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The past few months have been uncomfortable and comfortable at once, a long stretch of pushing myself through academic writing. After so much time with academic reading, here are a few things from outside my research that I want to unload.


Things I Read


I recently joined a Southeast Asian reading group, where we read Kenneth R. Hall’s Maritime Trade and State Development in Early Southeast Asia, Thongchai Winichakul’s Siam Mapped, and Benedict Anderson’s The Spectre of Comparisons. As a quantitative researcher, I found the experience eye-opening. In my field, we talk a lot about QuantCrit and being critical of the categories we use. But reading beyond my discipline, I realized that this critical work had already been laid out decades ago by qualitative scholars. What I really need to do is keep reading beyond my field.


Maritime Trade and State Development in Early Southeast Asia — Kenneth R. Hall


Hall helped me think about early Southeast Asian states through their sea routes. The region sat on the maritime route between India and China, and rulers who controlled ports, rivers, and rice plains could turn that trade into power. He also helped me understand why Indic religious and political forms became so prominent in many Southeast Asian polities. It was not because India colonized the region. Local rulers chose Sanskrit, Hindu-Buddhist cults, and Indian ideas of kingship because these helped them stand above their rivals, and they blended these forms with local deities and ancestor worship. What I found interesting is that these polities ran on what is often called the mandala model. Authority radiated outward from a center through personal alliances rather than spreading evenly across a bounded territory. Religion was where power was reproduced. Rulers redistributed wealth through temples, festivals, and gifts, and temples became places where ritual authority met claims over land and labor. In the Sinic world, the examination system did that work. In Indic Southeast Asia, religion and ritual were how elites legitimized their rule.

Siam Mapped: A History of the Geo-Body of a Nation — Thongchai Winichakul


I really liked this book. The concept of the geo-body helped me think about how a national self becomes grounded in a recognizable territory. Thongchai shows how modern territorial boundaries became effective through Western geographical knowledge, colonial rivalry—particularly between Britain and France—and Siam’s own territorial ambitions.


It was a border without boundary line. Or one could say that it was a "thick line" with a broad horizontal extent. (p. 75)

The “thick line” made me reconsider boundary analysis in my own research, particularly regression discontinuity designs. If the historical frontier was a broad zone of overlapping authority, did institutional exposure really change sharply across the line I am using? Would comparing places within a buffer zone capture a meaningful difference, or would it place both sides within the same gradual transition?


The method of generalization means the reduction, selection, combination, distortion, approximation, or exaggeration of the very details of space to make them data for each particular map. (p. 53)

This quote is a reminder to question and critically check every act of generalization and categorization. Each one reduces something, and in doing so it can displace what is actually there and lead me to misjudge the real situation. It is a great reminder for me as a researcher.


The Spectre of Comparisons: Nationalism, Southeast Asia, and the World — Benedict Anderson


Anderson made me think about comparison itself. The title comes from Rizal’s novel: a young man returns to Manila from Europe, looks at the city’s botanical garden, and sees European gardens at the same time. Anderson calls this an “incurable doubled vision.” Once another place enters our perception, home no longer looks self-contained. What I took from this is that comparison always has a position. It matters who is comparing, from where, after what movement, and in which language. Reading history changes what I notice as a quantitative researcher, and spending time in another city changes what I notice about the place where I usually live. I was also interested in Anderson’s distinction between unbound and bound categories. Unbound categories, such as workers or nationalists, circulate through newspapers and performance, and people anywhere can imagine themselves into them. Bound categories come from censuses and elections. They are finite populations that can be counted and turned into majorities and minorities. The census does more than describe these groups, because it also gives people reasons to organize and make claims through them. In Anderson’s example, people classified as Chinese remain countable as Chinese whether they live in Jamaica, Hungary, or South Africa. The category stretches across the world, but its census-style boundary still decides who counts as a member. I also want to keep a line from Lord Acton that Anderson quotes: “Exile is the nursery of nationality.” Distance from home can make an attachment more self-conscious. This made me think that bound categories might intensify the we-self. The boundary Thongchai describes might then reappear as an imagined boundary within the diaspora.


