Amidst my seemingly ever-growing collection of index card boxes and trays, I’ve been contemplating getting something that would store cards in a vertical orientation rather than the traditional horizontal. As I’ve been watching the market over the past couple of years, nothing had really come up that suited the bill until this past summer.
That’s when I saw a small handful of what are known as library charging trays pop up.
What is a library charging tray?
These library charging trays were traditionally used in libraries in the mid to late-twentieth century at the circulation desk. A librarian would remove the book card from the pocket adhered to one of the inside covers of the book. This card would identify the book’s author and title and generally have a list of borrower’s names along with either the due date or the return date, or sometimes both. Once filled out, the card would be placed vertically in the charging tray behind a tab indicating its due date. The librarian would then place a due date card into the empty pocket with a stamped due date on it. Alternately some of these pockets may have been printed with grids into which a due date would be stamped.
The library would then have in their charging tray an ordered list of checked out books which they could later use to follow up on if they became overdue.
Upon return of the book from the patron, the librarian would then be able to match up the title and stamped due date in the pocket with that from the card in the charging tray and refile the book card into the pocket of the appropriate book before returning it to the shelves for the next patron.
Models and Materials
Most charging trays I’ve seen range from 1 row of cards and have gone up to 5 rows. Most common are 2 and 3 row models.
I’ve yet to see older trays made out of oak. Most seem to be from the 1960s onward and are often constructed of maple. Gaylord Brothers and Remington-Rand seem to have been the primary manufacturers of these, but it’s possible that other companies may have made them as well.
One tray has two rows for cards while the other has three. The double tray is definitely manufactured by Gaylord Bros, Inc. and still has the original manufacturer’s sticker on the bottom. The other is unmarked and is most likely a Gaylord too as Remington-Rand typically put a small metal badge on most of their products. This one not only doesn’t have that traditional badging, but also doesn’t have any telltale nail holes where it may have originally been. The double tray has 12 1/2″ of internal space for cards in each row and the triple has 10 3/4″ in each row which would give them enough space to hold approximately 3,500 and 4,500 index cards respectively.
The double tray seems almost new despite some minor wear. (We all know how rough those librarians can be.) The triple tray shows more signs of wear including some old labeling with handwriting that provides a fun level of patina.
New uses for library charging trays
Naturally one could immediately consider using these trays to hold index cards for their note taking and filing practices. This is particularly useful for those who might appreciate a physical zettelkasten form factor for using vertically oriented 3 x 5″ index cards. (I’ve never seen a charging tray made for 4 x 6″ index cards and would suspect they never existed.)
Beyond this, those who are into the idea of maintaining a hipster PDA or who have 3 x 5″ index cards for general productivity purposes would certainly appreciate these boxes for their filing and archiving needs. If you’re unfamiliar with these sorts of practices see my article about The Memindex Method. A charging tray would certainly make an excellent home for a modern day Memindex practice. Pair it with an index card wallet and you’re off to the races as if you were living back in 1903.
What other functions could these trays be upcycled for? I’m curious to hear others’ ideas here.
Finding Charging Trays
Used/Vintage Charging Trays
With the digitization of most library circulation processes the noble charging tray has generally gone out of fashion. At the height of their use, most libraries didn’t really need many of them, so they were never as ubiquitous in the broader market the way other card index boxes and cabinets were. As a result it’s rarer to see them on the secondary/used market in comparison to their brethren. When you do find them, it’s more likely that you’ll see them incorrectly listed as card index drawers. I suspect it would be incredibly rare that a second hand seller would know what they actually were, but even if they did, the key words in their name mean dramatically different things now which swamp the search engine optimization algorithms with things which patently are not these boxes.
This means long search times and patience to attempt to track them down. I’ve seen several listed as “rare” which they are to some degree, but not as rare as most sellers think they are in terms of pricing. They primarily seem rare because no one knows what to call them and as a result pricing can be all over the map. I’ve seen some two and three drawer versions listed for $300 and up. For a more reasonable reference I got both of mine for a total of $60 and a very modest shipping charge. I’ve seen one or two others sell for $20 to $30 each. A couple of trays I saw in Spring 2023 which listed for several hundred are still gathering dust on vintage store shelves.
New Charging Trays
If you don’t have the patience to get something vintage, you might try purchasing new charging trays from Brodart. According to my research, they’re the only player left making and selling them outside of one online retailer in India offering a 5 tray model for for 2″x3″ and 3″x5″ cards for about US$50.
Sadly, Brodart has had some ongoing issues with their online web store this fall, so one would need to download a copy of their catalog and order via email, phone, or fax. In my physical copy of their most recent catalog they appear in the Processing and Circulation section on page 137. They offer both single and double trays in either a light or a darker finish. Prices for them range from US$76.76 to 149.06. The smaller trays will fit 600 cards with the larger trays fitting 1,000 cards each. Given their size, they might make for rather elegant desktop boxes. On that same catalog page Brodart also conveniently offers green pressboard card guides (dividers) which are either plain or labeled with the months of the year in a vertical 5″ tall by 3″ wide configuration. Separately they have some manila dividers with 1/3 cut alphabet tabs (A-Z) for helping you to sort and separate your cards.
For those who might prefer to use these in a zettelkasten practice, Brodart also makes borrower’s cards and book cards in a range of light to medium-weight card stock (similar to index cards) which are pre-printed with a range of metadata fields common to these types of cards (author, title, date loaned, borrower’s name, date returned, date due, room number, etc. Most of these cards are listed on catalog pages 128 and 129. Some of these would be particularly useful for making bibliography cards which would use some of these preprinted data fields. The date and patron portions could then be used to note page numbers and either quotes from the text/one’s own ideas respectively. All these cards are conveniently lined for writing your notes. Naturally one could just as easily use their own 3 x 5″ index cards of choice in a vertical orientation.
