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An anonymous author dedicated this 44cm x 29cm volume, "A Missionary's Fate. A Prophecy," to Miss Minnie Jenks, in or after 1868. It includes seven pages of neatly written, rhyming, narrative poetry accompanied by five ink and watercolor illustrations. This xenophobic cautionary poem and illustrations trace a young woman's fatal transatlantic Christian missionary expedition. She departs the United States intending to convert and teach Assamese people, but she is instead transported to Africa where her solitary missionary efforts result in her murder and cannibalization. The illustrations include her seaside departure, the missionary standing on a stump and singing to (racist caricatures of) African men, cannibalism, African men trying on the woman's clothing, and a scene of grief back in the United States.

An anonymous author dedicated this 44cm x 29cm volume, "A Missionary's Fate. A Prophecy," to Miss Minnie Jenks, in or after 1868. It includes seven pages of neatly written, rhyming, narrative poetry accompanied by five ink and watercolor illustrations. This xenophobic cautionary poem and illustrations trace a young woman's fatal transatlantic Christian missionary expedition. She departs the United States intending to convert and teach Assamese people, but she is instead transported to Africa where her solitary missionary efforts result in her murder and cannibalization. The poem ends with her grief-stricken family members weeping and fainting back home, and a concluding moral.

The illustrations include a dock scene, with passengers boarding a ship, persons on the dock waving farewell, and sailors at work on deck. Another shows the missionary woman standing on a stump with a hymn book (sheet music for "In the Sweet Bye and Bye" visible) and singing to a group of African men. The artist portrayed them as racist caricatures, and the men are holding knives, testing their edges, and sharpening teeth with an iron file. The following image depicts the woman on the ground with the men eating or carrying off her bones and severed parts of her body. Next, the men are trying on the woman's clothing; a chief is wearing her bonnet and carrying her parasol and purse/bag, another man is putting on her shoes, and another wears her skirt. The concluding artwork is a parlor scene back in the United States, wherein family and friends received a postal parcel containing a piece of the missionary's dress, her hymn book, a lock of her hair, and a shoestring. The people are shown weeping into handkerchiefs, one of them fainted and one holding the lock of hair.

A transcription of the seventh, final page of the poem--and the moral of the tale--is: "Oh gentle maid, on good intent, / Who would in 'Missions' lead the van, / Take warning from this maid, who went / Afar to free from Ignorance' ban. / Do all the good that here you can / Where you may have a little ease; / 'Home Missions' try on some one man - / Or two or more, if so you please, - / But do not try the Asamese."

The Women, Gender, and Family collection contains miscellaneous individual items relating to women, gender, and family primarily in America, between 1678 and 1996.

The Women, Gender, and Family collection contains miscellaneous items relating to women, gender, and family between 1678 and 1996. The bulk of the collection ranges in from 1800 to the early 20th century and is geographically focused on the United States of America. Topics include marriage and divorce, childrearing and motherhood, household management, and consensual and coerced sex. Other areas of interest cover women’s various forms of labor, legal restitution for paternity suits and financial support, and education for women and children. While not as heavily represented, multiple items detail women's engagement in politics, slavery and abolition, and women's rights.