Things I Watched


I also watched Hard Days (2023), 最後まで行く, directed by Michihito Fujii. I really liked how the plot kept unfolding in unexpected ways. A police officer tries to cover up a hit-and-run, and someone who witnessed it begins making demands; the situation keeps giving me another reason to reconsider what I think is happening. I found its approach to evil quite different from the usual crime plot. I was also interested in the bodily gruesomeness of it: the discomfort comes from what happens to the body, and from having to stay with that, rather than simply waiting for a jump scare. Overall, it felt refreshing. I enjoyed the uncertainty of where the story would go and how the next development would change my understanding of the people involved.


"— There was a lizard living in the desert. This desert was completely bare. All day long, he used his right and left legs alternately to stay on the sand. In this way, he kept his body still and alternated his legs until the sun goes down. He wasn't going when it would have been better to go somewhere else. He kept switching legs. He did this all his life. — What do you mean? — Do you want to get out of the desert?"

Things I Learnt


My interest in Asian immigration has recently led me toward South American settings. I have been thinking about Argentina and Peru side by side, partly because of conversations during the World Cup. Some friends from South America described Argentina as different from its neighbors and talked about how unpopular it could be in their football conversations. That stayed with me, and I wanted to understand more of the history behind the impression. Argentina's 1853 Constitution committed the federal government to encouraging European immigration, following Juan Bautista Alberdi's idea that "to govern is to populate." In practice, that project of nation-building favored white European settlers. It also pushed Indigenous and Afro-descendant Argentines to the margins of the national story.




During the summer, I also became curious about Peru's new president and her Japanese ancestry. I often encounter the idea of a "bamboo ceiling" in discussions of Asian representation, so this made me want to learn about another setting. Peru's Japanese immigrant history surprised me. The first organized arrival brought 790 contract laborers in 1899, and during World War II nearly 1,800 Japanese people from Peru were interned in the United States. Peru's Chinese immigrant history goes back even further. Between 1849 and 1874, roughly 80,000 to 100,000 Chinese contract laborers, almost all Cantonese men, were brought to work on sugar and cotton plantations and in guano mining, often under brutal conditions. Many stayed after their contracts ended, and their communities shaped chifa, the Chinese-Peruvian culinary tradition, and its best-known dish, arroz chaufa, a Peruvian take on fried rice. Over the past month, immigration histories in South America have intrigued me, and I think they are worth researching further. But, of course, only after I finish my PhD.


Things I’m Interested in Wearing


My interest in Japanese clothing, selvedge denim in particular, has led me back to American workwear and heritage clothing. I often hear the claim that Japanese makers take something American and make it better. Following those connections makes me want to learn more about cotton, weaving, and how clothes designed for work became things people wear and collect for very different reasons.



I have also been looking for American brands that still hold on to a quality, heirloom mindset, and Filson is one name I want to look into. I was interested to learn that it began in Seattle in 1897, outfitting prospectors heading north to the Klondike Gold Rush. The connection between clothing and its intended use appeals to me: weather, terrain, and physical work gave the fabric and design particular jobs to do. Clothes like these were built to last and to be passed down. That makes me want to look for clothes made with the same intention, and to build my wardrobe with that intentionality and an eye toward sustainability. I will come back with more notes on this.



Things I Noticed


Anderson’s doubled vision gives me a way to describe what happened while I was wandering around Ann Arbor: I started noticing Madison from afar. Both campuses use rocks in their landscapes, and I began paying attention to them in each place. In Ann Arbor, I noticed a rock surrounded by flowers opposite Ross School of Business and different kinds of stone in front of North University Building.

A rustic stone-ringed flower bed spotted in Ann Arbor, MI
A rustic stone-ringed flower bed spotted in Ann Arbor, MI

When I came back to Madison, I started looking at the rocks around campus. I searched for the stories behind their plaques. One small plaque honors the Sauk leader Black Hawk. It led me to a longer story. The campus sits on Teejop, the ancestral land of the Ho-Chunk Nation. In 1832, the Ho-Chunk were pressured to give up this land in a treaty. Another plaque honors Howard M. Temin. He shared the 1975 Nobel Prize in Physiology or Medicine for discovering reverse transcriptase. He used to bike to work along Lake Mendota. The Lakeshore Path there now carries his name. Checking the rocks became a fun way to learn the university's history.