I’m tending to lean more toward telling students to rely more directly on something like Cornell notes while they’re in classes learning the basics of an area. Too many students considering starting a Luhmann-artig zettelkasten think that they ought to write down everything, atomize it, and link it which would take an inordinate amount of time to those new to the process. This is particularly troublesome because most courses (especially introductory ones) are designed such that much of the material should be fully internalized by the time the course is over. When you take a math class you might learn what 2+2 is and make a note about it, but by the time the course is over, that idea should now be so basic that keeping it in your system should be a bit laughable. Spending time to excerpt it from a lecture, make it atomic, and interlink it is a lot of make-work that isn’t likely to be useful either for the learning the thing to begin with, much less remember it in the long run to potentially use it again.
Once one has mastered most of a course, they might profitably skim through their notes at the end to summarize outcomes they saw and find most useful and interesting. Those things along with the summaries of their Cornell notes might then be useful zettels to keep in the long run. A zettelkasten practice like that of Niklas Luhmann is more useful when one already has a strong lay of the land and they’re attempting to do the work of expanding on the boundaries of new areas of knowledge.
If you are a student contemplating creating a zettelkasten, then the bulk of your notes probably ought to be short snippets kept with your bibliography notes and should not be individual zettels. By this I mean specifically that you might have a bibliographic note (reference note or literature note) for each individual lecture with some fleeting notes about it kept with that card. Then if necessary, you’ll probably only have one or two zettels or permanent notes out of each lecture. If you’re attempting to create 30 permanent notes a day and interlink them all, then you’re going to find yourself overworked and overwhelmed within just a few days.
I’ve had an oddly large number of emails over the past few months asking me for advice about what sorts of index card cases and carrying options I use on a daily basis. Rather than tip out my zettelkasten in fits and spurts on the topic, I thought I’d pour out all those ideas out here instead.
If you’re all-in on the ever-growing neo-index card lifestyle, then you should really work at adding some actual style to your fichier boîte practice. If your note taking has you going through cards like water, you’ll likely want something to carry them on the go, and often it can be useful, especially in meetings, to have something that not only looks nice, but will hold up through heavy use over the years. Maybe you want something fashionable to fit the change of seasons? Something to suit the occasion whether it’s a corporate board meeting or something to go with your red carpet black tie look? Are you taking notes at romantic wedding get-aways or at the beach? What are you using for storage?
In the vein of my article The Ultimate Guide to Zettelkasten Index Card Storage, below I’ve collected a number of various sorts of daily carry index card cases, wallets, covers, and folios one might consider using. Some, where indicated, are items I use regularly, but others are interesting options I’ve run across in my travels, and though they didn’t fit my particular needs, they might fit yours. I don’t (yet) consider it to be the ultimate guide to this space, so if you’re in the market, feel free to check back occasionally or add your thoughts, suggestions, or reviews to the comments below. Since some items aren’t designed specifically for index cards, notes about their usability and portability with respect to note taking or zettelkasten practices are appreciated.
As I did for boxes, I’m going to focus primarily on the 3 x 5 inch and 4 x 6 inch index card form factors which are more common, and for which these products are often more readily available. If you’re using larger cards, then you might consider searching for folders, cases, and related containers for equivalent sizes of paper in terms of notebook covers, filing solutions, and other binders keeping in mind that equivalent European or DIN A-sizes (A5, A4, etc.) may also suit your needs as long as they’re big enough to physically accommodate your cards. If you find something spectacular, let us all know.
Please double check sizing as I have run into instances where some items were fractions of an inch too small to fit the cards I wanted to use.
If you’re doing your own targeted searches some of the following words can be useful: cases, wallets, covers, pocket briefcases, folios, pouches, bags, pen and/or pencil cases, and fountain pen cases. While some of the pen related cases may not be as suitable, some are free-form pouches which will easily accommodate index cards in addition to other items you may want to carry with your cards. You can’t take notes without a writing instrument, so having space for a pen or pencil or two isn’t a bad thing. You’ll probably notice that some items come with pen loops for such eventualities. Trawling through some of the fountain pen and stationery communities can also give you some creative ideas for portable index card storage.
While not the most spectacular option, this double zippered, expandable pen case fits a huge number of pens and small office supplies as well as loads of either 3 x 5 or 4 x 6 inch index cards.
It bears noticing that one could also go the DIY route and make their own portable index card holders. This would allow one to have the exact form factor and specifications for their personal note taking styles. If this is you, hopefully some of the options below will give you some ideas about what form factors are available for designing your own. You’ll find that there are options in a variety of materials including leather, cotton, canvas, waxed canvas, sailcloth, metal, and even Harris Tweed.
What will you choose?
Size independent options
Before we delve into some of the card size-specific choices, let’s look at a few that are size independent.
Binder Clips. Everyone is likely aware of it, but we will mention that in true old-school hipster PDA-style (aka Parietal Disgorgement Aid), one could certainly use a binder clip, which makes a certain statement, though not the one that many might wish. In a similar vein, I’ve heard people say they rely on rubber bands, or especially in hot climates where rubber bands break down quickly, plastic sandwich bags (Ziploc to keep out the moisture), or even envelopes. Envelopes may present an intriguing practice for those into slip-based project management or forms of kakeibo (家計 簿).
The classic Hipster PDA dressed up with a brass binder clip.
Binder rings. If you want to go flashcard style, then you’ll want to search for a good hole punch (I recommend the Mutual Centamatic Punch No. 250) and some binder rings which come in a huge variety of sizes, materials, and even colors.
Chicago Binding Screws. If you appreciate the flashcard style, but not the esthetic and would rather look a bit more corporate than playground, then perhaps Chicago binding screws (available in various sizes and finishes) will give your deck of index cards a more buttoned up look? For those who are fans of index card filing rod solutions, these can also be used to bundle up cards on the go using your pre-punched cards. Higher end metal finishes (brass, copper, oiled bronze?) can really up the game on this option.
Gangnam Style. Just kidding—I’m just checking to see if you’re still awake. But seriously, the stiff upper body movements in the video were the result of decks of index cards in the suit jackets. I swear!
