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From the Outside In: First photograph, "View from the Window at Le Gras," Joseph Nicéphore Niépce, ca. 1826

By Harry Ransom Center

The atria on the first floor of the Ransom Center are surrounded by windows featuring etched reproductions of images from the collections. The windows offer visitors a hint of the cultural treasures to be discovered inside. From the Outside In is a series that highlights some of these images and their creators. Interact with all of the windows at From the Outside In: A Visitor’s Guide to the Windows.

 

One of the most renowned items in the Ransom Center’s collections is the first photograph, which has been reproduced on the Center’s south atrium window. A French inventor named Joseph Nicéphore Niépce took this first photograph from the window of his studio in France in the early 1820s, and due to a fortunate series of events, the photograph is part of the Ransom Center’s collections.

 

Niépce was born in 1765 at the beginning of the Industrial Revolution, when great innovations were taking place around Europe. One of these innovations was the art of lithography, a form of printing that involves using chemicals on a flat, smooth surface to transfer images. Niépce became entranced by the lithographic process and began toying with its potential. A poor draftsman, he depended on his artistically inclined son Isidore to create illustrations for his lithographic pursuits. Isidore, however, was drafted into Napoleon’s army, leaving Niépce unable to create lithographs. Intent on finding a way to create images without having to draw them, Niépce turned to the camera obscura, a device developed in the Renaissance in which an image could be projected through a small hole into a darkened box or room. Inside this darkened space an image would be cast as a realistic, albeit upside down, projection. Niépce thought to capture this image using a light-sensitive material so that the light itself would “etch” the picture for him. In 1826, through a process of trial and error, he finally came upon the combination of bitumen of Judea (a form of asphalt) spread over a pewter plate. When he let this petroleum-based substance sit in a camera obscura for eight hours without interruption, the light gradually hardened the bitumen where it hit, thus creating a rudimentary photo. He “developed” this picture by washing away the unhardened bitumen with lavender water, revealing an image of the rooftops and trees visible from his studio window. Niépce had successfully made the world’s first photograph.

 

Excited with his new method of capturing images from life, Niépce hurried to present his invention of heliography, or “light writing,” to the Royal Society of London. Yet, the invention’s potential was not recognized, and he was turned away. Niépce was undeterred, and he joined with Louis Daguerre to continue refining his heliographic process. Although Niépce passed away before photography became an everyday staple, Daguerre kept experimenting and created the daguerreotype in 1839, which introduced the concept of photography to the wider world.

 

This important image came to the Ransom Center in 1963 from the photo historian Helmut Gernsheim. The First Photograph had gone missing after 1905. Gernsheim tracked it down in 1952 in the possession of the descendants of the previous owner, who found it in storage, sitting unknown in a crate all that time. A decade after this discovery, Gernsheim generously donated the one-of-a-kind object to the Center after its purchase of his photography collection. For more information on the First Photograph and its history, visit the First Photograph web exhibition.

 

The Gernsheim collection features many other prominent photographs, covering the history of photography through the 1960s. The Ransom Center also houses the Magnum Photos archive of nearly 200,000 photographs from the 1950s to the present, and other prominent works, making the Center a fruitful place for research.

 

Ransom Center volunteer Holly Hansel wrote this post.

Please click on thumbnails below to view larger images.

Jane Austen in Austin: A Regency display on view

By Harry Ransom Center

This year marks the 200th anniversary of the publication of Mansfield Park, Jane Austen’s most ambitious and controversial novel. To celebrate both the author and the cultural history behind this complex work, students in English Professor Janine Barchas’s fall 2013 graduate seminar curated two display cases relating to Austen and her culture. Below, students Chienyn Chi, Dilara Cirit, Gray Hemstreet, Brooke Robb, Megan Snell, and Casey Sloan share some of the items displayed.

 

From family correspondence to uniquely inscribed copies of the novels, the Jane Austen items held by the Harry Ransom Center allow us a rare and intimate view of this beloved author. Georgian fashion plates, landscape illustrations, and other Regency-era artifacts further help to illuminate the culture in which Austen lived and wrote. This display can be seen during reading room hours through May 30.

 

One case contains items relevant to the world described in Mansfield Park, first advertised as published on May 9, 1814. In telling the story of the modest and physically fragile Fanny Price, Austen created a complex and challenging work that critics often contrast unfavorably with the more popular Pride and Prejudice, in which the heroine is pert and talkative. Austen herself judged Pride and Prejudice “rather too light & bright & sparkling.” In Mansfield Park, Austen alludes to the vogue for large-scale “improvements” by popular landscaper Humphry Repton, sentimental drama and theater culture, and the Royal Navy’s role in the Napoleonic Wars. Such references reveal Austen’s awareness of the large cultural concerns of her day.