Rock arrangements I found on the way to the grocery store
Rock arrangements I found on the way to the grocery store

The stone plaque honoring 1975 Nobel laureate Howard Temin along the Lakeshore Path in Madison, WI
The stone plaque honoring 1975 Nobel laureate Howard Temin along the Lakeshore Path in Madison, WI

The squirrels I noticed in Ann Arbor were rusty orange, unlike the ones I had become used to seeing in Madison. They looked different from the ones I was used to in Madison. They are very lively and friendly with people, sometimes too friendly. I also noticed shoes hanging from wires and found myself wondering about their meaning. Some people say they mark gang boundaries. But I do not want to assume that about any one pair. In a college town, they might mark a graduation or just be a prank.


This period reminded me of something I want to practice as a comparative researcher: moving beyond a familiar setting, then returning to look within it more carefully. Another place can make differences visible, but it can also show me what I had stopped noticing at home. I am interested in how that works across cities and across disciplines. For now, writing these observations down gives me somewhere to begin, and somewhere to return when I know a little more.


Till next time.



 
 
 

In 2021, I wrote a blog post about how I organized journal articles for literature reviews. My system then involved searching for papers, keeping them in Mendeley, and logging what I found in Excel. I still believe in the basic idea behind that post: no one can remember everything, so every researcher needs a second brain. But reading for my preliminary exams has forced me to rethink what that second brain is supposed to do.

This post is another note to myself and a record of how I have grown as a researcher. As I understand it, the prelim is meant to establish that I have read broadly and deeply enough to engage with my own research questions. It is not simply a test of how many books I can finish or how many citations I can collect. My preparation has therefore had three purposes:

  • Read broadly enough to learn from other disciplines and identify gaps.

  • Read the classics and understand the main arguments in the field.

  • Create a trackable system that I can return to when writing my dissertation and future papers.

The last purpose has become increasingly important. I do not want to finish the prelim with a folder of disconnected notes that I never open again. I want the reading to become part of the theoretical foundation for my dissertation.

START EARLY AND START BROAD

Looking back, one thing that helped me was identifying my main keywords early. I knew that my work would involve culture, education, and spatial inequality, although I did not yet know exactly how these ideas would fit together. Starting with broad concepts allowed me to search across education, sociology, economics, history, migration studies, and cultural sociology instead of staying inside one disciplinary box.

I am especially fond of systematic reviews because they make the search process visible. A search can easily become guided by memory, convenience, or whichever article happens to appear first on Scopus. Using a PRISMA-style process forces me to record where I searched, which keywords I used, how many records I found, which duplicates I removed, and why I excluded certain studies.

The PRISMA flow diagram was created as a reporting tool for systematic reviews, but I also find its logic useful for prelim preparation. It gives me a way to double-check whether an important work appearing on my current list was captured in my earlier searches. It also reveals the boundaries of my reading: What databases, languages, publication types, and keywords shaped what I was able to find?

A systematic search does not eliminate judgment. Keywords change as I learn the field, and classic books are not always captured well by database searches. I therefore supplement the formal search by following reference lists, checking who later cited an important work, and asking which texts scholars repeatedly treat as foundational.

I also find bibliometric review useful at the beginning. Tools such as Bibliometrix and Biblioshiny can show frequently cited authors, recurring keywords, clusters of scholarship, co-citation patterns, and how themes change over time. This does not tell me which argument is correct, and citation counts are not the same as intellectual importance. What it gives me is a map. I can see the main conversations in a field, identify scholars I should know, and notice groups of researchers who may be studying similar problems without citing one another.

Together, systematic and bibliometric reviews help me answer two different questions:

“What belongs in this body of literature?”

and

“How is this body of literature organized?”

Neither can replace close reading, but both help me decide where close reading should begin.

CREATE A SECOND BRAIN I CAN ACTUALLY SEARCH

I have discussed the idea of a second brain in several previous posts (here, here, and here). After preparing for my preliminary exams—and learning from several failed attempts—I have finally settled on a system for organizing mine. During my first year, I used Notion to store all my notes. In theory, it seemed like an ideal all-in-one workspace. In practice, however, accessing and syncing my notes across devices was not as seamless as I needed it to be. I also could not integrate the system easily with Zotero. Because moving information between the two platforms required too much manual work, I gradually stopped maintaining the system.