Uninspired Plastic. If you really must… Only for the indiscriminate completists, I’ll mention the ubiquitous cheap plastic cases, some with snaps or elastics for closure which hold 50 to a few hundred cards. If you carefully follow some of the zettelkasten box market, you can get a solid antique or vintage wooden box for almost as much as you’d pay for a dozen of these cheap toys. I don’t want to shame anyone, particularly those who are still test driving the analog index card life, but perhaps this is what you’ve got now and you’re here searching for a modest upgrade? Good! Keep exploring to find your new index card lifestyle.
Everyone has a few of these plastic holders lying around. Do they spark joy? Probably not.
3 x 5 inch index card versions
Not only are there a variety of custom solutions specifically designed for 3 x 5 inch index cards, but one can also profitably search for and use items designed for passports (3.5 x 5 inches) or pocket notebooks which are slightly larger, but still serviceable. A variety of high quality solutions are designed specifically for a variety of common brand name pocket notebook products including Field Notes (3.5 x 5.5 inches), Moleskine (3.5 x 5.5 inches), Leuchtturm (A6), Hobonichi, Midori, Jibun, etc., so searching for these within the space can provide some additional options for the discerning buyer.
In some cases, products meant for A7 size paper (74 mm x 105 mm or 2.91 x 4.13 inch) may also work, but check the sizing as A7 is physically smaller than 3 x 5 inches. Similarly A6 size paper (105 x 148mm or 4.13 x 5.83 inches) products should work as they are slightly larger than both 3 x 5 inch and 4 x 6 inch index cards, though depending on your card size they may be a bit roomy.
Products
Simple leather wallets. I have an inexpensive, but nice leather notebook cover/wallet that I usually have a few 3x5s in. Searching for covers for pocket notebooks or A6 notebooks one will find lots of these which are more ubiquitous than those that will hold the larger 4×6 inch cards. Hundreds of variations of this sort can be found on Amazon, Etsy, eBay, and other online and leather retailers. After you’ve seen a few you can pick and choose ones with the number of pockets or slots you’d like, whether or not you want a pen loop, the ability to use it as a wallet for your cash and credit cards along with your notes, etc. Prices can generally range from US$15 to well over $100 with a variety of colors, types of leather, and even personalization options.
Passport wallets. Similar to the above, there are a huge number of commercially available passport wallets in a variety of shapes, configurations, and materials. Most should fit index cards within the pocket designed for the passport. Search and see what you come up with. One correspondent said they loved their Aspinal of London passport cover.
Levenger carries some nicer index card-specific “pocket briefcases”. Their offerings are only for 3 x 5 inch form factors, but they do have a variety of those size cards and small notebooks as well as the ability to custom print stationery at that size if you’re looking for something personalized.
Kaitiaki has a unique form factor. It not only holds cards, but can be stood up as a display as well as be used as a small writing desk while you’re on the go.
Rite in the Rain has a variety of notebooks and index card products whose primary premise is that they are waterproof. Naturally they also carry a variety of protective cases and pouches, most made of cordura, with a variety of configurations to suit a variety of needs. Browsing around here will find a variety of interesting and rugged options. Also of note, they have an index card wallet designed specifically for 3 x 5 inch index cards. Some may also appreciate their field desks for writing on the go. Slightly more difficult to find amid their cordura offerings are their Guide and Sherpa leather wallets which should comfortably fit 3 x 5 inch cards.
Lochby is primarily in the notebook and planner space with a variety of offerings featuring a durable waxed canvas esthetic. Their Pocket Journal case, meant for pocket notebooks, will easily hold a hundred index cards with additional internal pockets for business cards or credit cards and external pockets for miscellanea as well as a pen. It is small enough one could use it as a wallet and it will fit in most back pockets, though depending on its contents, it may not be comfortable to sit on for extended periods. Their larger Venture Pouch has two zippered sides, one for pens and the other with two separate spaces for index cards or other portable office supplies. If you don’t mind a bit more bulk in your portable office, Lockby’s Tool Roll should easily fit 150 index cards along with a variety of pens and side pocket for miscellaneous needs. If you’re price sensitive, sign up to their newsletter as they have regular sales and discounts throughout the year.
IF provides some off-the-beaten-path options for the avid reader and note taker. Of particular note in their line up, is the Bookaroo Notebook Tidy, which is available in a number of colors. It provides eight elastic bands on the front for a variety of storage options, one of which could easily be your 3 x 5 inch index cards (it sadly won’t fit 4 x 6 inch though one could use a binderclip to attach them to the back of the tidy in a pinch). Turned over, the back is a firm surface that could be used as a small writing desk. Also included is an adjustable elastic band which can be used to attach the tidy to an A5 notebook or to a wide variety of standard hardcover novels and non-fiction (9.5 inch tall) books. Just attach your tidy with some note cards and you’re ready to read and take notes at your favorite home away from home.
Rickshaw, an offshoot company from Timbuk2 bags, offers a wide array of bags, wallets, pouches, and miscellanea in a huge variety of materials and form factors. While some of their larger items will certainly fit 3 x 5 inch cards, some of their smaller offerings include: The Diplomat, a wide variety of pocket notebook folios, and lots of pouches and wallets.
Traveler’s Notebook manufactures passport size notebook covers meant for their range of notebooks which are held in by way of elastic bands. This makes them potentially less useful the index card afficionados as unbound or unclipped cards may not stay in them as easily. However, if you’re making or using small index card pads of the sort I’ve discussed in the past, then you can easily slip them in and go. TN also makes a variety of other useful inserts which may make this a intriguing choice.
4 x 6 inch index card versions
In this category, there aren’t as many custom made solutions, so searching specifically for them has generally been fruitless. The better bet for this size factor is to search for the slightly larger A6 sized notebook covers, holders, cases, and pouches and be comfortable with them being slightly larger. In most of my experience this is fine and there’s isn’t so much extra space that the difference is worrisome or noticeable. Some particular brands that might work include Hobonichi, The Superior Labor, Leuchtturm, etc.
Products
King Jim makes the cotton Flatty Works #5460, an A6 horizontal pouch with small internal and external thin pockets and a clear front plastic window. At H4.8×W6.8×D1.4 inches it easily fits not only 4 x 6 inch index cards but has enough clearance for tabbed dividers as well. I have one I use as a daily carry and love it. I’ve written more details and a review elsewhere on the site.