 

 

“Der Bestrafte Brudermord”: A puppet version of “Hamlet”?

By Harry Ransom Center

Tiffany Stern, Professor of Early Modern Drama at Oxford University, delivers the English Department’s Thomas Cranfill Lecture about her research on the play Der Bestrafte Brudermord (Fratricide Revenged) at the Harry Ransom Center this Thursday, January 16 at 4 p.m.

 

Stern, the Hidden Room theater company, and the American Shakespeare Center will produce performances of the play with puppets this month at the York Rite Theater in Austin between January 17 and February 2. Below, Stern writes about the history and origins of this production.

 

In 1781, a manuscript dated 1710, of a play called Der Bestrafte Brudermord (Fratricide Revenged) was published in Germany. Telling a bawdy and humorous version of the story of Hamlet, it seemed to relate to Shakespeare’s Hamlet in debased form. But what was it, and how did it come about?

 

For years Shakespeareans have been confused by Der Bestrafte Brudermord. Is it a unique record of an otherwise unknown version of Shakespeare’s play, or is it an adaptation of the Hamlet texts we know about? Crucially, what explains its non-Shakespearean features—its slapstick, pratfalls, crazed bawdiness, and wild humor?

 

Puppeteers have long felt they had the answer. They see in Der Bestrafte Brudermord a puppet play.

 

As an English professor who works with historical performance, I decided to research the puppet option. Beth Burns and her amazing Hidden Room theater company in Austin have tested that research through practice. They have mounted a unique show: a hilarious and touching eighteenth-century puppet Der Bestrafte Brudermord, translated into English, complete with fireworks, music, and a wonderful compere and showmaster, “the interpreter.”

 

You are warmly encouraged to hear my talk and then see the puppet Hamlet, Der Bestrafte Brudermord, at the York Rite Theater. Then you can decide for yourself whether Der Bestrafte Brudermord is simply a Continental adaptation of Shakespeare’s text or whether it is the product of what Hamlet so dismissively calls “puppets dallying.”

 

The play runs January 17 through February 2 at York Rite Masonic Hall at 311 W. 7th St. Performances are on Fridays and Saturdays at 8 p.m. and on Sundays at 5 p.m. The play runs 75 minutes, and tickets are pick-your-own price between $15 and $30, with a suggested ticket price of $20.

 

More information about the performance can be found on the website or Facebook page, or you can email hiddenroomtheatre@yahoo.com.

 

Image credit: Production still from Der Berstraffe Brudermord by The Hidden Room theater company. Photo by Pat Jarrett.

 

Production still from “Der Berstraffe Brudermord” by The Hidden Room theater company. Photo by Pat Jarrett.
Production still from “Der Berstraffe Brudermord” by The Hidden Room theater company. Photo by Pat Jarrett.

Scholar: Will libraries of the future preserve cultural heritage?

By Harry Ransom Center

Photo of Michele Cloonan by Jeanette Austin.
Photo of Michele Cloonan by Jeanette Austin.

Michele V. Cloonan, Professor at Simmons College and Editor-in-Chief of Preservation, Digital Technology & Culture, presented the talk “Exeunt Libri: Will Libraries of the Future Preserve Cultural Heritage?” for the 2013 Donald G. Davis, Jr. Lecture on Thursday, October 17. Below, she shares her thoughts about preservation.

 

Preservation is all around us. It encompasses continuity and change. I first encountered issues of preservation as a child living in Hyde Park, on Chicago’s south side. Three particular touchstones have stayed with me. One was the dismantling of the Fifth Army Base on the Promontory Point. While there was wide-spread support for it to be closed, some people advocated for the preservation of parts of the installation, so that there would be a permanent record of the site.

 

A second touchstone was the Museum of Science and Industry, my next-door neighbor. I explored every outside nook of it as a child and was intrigued by what little I knew of its history. Built as The Palace of Fine Arts, it was constructed for the World’s Columbian Exposition in 1893. One had to be captivated by this building, the only one to survive the vast White City.

 

Finally, the demolition of a beautiful brownstone apartment complex across the street from my house, which was replaced by a less-attractive high-rise, made me think about preservation as I watched people collect tiles and light fixtures right before the wrecking ball destroyed the building.

 

In ways like this, we are all touched by preservation. Each community shares its own stories of the old—and the newer. Most communities contain some legacies of their past, which may become “Places of Memory” (Lieux de Memoires, as Pierre Nora refers to them). Other historical artifacts are destroyed, or their sites become neglected. We contemplate the presence, as well as the absence, of cultural artifacts. They are part of our memory.

 

The rise and fall of physical monuments are part of the preservation continuum of cultural heritage.

