primary medium of instruction in the schools I attended, I ended up reading Rushdie before Premchand… [in the South Asia collections such as and including UT’s]… some of my most memorable moments have involved getting lost among the library stacks, and then suddenly stumbling upon a rare classic in [non-English Indian languages]… My intellectual life is much richer than it would have been otherwise. As I often mention to my friends, it is a different experience because “a different part of my brain lights up”, when I’m reading a [vernacular] novel, despite the fact that English was the first language that I learnt to read.

I invite everyone to explore the South Asia Popular and Pulp Fiction Collection, in a language of your choosing—Hindi, Urdu, Tamil, Malayalam, Bengali, Telugu, English–and consider what these mysteries, romances, and thrillers can teach us about research as well as about ourselves.

An Adventure in El Paso, Texas

One of my favorite parts of being a librarian is the opportunity to participate in community engagement projects. So when the opportunity to work with Albert A. Palacios on a traveling exhibit as one of my rotations, I immediately said yes. The exhibit was a collaboration with the University of Texas at El Paso’s C.L. Sonnichsen Special Collections Department, which was especially exciting as a UTEP alumnus. This is part of a long standing partnership made possible by a U.S. Department of Education National Resource Center grant. Our exhibit brought together holdings from the Benson Latin American Collection, the C.L. Sonnichsen Special Collections, and the Municipal Archive of Saltillo in a joint physical and digital exhibit about the Mexican Revolution.

A Fight for Democracy exhibit at UTEP
Intertwined Destinies: El Paso and Northern Mexico exhibit at UTEP.

Albert and I traveled to El Paso in May 2025 to finally see the fruits of our labor. When we got to the library’s third floor, Claudia Rivers (Director of the C.L. Sonnichsen Special Collections) was hard at work putting the finishing touches on her exhibit. The U.S.-Mexico border played a big role in the Mexican Revolution, which means that UTEP has a lot of special objects in their archives. One of these objects is a commemorative cigar from when Porfirio Díaz and William Howard Taft met at the border in 1909. It was an incredible experience to see these first hand, and to have people from the community view these as well.

The next day was dedicated to digital scholarship workshops to local scholars. We had participants from all over the El Paso-Juárez region, and an archivist even drove three hours from Alpine to attend! Elisabet Takehana, Director of UTEP’s Center of the Digital Humanities, taught stylometry using the stylo package in R. Sergio Morales, LLILAS Benson Digital Scholarship Graduate Research Assistant and Latin American Studies Master’s student, taught ArcGIS’s Online and StoryMap tools for presenting spatial research using the official photographs from Mexico’s 1910 independence centennial celebration. And finally, I taught how to use Voyant Tools and UDPipe for text analysis using telegrams between Francisco Villa and Lázaro de la Garza. By the end of the day, participants had gotten hands-on experience with all of these different digital humanities tools and processes.

Sergio Morales teaching ArcGIS Online and StoryMaps tools.
Ana A. Rico teaching text analysis.

After the workshops, we headed upstairs to the third floor once again for the exhibit opening. The exhibit curated by Claudia Rivers was incredible – showcasing a silk print of Porfirio Díaz, a camera from the early 1900s, and portraits of Francisco I. Madero and his wife which were taken by an El Paso photographer. Though our exhibit didn’t get there on time for the opening (Albert and I learned how to roll with the punches) we were able to direct people to the digital version of the exhibit. All in all, it was a day full of learning and celebration, as well as making connections to scholars in the area.

People viewing exhibits during the opening reception.

Finally, on the third day, our exhibit arrived and we put it up for students, faculty, and the public to enjoy! It was a joy to share the Benson Latin American Collection with a wider audience. The exhibit, A Fight for Democracy: The First Years of the Mexican Revolution, will be displayed at UTEP for the summer and then travel to the El Paso Border Heritage Center in the fall. A second copy will circulate through the Austin Public Library later this year.

Albert A. Palacios and Ana A. Rico in front of their exhibit.