Lochby. Mentioned above, their only product which will fit 4 x 6 inch cards is their “Adventure Pouch”. It will also provide you with space for a variety of pens, pencils, a pair of glasses and other small niceties. 4 x 6 inch cards won’t fit into the pockets of their tool roll (pictured above), but if it’s compelling enough, you could roll them into the apparatus and they shouldn’t fall out when clasped shut.
Rite in the Rain. Also mentioned in the 3 x 5 inch section, Rite in the Rain offers a handful of covers and pouches which are slightly bigger than 4 x 6 inch and will easily accommodate these index cards. Weatherproof, most are made out of cordura and have a rugged appearance and feel.
ateliers PENELOPE makes a variety of canvas bags and storage solutions, but their large Diary Pouch may be a classy solution for some of your larger index card on-the-go storage. Given its size, it’s got space for both index cards as well as some of your other portable storage needs. It’s small enough that it should fit easily into a briefcase or other larger bags or purses. If you have some index card “notebooks”, you might also consider their A6 canvas covers which are lovely and colorful.
Rickshaw. With a pedigree stemming out of Timbuk2, this San Francisco purveyor of bags for a variety of purposes offers two that look like solid options for the portable 4 x 6 inch index card fan (and which are certainly big enough for 3 x 5 inch users). The first is their Travelers Notebook Case and the second is the Coozy Case. Some may find that their larger A5 cases or their pouches may also suit their needs. The benefit of these options is that they come in a huge array of colors with customizable options. Browse around their site to see if something here strikes your fancy. Houndstooth anyone? Harris Tweed!?! Add-a-Patch? Yes, please. May I have some more?
Galen Leather. Galen, generally beloved within the fountain pen and stationery communities, offers a wide variety of leather notebook covers, folios, bags, and zippered cases which are compatible with a variety of index card sizes. One unique option here is their Writing Box, inspired by a writing desk owned by Thomas Jefferson.
Custom solutions
I’ve been trying to get Aaron Aiken to make a custom leather billfold/cover, but it’ll be a few months before he gets around to it. If this is of interest to you, do ping him with your interest. (See conversation thread for details.)
Thoughts?
Have I missed anything interesting?
What is your favorite index card holder when you’re out on the go? What’s holding your fleeting notes?
There’s something incredibly important to learn in studying two very similar photographs of Mortimer J. Adler from the middle of the last century. I’ll present them here for reference:
Adler was a proponent of educational reforms in the form of building on John Erskine’s Great Books programs and went so far as to teach us to read properly before editing and presenting a fantastic collection of books in the form of the Great Books of the Western World by way of the Encyclopedia Britannica.
Adler most often suggested consuming a book in increasing levels by marking it up with highlights, annotations and even scaffolding a book’s important material on its end covers. However, when it came to the Great Books project, he and 25 of his colleagues used notes on index cards to index 102 great ideas across a large swath of classical Western literature.
You can see the majority of this indexed collection of knowledge splayed around him in the first photo. These index cards became the raw materials by which he and his team compiled and wrote the impressive Syntopicon which comprised volumes 2 and 3 of the 54 books in the Great Books of the Western World series (1952). Upon its release, the second photo was used extensively in marketing materials to sell the set to the general public over the ensuing decades and several editions of the books.
Even if one doesn’t look very closely at the photos, once juxtaposed they will probably have already noticed that the photos of Adler himself are the same. The second photo has obviously had the set of books superimposed around a cropped photo of him from the first photo. While it is a great advertising gimmick, it belies a lot of the serious work involved in building the Syntopicon which hides a tremendous amount of value.
Even Adler’s co-editor extolls the immense value of the Syntopicon:
But I would do less than justice to Mr. Adler’s achievement if I left the matter there. The Syntopicon is, in addition to all this, and in addition to being a monument to the industry, devotion, and intelligence of Mr. Adler and his staff, a step forward in the thought of the West. It indicates where we are: where the agreements and disagreements lie; where the problems are; where the work has to be done. It thus helps to keep us from wasting our time through misunderstanding and points to the issues that must be attacked. When the history of the intellectual life of this century is written, the Syntopicon will be regarded as one of the landmarks in it.
—Robert M. Hutchins, p xxvi The Great Conversation: The Substance of a Liberal Education. 1952.
However, while the Syntopicon as an end product holds great value, knowing how it was created is potentially even more important. The second photo does a huge disservice to the entire enterprise by way of erasure of the true nature of the Syntopicon. While the first photo may seem dull and esoteric, it holds a huge amount of hidden value for both students and teachers. It is photographic evidence of how the knowledge of the incredibly valuable Syntopicon was actually built. If properly scaffolded for students, following their lead of indexing their ideas, students could have their own personal Syntopicons for learning and exploring.
Imagine, if you will, the majesty and awe inspired by the Pyramids of Giza to the people viewing them from the ground. The Great Pyramid itself is significantly taller than both Big Ben and the Statue of Liberty, and at approximately 45 stories tall is almost half the height of the Eiffel Tower, though obviously with a much more massive base. The entire structure of the Pyramid of Giza is estimated to weigh 5.9 million metric tons comprising 2.3 million blocks of stone averaging weights of about 3 tons each. These rocks were cut and moved only by humans across vast distances of sand. Anyone who has done the intense labor of dragging a cooler and pop up tent across even a few hundred feet of sand to spend a day at the beach will marvel at moving such massive blocks, even with thousands of people to help drag it. Yet they managed to lay 1,764,000 pounds of stone every day for nearly 20 years. How did the ancient Egyptians manage this feat? Curious people have tried for centuries to imagine how they managed to build such spectacular monuments from scratch. But because there is little in the historical record and no remains of scaffolding, anyone who might want to build their own monumental pyramid is left to start their process from scratch. But what if you had a picture of the method or the scaffolding? Perhaps even set of plans, diagrams, or description? That might make all the difference, wouldn’t it?