My second attempt combined Obsidian with Zotero. This was an improvement, but I was still treating Obsidian as a separate destination where every source required another round of manual entry. I was storing information, but the system was not helping me retrieve and reuse it when I needed to write. That experience made me realize that a second brain should not simply contain my notes. It should reduce the distance between reading, thinking, and writing.

My final solution is surprisingly simple: my second brain is now a folder. It is one working directory containing my fleeting notes, literature notes, permanent notes, project drafts, data, figures, code, and templates. I save my notes as Markdown files so they remain portable and easy to search, edit, and reuse. I open the same directory in both Obsidian and Visual Studio Code, while Zotero remains connected to the workflow as my reference manager.

Obsidian allows me to read, connect, and search my notes while visualizing the relationships among them as a network. Visual Studio Code gives me another way to work directly with the files and integrate tools such as Codex and Claude Code when I need help organizing material, identifying connections, or refining my writing. Codex can search across the directory, retrieve relevant material from different notes, and help incorporate it into another file. Because the files are stored in an open and readable format, I am not limited to what a single application allows me to do.

Keeping everything in one vault is crucial because my projects often overlap. A book I read for a preliminary question may later contribute to a dissertation chapter, a methods note, or an entirely different paper. An idea does not have to remain trapped inside the project for which I originally encountered it. By storing everything as searchable Markdown rather than isolating my notes across separate applications, I can recover an old idea by searching for a concept—even when I have forgotten the author, title, or original project.

The key point is not the number of tools I use, but rather that each tool serves a specific role within an interconnected system:

  • Zotero manages sources, PDFs, and annotations.

  • Obsidian connects ideas and makes my notes searchable.

  • Visual Studio Code allows me to work directly with the entire research directory.

  • The vault keeps everything portable, searchable, and reusable.

MY ACTUAL READING FLOW

  1. Build the initial reading list

I start by asking experts in the field, especially my advisor, what I should read. I also collect syllabi and add works that I recognize from my earlier systematic review. I then put the initial reading list into an Excel file with basic information about each source. At this stage, I am not trying to understand everything. I am building a map of what I need to read and a way to track my progress.

  1. Read and annotate in Zotero

My current workflow begins in Zotero, where I read and annotate PDFs using a limited color system:

  • Yellow: core argument

  • Green: evidence, data, and statistics

  • Blue: theories, concepts, and definitions

  • Red: critiques, limitations, and gaps

While reading or listening, I add comments beside important highlights. This is how I try to stay involved in the reading rather than passively collecting quotations. A highlight preserves what the author said. A comment preserves what I was thinking when I encountered it. Without that comment, I may return months later and have no idea why I saved the passage.

I also recommend using the Zotero Connector to import articles with their bibliographic information and PDFs whenever possible. Zotero can automatically rename attachments using consistent details such as the author, year, and title, making sources much easier to locate later. A paid Zotero plan is useful if you need additional cloud storage and want your attachments synchronized across devices. Zotero also has a Read Aloud feature that could serve as an alternative to a Speechify subscription.

  1. Turn annotations into literature notes

After I finish reading, I move the material into the vault using a literature-note template for a book, article, or book chapter. The template asks for more than a summary. I record:

  • The core argument

  • The theoretical framework

  • Evidence and data

  • Methods

  • Limitations

  • Connections to other readings

  • Possible uses in my own writing

I also extract quotations I may need, although I try not to let quotations substitute for explaining the argument in my own words. Most importantly, I keep my prelim questions in mind during the write-up.

  • Why did I read this?

  • Which question does it help me answer?

  • Does it support, challenge, or complicate my framework?

If I cannot explain the connection, the source may be interesting, but it may not be central to the prelim.

  1. Synthesize, rather than collect

The final step is synthesis. I bring my literature notes into the prelim outline and place the ideas in conversation with one another. This is also where the real writing begins. As I write, gaps in my reading become more visible—an unsupported claim, an unclear mechanism, or a perspective I have overlooked. I then return to the literature, add relevant sources, and revise the draft. The process is a loop rather than a straight line: each iteration sharpens the argument, fills another gap, and brings the prelim closer to the paper I want it to become.