Acknowledgements
This initiative would not have been possible without the support of the following individuals and sponsorships:

C.L. Sonnichsen Special Collections Department, The University of Texas at El Paso
● Claudia Rivers, Head
● Susannah Holliday, Assistant Head
● Gina Stevenson, Photo and Processing Archivist

Center of the Digital Humanities, The University of Texas at El Paso
● Elisabet Takehana, Director

Municipal Archive of Saltillo
● Olivia Strozzi, Director
● Iván Vartan Muñoz Cotera, Head of Outreach

LLILAS Benson Latin American Studies and Collections
● Melissa Guy, Director, Benson Latin American Collection
● Ryan Lynch, Head of Special Collections
● Jennifer Mailloux, Graphic Designer (special thanks)
● Adela Pineda Franco, LLILAS Director & Lozano Long Endowed Professor
● Theresa Polk, Head of Digital Initiatives
● Ramya Iyer, Grants and Contracts Specialist
● Susanna Sharpe, Communications Coordinator (special thanks)
● Cindy Garza, Accountant
● Leah Long, Administrative Manager

Sponsors
● U.S. Department of Education National Resource Center Title VI Grant
● LLILAS Benson Collaborative Funds

Read, Hot and Digitized: Digital Benin

Launched in November 2022, Digital Benin isn’t necessarily a new digital project, but it is an important one that continues to shift how we understand and access African cultural heritage, in this case cultural objects from the Kingdom of Benin (present-day Nigeria).

At first glance, it’s an aesthetically pleasing and user-friendly interface that showcases more than 5,000 artifacts looted from Benin during a notorious 1897 British military campaign, an enduring symbol of colonial violence and theft. While this alone would make the project a valuable resource, a great strength of the project lies in how it highlights connections: between museum-held objects and their places of origin, between Western classifications and indigenous Edo terminology, between archival documents and the Benin objects themselves. It’s not just a database, but a dynamic tool for recontextualizing history.

Digital Benin connects the global locations of Benin artifacts across 130 institutions in 21 countries, most of which were looted during the colonial period and are now located in Western museums. Each object record includes high-resolution images, metadata, provenance information and translations in both English and Edo. Notably, you can trace how looted items moved from British soldiers in 1897, through art dealers and collectors, and into major museum collections.

Above is a screenshot of the Network Explorer tool, which allows users to explore connections between people, entities, objects and archival documents.

One of the most powerful aspects of the project is the “Ẹyo Otọ” section that highlights the Edo object classification system. Instead of relying on Western museum categories (like “pottery” or “bronze”), Digital Benin introduces a controlled vocabulary based on Edo knowledge systems. For example, you’ll notice distinct categories like Akhẹ Amẹ (water pot) or Akhẹ Osun (Osun shrine pot). These designations reflect the original, indigenous understanding and use of the object.

Object records are organized by the Edo object classification system under the “Ẹyo Otọ section. Here are all the records for Iyeọkhọkhọ hen figures used on female altars.

The design of the site is equally impressive, with extensive documentation on the project development, data acquisition and management, and the Edo controlled vocabulary. The Italian studio Calibro, known for projects like the open source data visualization tool RAWGraphs and The Palestinian Museum Digital Archive, built custom visual tools and interfaces for the site.

Good design intersects with dynamic function in the “Paper Trails” section of the project, which connects the individual Benin objects to archival documents like letters, catalogues, photographs and newspaper clippings that mention them. You can click through the documents, read transcriptions and follow specific objects as they are referenced over time.

The Archival Documents database shows a flyer for a demonstration advocating for the return of the Benin Bronzes. The archival record links to the specific Uhunmwu-Elao, or commemorative head, mentioned in the document.

A unique strength of Digital Benin is its overall approach to this work. The project is led by Nigerian and international scholars, deeply grounded in local knowledge, oral traditions and indigenous frameworks. It models a powerful kind of digital restitution by not just returning information to descendant communities, but empowering them to define how that knowledge is structured and shared. This value is embedded into the project as a whole, shaping everything from the site’s design and data organization to its commitment to centering Edo perspectives and reclaiming cultural authority.


See more resources in our library catalog:

Abungu, George Okello, and Webber Ndoro. Cultural Heritage Management in Africa: The Heritage of the Colonized. London: Routledge, 2022.

Coombes, Annie E. Reinventing Africa: Museums, Material Culture, and Popular Imagination in Late Victorian and Edwardian England. Yale University Press, 1994.

Falola, Toyin. Britain and Nigeria: Exploitation or Development? London ; Zed, 1987.

Hicks, Dan. The Brutish Museums: The Benin Bronzes, Colonial Violence and Cultural Restitution. London: Pluto Press, 2020.

Ogbechie, Sylvester Okwunodu. Making History: African Collectors and the Canon of African Art : The Femi Akinsanya African Art Collection. Milan, Italy: 5 Continents Editions, 2011.

Phillipe, Nora. Restitution?: Africa’s Fight for its Art. Paris: Cinétévé, 2021.

Phillips, Barnaby. Loot: Britain and the Benin Bronzes. London: Oneworld, 2021.

Troelenberg, Eva-Maria, Damiana Oțoiu, and Felicity Bodenstein. Contested Holdings: Museum Collections in Political, Epistemic and Artistic Processes of Return. New York: Berghahn Books, 2022.

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