I’ll give you a head start and suggest you begin with this image from c. 1880 BCE which was painted on the wall of the tomb of Djehutihotep:
The idea that the statue is being pulled by a large host of people on a sled is relatively obvious. But even if you can’t read the writing, you’ll probably know that that number of people isn’t nearly enough for what must be a tremendous weight. How about the image of the guy almost in the center of the painting? The one standing at the front of the sled who appears to be pouring liquid out? What is he doing? Could we try some experiments to learn what his purpose was? (In some literature he is often called a tribologist.)
Fall, Weber, Pakpour, et. al tried just that and found some surprising results. Pouring water onto sand decreases friction for objects pulled over it, meaning that its much easier for fewer men to pull large weights over sand. Their paper also contains a transcribed picture of the original painting prior to damage which has occurred since the early 1900s.
Just as the painting of our new tribologist friend scaffolds the “secret” behind how one moves large weights over sand in ancient Egypt, the photograph of Adler with his card index provides the answer to the secret behind how one writes a paper, article, thesis, or even a book. It certainly provides a lot more information to the viewer and potential reader of the Syntopicon than the second picture which excerpts Adler’s photo and simply surrounds him with books.
Teachers, including Adler, should prefer to show their work or scaffold their knowledge more often so that students can see how they they did their trick. Too often, like a magician, they perform their prestidigitation and leave out the secret of how it was performed. This certainly impresses the audience temporarily, but it doesn’t provide them with any actual knowledge they can apply for themselves. Teaching patently isn’t meant to be held to the secrecy of the “Magician’s Code”. It should be much more like the techniques of magicians Penn & Teller who frequently not only perform their magic, but then go on to reveal the actual method by which they produced it. It’s nice to enthrall students, but then show them how they might enthrall others. But let’s also not do it to the level of amateur magicians who will only practice a trick until they get it right once, let’s help them move to the level of professional magicians who continue to practice every day until they never make any mistakes.
Too often in our writing courses we don’t reveal any useful methods by which one might produce interesting research and writing. Simply reading an encyclopedia article, a few beginner magazine articles, and a book or two might be a small enough project for a sixth grader to miraculously produce a three page essay and remember most of what they need to do so. But what is a high schooler or a college student to do when they need to produce theses of 20 pages or longer that go beyond the idea of simply regurgitating the data they’ve read over several months’ time? It’s much harder to remember and maintain the information of dozens of books and journal articles over such a time span. How might they better generate new insights into what their doing? Create new knowledge? And things compound dramatically if a student decides to become a professional researcher, writer, or even academician.
The better course would be to have a teacher scaffolding how to practice these methods in class with the students as they try their own hand at it. I’ve seen well educated adults struggle with these methods, so I know it’s going to take some practice.
Of course, not every teacher knows how to do these things themselves(to pass along the secrets, the magician must actually know how to perform the magic first), much less to do them in the most efficient ways. In fact, much like this story of teachers in the “Reading Wars” who weren’t taught concrete methods of teaching reading, many teachers were never taught how to teach writing at higher technical and creative levels and were never forced to practice it themselves. Some who were forced just muddled their way through as best they could. As a result they teach their students to take the same long and arduous road involving the most work and often some of the worst results. At least in regard to writing, there is a royal road that one might take.
The photo of Adler’s index cards is the tip of the iceberg that suggests a potential method. I suspect that for some, simply knowing about the index cards and seeing the final form of the two volumes of the Syntopicon could allow one to puzzle out the intervening steps with some minor experimentation. For those who’d like to jump ahead without experimentation or the need to read the hieroglyphs might make the next step with learning about methods shown in an excellent video of Victor Margolin explaining his method of research and writing. Or by reading a short article by Keith Thomas in the London Review of Books. They can then move onto Adler’s introductory How to Mark a Book.
For those who appreciated the analogy of quarrying and dragging stone to make the pyramids, Gerald Weinberg’s 2005 book on The Fieldstone Method is sure to be a crowd pleaser. Overwise, similar more advanced methods are spelled out in Umberto Eco’s How to Write a Thesis and Sönke Ahrens’ How to Take Smart Notes. One might place the finishing touches with Adler and van Doren’s How to Read a Book (1972, 2011) and C. Wright Mills’ short paper On Intellectual Craftsmanship.
Conclusion
If you must for the exercise, allow students to drag their building blocks over the sand so they can see how difficult it is. But then reveal the secrets of the tribologists and the prestidigitators so that they can go on to build their own pyramids and make their own magic in life. Be sure not to have them use the method for just one project, but allow it to span several projects or to be used across their lives much the way many greats of history have leveraged the value of commonplace books which falls into a very similar tradition of knowledge management.
Show students how to take small ideas written on index cards and use them as proverbial building blocks to slowly and creatively build up larger arguments, create paragraphs, papers, and books with with them. While it may not seem obvious, variations on these methods were the secrets behind almost every great thinker or writer in history including Boethius, Thomas Aquinas, Desiderius Erasmus, Konrad Gessner, John Locke, Carl Linnaeus, Gottfried Wilhelm Leibniz, Niklas Luhmann, Beatrice Webb, Marcel Mauss, Claude Lévi-Strauss, Mortimer J. Adler, Niklas Luhmann, Roland Barthes, Vladimir Nabokov, George Carlin, Phyllis Diller, Twyla Tharp, and yes, even Eminem and Taylor Swift.
References
Adler, Mortimer J. “How to Mark a Book.” Saturday Review of Literature, July 6, 1941.
Adler, Mortimer J., and Charles Van Doren. How to Read a Book: The Classic Guide to Intelligent Reading. Revised and Updated edition. 1940. Reprint, New York: Simon & Schuster, 1972.
Fall, A., B. Weber, M. Pakpour, N. Lenoir, N. Shahidzadeh, J. Fiscina, C. Wagner, and D. Bonn. “Sliding Friction on Wet and Dry Sand.” Physical Review Letters 112, no. 17 (April 29, 2014): 175502. https://doi.org/10.1103/PhysRevLett.112.175502.
