The Libraries have acquired four new full-text journal databases, all of which contain significant history content. Blackwell Synergy – Provides access to 20 history journals including Diplomatic History, Gender & History, Journal of Religious Studies, and The Journal of the Historical Society. Cambridge Journals Online – Provides access to 26 history journals including Central European History, The Historical Journal, The Journal of African History, and Urban History. Sage Journals Online – Although known primarily for its science publications, Sage Journals provides access to eight important history journals: European History Quarterly, German History, Indian Economic & Social History Review, Journal of Contemporary History, Journal of Urban History, The Medieval History Journal, Studies in History, and War in History. History Compass – This “database” is in fact a peer-reviewed journal written by historians with undergraduates in mind. In this regard it is unlike the other databases discussed here, all of which cover multiple journals. What makes History Compass truly unique is the inclusion of little extras such as RSS feeds, lists of most read and cited articles, podcasts, and teaching and learning guides. Cambrdige Journals also has RSS feeds. —David C. Murray

The Libraries have set up a trial to a new Adam Matthew digital resource titled Slavery, Abolition, and Social Justice, 1490-2007. Clicking on the title link will provide access to the full database for four weeks, or until about July 13, 2007. The database is not yet feature complete; content will be released in three major phases in 2007, 2008, and 2009. Those who tried out earlier Adam Matthew database trials — Empire Online, Defining Gender, etc. — will be familiar with the attractive interface and unique blend of primary and secondary-source material. Note that the “download entire document in PDF” feature won’t work during the four-week trial. However, it will be possible to view, print and save individual images from the collections. During the trial period access will be from on-campus only. Please email me with your comments about this or any other history resource. —David C. Murray

The Libraries are currently running additional history-related database trials. From Gale we have temporary access to: –19th Century U.S. Newspapers –Conditions and Politics in Occupied Western Europe, 1940-1945 –Making of the Modern World –Sabin Americana, 1500-1926 –Testaments to the Holocaust –U.S. Supreme Court Records & Briefs, 1832-1978 –Women, War & Society, 1914-1918 Also of interest are Blackwell’s Compass journals, specifically History Compass. Please provide feedback directly to me on the upsides (and downsides, if any) of these resources. –David C. Murray

Among their many achievements, the ancient Maya of Central America invented, by 250 A.D. at the latest, a fully functional, phonetic writing system. Scribes recorded sophisticated texts containing religious, astronomical, and very likely historical, literary, and even medical content – in other words, an entire system of human thought – in bark-paper books, called codices. Of the many thousands of Maya codices that must once have existed, only four remain. Time, a humid climate, and the zealous, destructive tendencies of one 16th century Spanish friar named Diego de Landa combined to ensure the destruction of the rest. As a librarian and longtime student of pre-Columbian Mesoamerica, I’ve often wondered about the nature of ancient Maya libraries. Were scribes, many of whom now appear to have been blood relatives of Maya kings and queens, responsible for safeguarding the codices, as seems likely? Or were a separate group of specialists the librarians? Maya codices were not particularly fragile. If properly cared for they could have lasted for many decades or more. It’s intriguing, then, to think about where codices might have been housed and by what system cataloged and shelved. Of course it would be naive to expect these and other “burning” questions to be addressed in Mel Gibson’s new film Apocalypto. After all, this is Hollywood not PBS. On one level, most Maya archaeologists and art historians will probably be happy the film got made at all. Discounting J. Lee Thompson’s 1963 Kings of the Sun, Apocalypto is the first Hollywood epic to treat any ancient New World civilization. (One wonders why this is so, since the clash of Worlds we call the Conquest makes Russell Crowe’s Colosseum tour look like a walk in the park.) Certainly Apocalypto’s high production values, including especially its exquisite costuming in conjunction with the sheer joy (see Ardren, below) of hearing the very much alive-and-well Yucatec Maya language spoken on the big screen, are a great enticement. But unfortunately, in the end, Apocalypto is an enticement with very little substance. The fundamental disappointment among academics will likely not involve per se the film’s numerous and rather egregious historical inaccuracies, e.g. the conflation of pre-Classic, Classic, and post-Classic imagery; the absurd Yanomamo-like portrayal of the village Maya as hunter gatherers, unaware of the presence of a grand city less than a day’s march away; or even the anachronistic appearance of outsiders at the end of the film (the events depicted clearly reference the Classic, not the post-Classic). Nor will many scholars truly object to the elites’ propensity for extreme violence, although in reality the heart extraction technique used so salaciously by Gibson belongs to a cultural complex that likely originated in the post-Classic Highlands – that is to say, with the progenitors of the Aztec Empire – not with the Lowland Maya. Be that as it may, the Maya were certainly as violent as the next civilization and historical inaccuracies can be written off as artistic license, so neither of these is where the true beef lies. University of Miami anthropologist Traci Ardren, in a review for Archaeology Online, has articulated the real problem with Apocalypto: “Gibson’s efforts at authenticity of location and language might, for some viewers, mask his blatantly colonial message that the Maya needed saving because they were rotten at the core. Using the decline of Classic urbanism as his backdrop, Gibson communicates that there was absolutely nothing redeemable about Maya culture, especially elite culture which is depicted as a disgusting feast of blood and excess.” This is indeed the most disturbing message of the film. As Ardren points out, it is a message that plays directly into a longstanding trope that has been used to subjugate the Maya for centuries. It has also been used to explain away the inestimable loss that resulted from the destruction of New World cultures. One need not fret too much about the passing of a people already decadent and, as depicted in the film, quite literally dying. The historical truth, of course, is much less comforting. For me, the experience of viewing Apocalpyto was like flipping through an art catalog without bothering to read any of the accompanying text. For while images hold inherent meaning and value, it is upon the text that most observers will rely to provide some explanation for the images shown. Apocalypto has no “text” in this sense, no narrative or story that could help viewers accurately contextualize what they’re seeing on the screen. I hope that those who see this film will keep in mind that the Maya did and do have much to offer the world. The ancient Maya civilization was one of the greatest and most accomplished in all human history. The Maya had books and libraries, and so much more. —David C. Murray