 

As an adult, I have written about preservation, focusing mostly on libraries, archives, and museums. For my talk at the Harry Ransom Center, I will focus on preservation, memory, and libraries. Libraries represent many things. They may be storehouses of books and manuscripts, information centers, classrooms, and community living rooms. At the same time, the library exists in many physical and digital forms, some analog, others virtual. As a metaphor, the library may represent a fictional place (Jorge Luis Borges), or the concept of a library may occur within other metaphors such as the World Brain (H. G. Wells), the Memex (“memory” + “index”) (Vannevar Bush), or the Internet.

 

The Ransom Center is the perfect place in which to consider the interplay between preservation, memory, and libraries because it has been a leader in the American preservation and conservation movement; a preeminent collector of books, manuscripts, and objects; and a research center. Its original “temple-of-knowledge” architecture/building is now complemented by dramatic accents of glass, which invite us to reflect on its collections in new ways.

 

Anthology documents 22 plays performed at 2 London theaters

By Harry Ransom Center

 

Title page of “Measure for Measure” from the anthology “Comedy As it is Acted at the Theatres-Royal in Drury-Lane and Covent-Garden.”
Title page of “Measure for Measure” from the anthology “Comedy As it is Acted at the Theatres-Royal in Drury-Lane and Covent-Garden.”

Sarah Alger is a graduate student in the School of Information at The University of Texas at Austin, where she is working to complete her degree with an emphasis in Museum Studies. As part of her class “Rare Books and Special Collections”, taught by Michael Laird, Ms. Alger studied the Ransom’s Center’s copy of Comedy As it is Acted at the Theatres-Royal in Drury-Lane and Covent-Garden.

The original intent of my research was to study a particular printing of William Shakespeare’s A Midsummer Night’s Dream published in 1779. The library’s catalog lists each play individually. But when I viewed the document, I discovered this was not just a single play but a whole collection of comedic plays. And not all of them were by Shakespeare. While about half were by Shakespeare, the rest were written by a collection of various playwrights who were not necessarily Shakespeare’s contemporaries.

How did this collection of seemingly unrelated comedies come to be bound together?

The only real connection between these 22 plays was that they were all comedies and all performed between the years 1776 and 1780 at two playhouses in London: The Theaters Royal at Drury Lane and Covent-Garden. The Theater Royal at Drury Lane is London’s oldest functioning theater. Founded by Thomas Killgrew in 1663, the modern building is the fourth playhouse to stand on that site. These plays would have been performed in the third building on that location, completed in 1794. The previous building was demolished to create a larger theater.

This particular anthology seems to have been printed with the sole purpose of preserving comedies that were performed at this historic theater in the late 1770s. Appreciators of the London theater will find this anthology offers an insightful look into early forms of the Georgian theater.

Title page of “The Beggar’s Opera” from the anthology “Comedy As it is Acted at the Theatres-Royal in Drury-Lane and Covent-Garden.”
Title page of “The Beggar’s Opera” from the anthology “Comedy As it is Acted at the Theatres-Royal in Drury-Lane and Covent-Garden.”

Three degrees of separation: Industrial designers find inspiration with Norman Bel Geddes

By Harry Ransom Center

 

A group of Dell employees visit the exhibition “I Have Seen the Future: Norman Bel Geddes Designs America.” Photo by Pete Smith.
A group of Dell employees visit the exhibition “I Have Seen the Future: Norman Bel Geddes Designs America.” Photo by Pete Smith.

Scott Lauffer, an Industrial Design Director at Dell’s Enterprise Product Group, recently visited the exhibition I Have Seen the Future: Norman Bel Geddes Designs America with a group of colleagues, primarily industrial designers and engineers. The group takes occasional offsite visits to find inspiration. This is the third visit the group made to the Ransom Center over the past few years. Lauffer shares his observations from the visit.

As designers I think we all drew inspiration from the versatility that Norman Bel Geddes displayed not only in the types of work that he consulted on, but the salesmanship he exhibited to convince many of his clients to invest in creating better human experiences in a time before it was expected and demanded by consumers. His background in theater probably served him well in being a better storyteller for his vision. His approach for researching and understanding human behavior along with model building and storytelling are all techniques that we draw on heavily as designers today.

It was interesting to see how Bel Geddes not only influenced our group’s profession of industrial design, but also our industry, albeit indirectly. Elliot Noyes, who founded the Industrial Design program for IBM and pioneered the corporate design discipline in 1956, was previously employed by Bel Geddes. We later discovered there were only three degrees of separation for some of us: Bel Geddes to Elliot Noyes to Tom Hardy, with whom some of us previously worked in his capacity as design director at IBM.

The exhibition was crafted to educate a wide audience through thoughtfully selected examples that represent the breadth of Bel Geddes’s work, without overwhelming. The courage Bel Geddes showed in proposing the visionary and using this to stretch the imagination of his clients is inspirational.