Slipped in between paragraphs about being worried that her family’s hiding place will be discovered by a new building owner and the fairness of rationing butter, Anne Frank mentions being gifted a zettelkasten to track her reading:
Father emptied a card file for Margot and me and filled it with index cards that are blank on one side. This is to become our reading file, in which Margot and I are supposed to note down the books we’ve read, the author and the date.
—Anne Frank (1929-1945), diary entry dated Saturday, February 27, 1943 (age 13)
Niklas Luhmann (December 8, 1927-1998), famous for his own 90,000+ slip reading file was a year and a half older than Anne Frank (June 12, 1929-1945) who received her first card index file in February 1943 (likely between the 27th, the date of her diary entry mentioning it and the prior diary entry on February 5th). It was given to her by her father at the age of 13. As would have been commonplace, she was intended to use it as a “reading file” to note down the books she’d read along with the author and the date.
One can only wonder at how many entries she would have made over the span of her life had it not come to such an abrupt end.
Frank, Anne. The Diary of a Young Girl: The Definitive Edition. Edited by Otto H. Frank and Mirjam Pressler. Translated by Susan Massotty. 1947. Reprint, New York: Bantam, 1997.
For those who have a significant paper-based zettelkasten practice, have you considered commissioning custom made cards? There are a variety of stationers who do custom work and one could also purchase directly from Chinese manufacturers to get costs down by buying in bulk.
Ryan Holliday is one of the few I’ve seen in the wild who has mentioned custom making cards, usually done on a per-project (book) basis where he’ll put a header title at the top of his note cards. Example: https://www.instagram.com/p/CeWV6xBuZUN/?hl=en
Other options could include doing custom/personalized stamps. (I have a date stamp handy for quickly stamping the dates of creation/updating in the corner of cards.)
I’m curious what suppliers/manufacturers folks have researched/used? What were your experiences? What sort of templates or printing did you use on them? Paper weight? Did you go Grid, blank, dot, lined, or all of the above? If you were looking to purchase something for yourself, what would you want?
Robert Hutchins, former dean of Yale Law School (1927–1929), president (1929–1945) and chancellor (1945–1951) of the University of Chicago, closes his preface to his grand project with Mortimer J. Adler by giving pride of place to Adler’s Syntopicon. It touches on the unreasonable value of building and maintaining a zettelkasten:
But I would do less than justice to Mr. Adler’s achievement if I left the matter there. The Syntopicon is, in addition to all this, and in addition to being a monument to the industry, devotion, and intelligence of Mr. Adler and his staff, a step forward in the thought of the West. It indicates where we are: where the agreements and disagreements lie; where the problems are; where the work has to be done. It thus helps to keep us from wasting our time through misunderstanding and points to the issues that must be attacked. When the history of the intellectual life of this century is written, the Syntopicon will be regarded as one of the landmarks in it.
—Robert M. Hutchins, p xxvi The Great Conversation: The Substance of a Liberal Education. Volume 1 of The Great Books of the Western World. 1952.
Adler’s Syntopicon has been briefly discussed in the forum.zettelkasten.de space before. However it isn’t just an index compiled into two books which were volumes 2 and 3 of The Great Books of the Western World, it’s physically a topically indexed card index or a grand zettelkasten surveying Western culture. Its value to readers and users is immeasurable and it stands as a fascinating example of what a well-constructed card index might allow one to do even when they don’t have their own yet. For those who have only seen the Syntopicon in book form, you might better appreciate pictures of it in slipbox form prior to being published as two books covering 2,428 pages:
Adler spoke of practicing syntopical reading, but anyone who compiles their own card index (in either analog or digital form) will realize the ultimate value in creating their own syntopical writing or what Robert Hutchins calls participating in “The Great Conversation” across twenty-five centuries of documented human communication. Adler’s version may not have had the internal structure of Luhmann’s zettelkasten, but it definitely served similar sorts of purposes for those who worked on it and published from it.
Hutchins, Robert M. The Great Conversation: The Substance of a Liberal Education. Edited by Robert M. Hutchins and Mortimer J. Adler. 1st ed. Vol. 1. 54 vols. Great Books of the Western World. Chicago, IL: Encyclopedia Britannica, Inc., 1952.
Merchants and traders have a waste book (Sudelbuch, Klitterbuch in German I believe) in which they enter daily everything they purchase and sell, messily, without order. From this, it is transferred to their journal, where everything appears more systematic, and finally to a ledger, in double entry after the Italian manner of bookkeeping, where one settles accounts with each man, once as debtor and then as creditor. This deserves to be imitated by scholars. First it should be entered in a book in which I record everything as I see it or as it is given to me in my thoughts; then it may be entered in another book in which the material is more separated and ordered, and the ledger might then contain, in an ordered expression, the connection sand explanations of the material that flow from it. [46]
—Georg Christoph Lichtenberg, Notebook E, #46, 1775–1776, as translated in Georg Christoph Lichtenberg: Philosophical Writings
In this single paragraph quote from his own notebook, Lichtenberg, using the model of Italian bookkeepers of the 18th century, broadly outlines almost all of the note taking technique suggested by Sönke Ahrens in How to Take Smart Notes.
While he doesn’t use the same terms, he encourages writing down and keeping fleeting notes as well as literature notes. (Keeping academic references would have been commonplace by this time.) He follows up with rewriting and expanding on the original note to create additional “explanations” and even “connections” (links) to create what Ahrens describes as permanent notes or which some would call evergreen notes.
Lichtenberg’s version calls for the permanent notes to be “separated and ordered” and while he may have kept them in book format himself, it’s easy to see from Konrad Gessner’s suggestion at the use of slips centuries before, that one could easily put their permanent notes on index cards (“separated”) and then number and index or categorize them (“ordered”).
The only serious missing piece of Luhmann’s version of a zettelkasten then are:
the ideas of filing related ideas nearby to each other, though the idea of creating connections between notes is immediately adjacent to this, and
his numbering system, which was broadly based on the popularity of Melvil Dewey’s decimal system and early 20th Century German filing practices (Aktenzeichen).
It may bear noticing that John Locke’s indexing system for commonplace books was suggested originally in French in 1685, and later in English in 1706. Given it’s popularity, it is not unlikely that Lichtenberg would have been aware of it.