Throughout this process, my notes move through several stages. Fleeting thoughts begin as comments and annotations in Zotero. I then develop them into literature notes saved as Markdown files. Finally, the ideas that become part of my prelim are refined into permanent notes and stored in a dedicated subfolder for future reference. I hope to keep expanding and connecting these notes in the spirit of a Zettelkasten, allowing the system—and my thinking—to grow beyond the prelim itself.

Epilogue 

The biggest lesson is that I cannot simply adopt someone else’s system and expect it to work perfectly for me. Other systems can offer inspiration, but finding what works requires experimentation, change, and constant iteration. After several attempts, I now have a second-brain system that seems to fit the way I read, think, and write. The process has taught me to adapt the original idea of the Zettelkasten to the possibilities and demands of research in the digital age. More importantly, the system helps me generate new ideas, examine their connections, and return to them with greater clarity.

This system is still evolving, just as I am still growing as a researcher. I hope to revisit this post in the future and share another update on what continued to work, what failed, and what I changed along the way.

Until next time!


 
 
 

I had a blast in Philly. If one city gives me the vibe of being at home, it was Philly, for its walkability, boutique shops, and convenient public transportation. I also realized the accidental curriculum a city has to offer. It gave me a feel for the perks of living in big cities. Museums and libraries expose you to accidental discovery. If you're a reader of my blog, you might be aware of the Terence Tao interview. Since we're so drawn into AI these days, meeting something by accident has become the thing I'm always looking for. There's actually a concept called the hallway effect, where spaces (like Harvard's hallways) are intentionally designed to foster random encounters and spark creativity. I truly embraced that spirit in Philly—letting myself wander and be surprised.


Here are some snippets of my accidental curriculum in Philly, for you to feel the vibe.


Discovering the Accidental Curriculum in Philadelphia


ALBERT BARNES AND THE ART OF ARRANGEMENT


The Barnes Foundation began with Dr. Albert C. Barnes, a physician who made his fortune from Argyrol, an antiseptic silver compound used to prevent and treat infections. He began collecting seriously in 1912, first sending his school friend, the painter William Glackens, to Paris with $20,000 to buy modern art. Glackens returned with thirty-three works, including Vincent van Gogh's The Postman. That shopping trip became the beginning of an astonishing collection: Barnes eventually acquired 179 paintings by Renoir and 69 by Cézanne—the largest holdings of either artist in the world—alongside major works by Matisse, Picasso, and Modigliani.


Because of such intense exposure (normally I only see one or two Renoirs and Cézannes; now it's nearly a hundred), I kinda know which art I'm particularly drawn to. Beyond my fascination with Monet and the whole Impressionist approach, I also found a deep interest in Matisse and Rousseau. I'm into the mythical way of drawing—the use of color and story and storytelling. Here's some of the paintings from Matisse at Barnes that I feel the urge to share with y'all.



What interested me most was not simply what Barnes owned, but what he did with it. He organized the objects into what he called "ensembles." A Renoir might hang beside a Pennsylvania German chest, an African mask, and an ordinary iron door hinge. The objects are arranged through echoes of line, color, light, and shape rather than by nation, century, price, or prestige. The hinges and spatulas are not treated as background decoration. They are part of the visual argument.



Once I sat in one of the Cézanne rooms, a group came in. There was a senior artist who told her friends that she used to come to this room to study how Cézanne used his brushes. I thought about what it means to have that kind of access—to return, again and again, to nearly a hundred Cézannes and let them teach you something. We like to believe great painters are born. But nurture matters just as much as nature. It's proximity to greatness, accumulated over time, that turns raw ability into mastery.


Cities like Philadelphia carry enormous cultural capital—museums and collections built over centuries that quietly shape the people who live near them. A Vietnamese artist, however talented, rarely gets this—not because of ability, but because of geography. That's a quiet form of segregation, not between neighborhoods, but between countries.