Further, given that Lichtenberg’s very popular published waste books were known to have influenced Leo Tolstoy, Albert Einstein, Andre Breton, Friedrich Nietzsche, and Ludwig Wittgenstein, it would not be hard to imagine that Niklas Luhmann would have also been aware of them.
This short paragraph certainly says something interesting about the note taking methods of Lichtenberg’s time.
References
Lichtenberg, Georg Christoph. Georg Christoph Lichtenberg: Philosophical Writings. Edited and translated by Steven Tester. SUNY Series in Contemporary Continental Philosophy, 1.0. State University of New York Press, 2012
Lichtenberg, Georg Christoph (2000). The Waste Books. New York: New York Review Books Classics. ISBN 978-0940322509.)
Open questions
Did Lichtenberg number the entries in his own (original) waste books? This would be early evidence toward the practice of numbering notes for future reference. Based on this text, it’s obvious that the editor numbered the translated notes for this edition, were they also Lichtenberg’s numbering, or added later by other scholars/editors?
Is there evidence that Lichtenberg knew of Locke’s indexing system? Did his waste books have an index?
In a quest to expand on my analog office practices, last Saturday, I drove out to Rancho Cucamonga to purchase a spectacular midcentury Gaylord Bros., Inc. modular library card catalog. I spent parts of the week making some minor tweaks (gluing some broken wood rails) and cleaning it up in the garage. Last night, as a present and to celebrate the start of Autumn, I brought it into the house to reassemble it. It now lives in the dining room adjacent to the the office and near both the bar as well as the library that others in the household prefer to call our formal living room. I honestly didn’t pre-plan it this way, but given our floorplan, it is sitting in the “heart” of our home.
Three of the four sections are all similarly made out of oak and appear to be co-contemporaneous in terms of style and materials (solid wood and metal). The final section, a five drawer insert is obviously of later manufacture and while stained brown with what appears to potentially be a mahogany frontispiece, has plastic trays with metal fittings and what appear to be galvanized steel card stops. The other sections comprise a low level table-like support with four legs; a 5×3 drawer section; and a 2 inch thick top which covers the holes in the top of the modular drawer sections and provides a flat surface. The top section also features the traditional Gaylord Bros., Inc. name plate.
Given the subtle intricacies of the construction, I’ll provide some photos of how the pieces dovetail together as well as the smaller mechanics and features in a future post.
Fully assembled the piece is 33″ wide x 17 3/8″ deep and stands 36 1/2″ tall. With internal drawer space of 13 3/4″ for the 15 drawers and 14 1/2″ for the other 5, there should be space for approximately 38,715 index cards.
I’m thrilled that all the fittings seem to be original, and all the drawers have their original card catalog rods. The drawers on the 5×3 drawer section have a spring loaded mechanism under the front of the drawer which when pushed to the left side unlocks the card catalog rods which have beefy brass knobs. The 5×1 drawer section rods are unlocked by pulling up on them slightly from the bottom and then pulling them straight out.
I’ll have to do some more in-depth research of old Gaylord Bros. catalogs, but based on materials, manufacture, and style, I’m going to guess that the older portion of the card catalog dates from the mid-30s to the 1940s, while the newer section is likely late 60s. The overall size and standardized, modular structure allows the pieces to sit together in quite a clever way and were made over a long enough period of time that different pieces from disparate decades still work well together. While the wood grain, stain, and even fittings are all slightly different, the to different styles work fairly well together.
For those who appreciated my recent article Market analysis of library card catalogs in 2023, I’m thrilled to report that I purchased this stunning beauty—one of the prettiest, oldest, and best conditioned catalogs I’ve seen listed—for a very reasonable $250. I suspect the seller, who is a vintage collector, seasoned eBay seller, and is well aware of the market, may have gone even lower, but I was happy to overpay a little. Given the online market, something like this would usually list for between $1,200 and $1,600, but would likely sit unsold and unloved for years.
I love the style and the condition, and it does make for a fantastic little piece of fine furniture with a lovely patina. Unexpectedly, someone else in the house may be even more enamored of it than I, which bodes well for its actual long term care and use. Currently it will serve as an archive storage for some of my 3 x 5″ index card note collection in addition to storage of a partial library card cataloging for some of our physical books. I also have cards from an older rolodex and a small recipe collection that will take up residence. Other empty drawers will house a small wine selection along with several bottles of scotch until they’re pushed out by the growing collection of cards.
Surely this is what Hemingway would have done?!
Other than general maintenance I don’t think I’ll be doing any other restoration work on it beyond the small fixes I’ve already made.
On the top of the catalog, in addition to space for writing notes, I’ll keep one of my two desktop card indexes and a 1948 Smith-Corona Clipper.
As card catalogs lost their functionality in libraries and were de-acquisitioned there was a wave of nostalgia which caused people to purchase them, often in auctions, at higher than expected prices. Once they had them, most of these purchasers realized that they didn’t have functional uses in their homes for them (beyond wine or liquor bottle storage, small crafts, or use as a zettelkasten, which seem to be the only reasonable upcycling use cases I’ve seen and the last seems to be very rare and niche). They sit and take up space for very little value in return beyond some esthetic beauty and nostalgia. As a result many soured on their ownership. Most owners naturally want to recoup their original purchase price thinking that relative rarity will save them.
Combined with this there was a resurgence in mid-century design esthetic which had some furniture restorers and designers buying and doing full (and very pretty) expensive restorations of older 20s-40s versions which sold at auctions for $4,500 and up. Given the rarity of some of these older, fine furniture versions along with the work in restoration and the limited market only those who had a tinge of nostalgia and money to burn made purchases which resulted in a limited number of actual sales.
These two factors mean that almost all of the listings for library card catalogs are heavily overvalued on eBay, Facebook Marketplace, Craig’s List, Etsy, etc. The fine furniture restorations have set an artificially high price point which some feel theirs must match as well. The difference in quality however is stark. Because of their size and lack of functionality, there is a relative glut of them on the market which all bear inflated prices. Those who originally spent inordinate amounts for them, feel they will still have that same value to others, so they list them online for inflated prices.