A MUSEUM MADE FROM MANY COLLECTORS


I went when, for the first time, two Sunflowers paintings by Van Gogh were displayed on the second floor. On Friday, there was pay-as-you-wish admission with a DJ on the first floor. I became so envious of Philly folks for their abundance of art choices, with such affordable entry and such integration of classical art and modern life. Imagine wandering an old building surrounded by art. It's a feeling that I don't want to forget.


I also noticed, through walking around, that Picasso was a damn good classical painter—his foundation in drawing still objects is phenomenal. Here's the painting I saw that awed me with his intense use of color. I also read that he had his Rose and Blue periods before getting into Cubism and other styles. But other than that, he has a very strong foundation in painting. Should you be strong in the basics before getting creative?

Chrysanthemumss (Pablo Picasso)

Another thing I noticed is that, unlike other art museums, the Philly art museum brings the whole freaking building into the surroundings of their art pieces. On the 3rd floor, you see a whole church and a Japanese pagoda together with the art. Art here expands to architecture and decor, and it was a very immersive experience that left my friend and me in awe.


JULES MASTBAUM'S TWO-YEAR OBSESSION WITH RODIN


The Rodin Museum returns to the story of a single collector. Jules Mastbaum was a Philadelphia movie-theater magnate who owned the Stanley Corporation of America, then the country's largest cinema operator. In September 1924, he visited the Musée Rodin in Paris and, within two years, had acquired more than 150 sculptures—enough to commission architects Paul Cret and Jacques Gréber to build this museum, which opened in 1929, three years after his death. It's the single museum that holds the most Rodin works outside of Paris.


The collection traces Rodin's working process as well as his famous finished forms. The Thinker began not as a generic man engaged in philosophy but as Dante, positioned above The Gates of Hell and contemplating the suffering below. Individual figures escaped from that enormous doorway and became independent sculptures. The collection also includes The Burghers of Calais, The Kiss, studies for Balzac, and drawings. Being able to see The Thinker and other Rodin works in progress, with Jake Bugg playing in the background, truly left me shaken with happiness.



What's interesting is that I kept comparing Rodin's The Kiss and Klimt's The Kiss. Both are full of passion, but in one the woman faces the audience, while in the other the girl's face hides from it. Which counts as more like a kiss? Also, Rodin had a very modern take on art—his study for Balzac, in its honest form, was then considered a humiliation of the man himself. He also left some of the sculptures unfinished and kept his fingerprints somewhere on them. Everything keeps a raw take on the process.


Another thing that stirred me was his use of others to help finish the work. He also created multiple versions of The Thinker—something I didn't know before coming here—inherited from his time working as a commercial sculptor. What blurs here is art and commerce, a tension that resurfaces with Andy Warhol and his factory model. But maybe that's the wrong argument to have. As long as art speaks to the heart before the brain has time to rationalize it, does the process really matter?


Or maybe we've been trying to godify art all along—to lift it above ordinary life—when in reality it is deeply embedded in the same human desires, ambitions, and contradictions as everything else. If art could truly exist independent from commerce and social recognition, perhaps we wouldn't have had as many tragic artists as we do. Van Gogh, who sold only one painting in his lifetime. Modigliani, who died in poverty at 35. Vivian Maier, who spent her life as a nanny while quietly producing one of the greatest street photography collections ever made, discovered only after her death. The work outlived the recognition. It almost always does.


DEBBIE SANFORD, GREG SCHIRM, AND THREE HUNDRED CATEGORIES


House of Our Own Books offers a less monumental form of collecting. The store occupies two floors of a Victorian house at 3920 Spruce Street, near the University of Pennsylvania. It has been there for more than fifty years. In a 2002 interview with Penn Today, Sanford said the store contained more than three hundred categories. Even the fiction reflected an argument about how knowledge should be organized, with separate sections for Caribbean, Middle Eastern, South Asian, and Southeast Asian writing rather than one undifferentiated shelf labeled "world literature."


That is a kind of curatorship too. The store's crowded rooms may look accidental, but the subjects reveal decisions. Someone kept a book in circulation, bought it from a previous owner, placed it in a category, and made it available to a reader who did not know to search for it. This is different from an online recommendation system. An algorithm presents a book because it resembles something you already wanted. A used bookstore lets physical proximity create the relationship. You look for one author and find another. A title you have never heard of sits beside a subject you have been thinking about for months. The discovery feels personal even though it is partly an accident. This is what I feel like we're missing in the modern world.