I’ve been closely watching the online “market” for them for over a year and see the same several dozen or more listed across the country usually in the range of about $30-$60 per drawer. Many are listed as local pick up only, which further hampers the overall market. This also brings up the issue of shipping a 60 drawer card catalog which can easily run in the $800-$1,500+ range which usually requires additional shipping logistics involved with freight. Most catalogs are already overpriced, but adding an additional $1000 tax on top is a bridge too far for all but the highest end of the market. Some platforms like Etsy and eBay which take cuts of the final sale also add to the cost of the sale (at least to the owner).
In the year and a half or more that I’ve been watching, I’ve only seen a handful of actual sales, all of which were local, and many of which were in the Los Angeles area. All of these sales have been for listings which eventually were reduced down to the $15 per drawer range. One local sale was in Wisconsin was for $10 per drawer (a 30 drawer file) and another in Los Angeles was for $12.50 per drawer (on a 20 drawer file).
A note on condition
Outside of a small handful of fine furniture listings in the $4,000+ range, most ex-Library card catalogs are generally very well worn and not in great condition which makes them less valuable as decoration pieces. In fact, many are often missing their original card catalog rods, have dents, dings, or other cosmetic issues. Some are missing drawers or have replacement drawers which don’t match. Some may be slightly mismatched having been purchased in different eras as modular pieces and put together. Frequently they have been modified from their original states to include inserts or other material to fill in the holes which where almost standard in the bottoms of the drawers.
Advice
If you’re in the market, know that it is tremendously inflated, a fact which most sellers are aware of as they’ve got them listed, some for many years, not resulting in actual sales. If you really want one and find it in a reasonable condition, I highly recommend making an offer for it at about $10 per drawer and potentially go up to $15. Anything higher than that is overpaying based on actual recent market conditions. If you have the money to burn, feel free, but keep in mind that like many others in the past, once the initial nostalgia has passed, you’ve probably got a large piece of relatively non-functional furniture in your home.
It’s not common, but some government auction sites will list card catalogs for auction from time to time. Because they actively want to sell them these can be purchased in the $2-10 per drawer range or less. Often they tend toward the larger 60+ drawer range, aren’t in good condition, or need to be picked up and shipped to your final destination, usually within a few days of purchase as the original owners don’t or explicitly won’t handle shipping. These are likely to need some restoration work to be decorative pieces in many homes.
If you want something brand new, you can check out Brodart, which is the only remaining card catalog manufacturer/sales firm I’m aware of in the United States. Their systems are modular, so you can pick and choose what you’d like to have. The only caveat is that they start at $1,700 for their smallest 9 drawer model and can go up to $11,648 (plus shipping) for a full 60 drawer model. The other potential drawback, for some, is that they are made of a mixture of wood, metal and plastic versus the all wood and metal fittings of older vintage models.
If you’re in the market primarily for nostalgic reasons, then you might also consider looking at some of the older desktop wooden card catalogs which are often much less expensive, take up far less space, and can be wonderfully decorative. Some of the smaller two to six drawer desktop models have the benefit of potentially serving as recipe boxes or paper rolodexes, zettelkasten, or simply small office storage. Here again, the online markets are likely to be heavily overpriced with 2 drawer models being continually listed at $150 and 4 drawer models in the $250-400 range. These sellers know that these prices don’t result in actual sales as they’ve been sitting on them for long periods of time (presumably hoping to get lucky). Here I’d recommend you make offers in the $20-30 per drawer range to see what you can find. Another benefit is that these smaller models are far cheaper to ship across the country. For additional advice on these, see: The Ultimate Guide to Zettelkasten Index Card Storage.
While doing this, I’ve had a hard target search for available card index files for the better part of two years. I’ve purchased a large metal one and a small handful of open wooden desktop models.[1][2] I’ve shied away from some of the wooden 2-6 drawer models because they’re listed for exorbitant prices on eBay, Facebook Marketplace, Craigslist, and other online retailers where sellers think they’re worth far more than they really are. Hint: you’ll find lots of listings, but you won’t see very many actual sales—a good indication that the market is dramatically overpriced.
However, this past week I saw a reasonable listing for a two drawer quarter sawn Shaw-Walker card index made for 4×6″ index cards for $32.95. Since cardboard boxes sell for almost $20 each, I couldn’t pass up the opportunity, so I made the minimum bid and naturally won the auction uncontested.
The box showed up yesterday afternoon and had roughly the wear I expected it would. It took some serious elbow grease, but I managed to clean about a half century of dirt and grime off of it, and it looks significantly better already. I don’t think I’ll do a full refurbishment of it, preferring to appreciate some of the natural patina. I will probably give it another solid cleaning later this week and then a coating of wax or furniture polish to shine it up. I’m wavering on polishing what I suspect are probably bronze drawer pulls and leaving their dark oxidized beauty.
For a small, solid wooden box, it does bring an inordinate amount of joy.
While showing some wear, particularly to the top, it still has most of its original Shaw-Walker gilded logo. The box is 15 5/8 x 14 11/16 x 6 3/8 inches, 14.6 pounds, and each drawer has 11 3/4 inches of space for cards, so it should comfortably fit about 3,300 index cards. I intend to use it as my day-to-day desktop card index and split the two drawers between my card-based productivity system (based on the Memindex) and my zettelkasten practice. The balance of my notes will go into either my Arca Studiorum or possibly another metal card index I’ve had my eye on for a while, but which needs some significant restoration.
In addition to the thrill of having a new analog piece of office equipment, another unexpected benefit it will impart by being on my desk is that it seems to be just the perfect sort of height for placing my laptop onto so that my camera is just that little bit higher for better video conference call framing. Now I won’t need to drag down the dictionaries or Wolfram’s New Kind of Science off the shelf anymore.
Coda: I just made a purchase of two wooden library card charging trays which will hopefully arrive later this week. More on that after they arrive…
I’m just wrapping up a year of maintaining my bullet journal practice using index cards instead of the more popular notebook form factor. It’s heavily inspired by the century+ old Memindex method.