This was also the spot where Lin Huiyin (whom I didn't know of before coming to this place) used to be, back when she was at Penn—long before it became a bookstore. I then had some time to read about her and her husband. Such a treat to run into different people while strolling around the city.



THE ROSENBACH BROTHERS AND THE EVIDENCE OF WRITING


At the Rosenbach, the collector and the bookseller become the same person. Brothers Abraham Simon Wolf Rosenbach and Philip Rosenbach lived in the Delancey Place townhouses that now hold the museum. Their Rosenbach Company dealt in rare books, manuscripts, and decorative art from 1903 to 1953. A.S.W. Rosenbach became one of the most influential rare-book dealers of the twentieth century, helping wealthy American collectors build libraries while reserving extraordinary objects for his own shelves. The brothers left their home and collections to create the museum, which opened in 1954.


Among its treasures is James Joyce's manuscript of Ulysses, purchased by A.S.W. Rosenbach in 1924. The museum also holds Bram Stoker's working notes for Dracula; first editions and letters by Emily Dickinson; presentation copies of Herman Melville's books, kept in a bookcase that once belonged to Melville; and virtually all the manuscripts and papers of the modernist poet Marianne Moore. Moore left the contents of her Greenwich Village living room to the museum, which reconstructed the room in Philadelphia. He was also the one who advocated for Moby-Dick.


What interests me is the man's intense love for literature alongside his expansive engagement with geography. His collection of geography books ranged across different lands, and he spoke both English and Spanish with fluency. Being a polyglot isn't as celebrated nowadays, but it stirs something in me—as a new learner of Chinese myself, I've found that learning languages unlocks genuine intellectual stimulation. Stepping into his world made me feel more assured about my own interest in different lands and languages.


I also noticed copies of Children of the Ghetto: A Study of a Peculiar People on his bookshelves. It was curious—why would this established collector be interested in immigration stories? I learned later that Rosenbach himself was the child of Jewish immigrants. He was an active member of efforts to preserve and foster Jewish-American community and culture. The question of who counts as American never really goes away. It just gets asked of someone new.



To browse his collection, you can go to the library's website. The library now has two tour guides who are deeply passionate about the buildings. I had a chance to hear them talk about the space. You can actually take their audio tour without even getting into the house, just to satisfy your curiosity. They also host podcasts and readings for the public—please consider a virtual visit to support their effort. Such a hidden gem in Philly.



ROCKY


Rocky deserves its own section. Before coming to Philly, I had zero exposure to the movie and the man. Since everyone was talking about the Rocky statue, I got curious. Until the very end of the visit, I hadn't watched the movie, so I didn't have any urge to visit the statue. Once the training was over, I finally sat down to watch the series and got seriously hooked. What Stallone created in his world was the underdog story—he created hope and wishful thinking in a very beautiful way.


The movie was very artistically pleasing, as I love how blue and red pair with each other. It's lovely to see hope in a movie and to be boosted up during down times. The scene where Rocky proposes to Adrian at the Philly Zoo, under the snow, in a leather jacket, with a red trench coat and a tiger behind them, is one of the most beautiful scenes in my movie journey.



OUTRO


Philly was a city to remember for me. We often describe the advantages of cities in economic language: jobs, universities, transportation, professional networks. But there is also a less measurable advantage. A museum is near a bookstore. A lecture is happening a few blocks from a park. A poster in a window leads to a reading. You follow a street or enter a building because the door is open. The city keeps offering small invitations to become interested.


Access, of course, is not evenly distributed. The ecology of learning is profoundly important, and we can't facilitate education in an AI-driven world until we first facilitate the physical spaces—the enclaves—where stumbling happens. Stumbling is not the opposite of learning. It may be one of its oldest and most valuable forms. That was my deepest lesson from Philly.


I hope this post sparked something for you—a desire to visit Philly, to notice the curated accidents around you, or simply to embrace the wandering. I'm happy if it landed. Finally, come stumble with me: watch this favorite YouTube video about the history of Philadelphia.


Until next time!



 
 
 
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