Editor recounts working with David Foster Wallace on 1996 U.S. Open piece

By Harry Ransom Center

 

Page 1 of corrected proof of David Foster Wallace’s 1996 essay on the U.S. Open for Tennis magazine.
Page 1 of corrected proof of David Foster Wallace’s 1996 essay on the U.S. Open for Tennis magazine.

In 1995, Jay Jennings, a former editor of Tennis magazine, commissioned David Foster Wallace to write an article about the U.S. Open, which was published as “Democracy and Commerce at the U.S. Open” one year later. In 2010, Jennings contributed a file of corrected proofs and correspondence to the Ransom Center relating to the essay and revealing Wallace’s close involvement in the editorial process. Wallace had warned Jennings that he would be a difficult editee, but the papers demonstrate the contrary. Though Wallace’s comments on the proof pages are often assertive, they are equally good-natured, dotted throughout with smiley faces, and oftentimes showing his humor. Jennings recounts his working with Wallace.


Roger Federer’s resurgence this year as Wimbledon champion and Olympic tennis finalist once again had fans excavating the essay on him written by David Foster Wallace for the New York Times in 2006, “Federer as Religious Experience.” It will be included in a book of the writer’s previously uncollected work to be published in November, Both Flesh and Not. Also in the collection is a much earlier, lesser-known piece about the game that he wrote for me when I was the features editor of Tennis magazine, “Democracy and Commerce at the U.S. Open.” As we approach the start of this year’s Open and Labor Day, “the American summer’s right bracket,” as he wrote in the piece, the Ransom Center asked me to reflect back on the assignment and my relationship with Dave.

In 1995, I contacted a young writer named David Foster Wallace to ask if he would come to the U.S. Open over Labor Day weekend and riff on the scene, not so much the one on the court but that going on all over the grounds of the National Tennis Center in New York. Though he was not widely known, editors were clamoring to have him to riff on some scene or another on the basis of a hilarious, hyperobservant essay he’d published in Harper’s magazine in 1994 about the Illinois State Fair. A few years earlier he’d written about playing junior tennis on the windy plains of the Midwest for Harper’s, so I knew he was a deft player and knowledgable fan. The lure of the all-access media pass was the clincher and he agreed to do the story for much less than he could have commanded elsewhere.

We put him up at the official hotel, the Hyatt above Grand Central Station in Manhattan, and I met him in the lobby on Sunday morning to ride the shuttle bus out to Queens. Unshaven and in his trademark bandana, he looked the part of a raucous rock star but was unfailingly polite, appreciative, and both excited and a little nervous. At the site, we settled into the main stadium for the marquee match that day, between eventual champion Pete Sampras and a rising Australian star, Mark Philippoussis. I remember being concerned by how few notes he was taking in his tiny notebook and wondering if he was getting enough material. We chatted about tennis and books and other things, I pointed out my boss (a woman in a sunhat nearby), and after the match he decided to wander off on his own. Over the next two days, we’d meet up occasionally on the grounds, and as we were leaving together one day, he asked me if I wanted to join him and his friend Jon (Franzen, then a struggling novelist in New York) for a showing of Larry Clark’s film KIDS that night. My then-wife had other plans for us, so I had to demur, to my eternal regret, relegating myself to an even smaller DFW footnote in literary history. The story he produced from that weekend and his tiny notebook proved to be one of the longest (and best) Tennis magazine has ever run, and I had difficult battles with the lady in the sunhat, as Dave and I came to call her, to see that it was published as Dave intended it, footnotes, eccentric abbreviations and all. In the essay, after having spent only a few days there, he had crystalized all the annoyances, grievances, glories and grandeur that those of us who had been attending the event for years had observed but with more humor, sharpness and empathy: the “felonious” price of the Häagen-Dazs bars, the “big ginger beard” that made one of the ball boys look like a “ball grad student,” and the “mad crane” style of a 6’6″ player.

We held the story for a year to run in our 1996 U.S. Open issue, and in the interim, Infinite Jest was published and Dave became the reluctant darling of the literary world. After the issue appeared, he generously wrote to thank me for the short profile I’d written of him for the magazine’s “Editor’s Page” and, again later that year, to explain why the Tennis story would not appear in his collection A Supposedly Fun Thing I’ll Never Do Again, even though he thought it better than another tennis piece, “The String Theory,” originally from Esquire: the latter had received more attention and to include both would be too much tennis for the book. He didn’t owe me that explanation but, like his intellect, his empathy was wide-ranging and deep, and he knew that having the Tennis story in the collection would probably help my editing career. Instead, I got a consolation prize I enjoyed even more: he put me in the acknowledgements as “Jay (I’m Suffering Right Along With You) Jennings,” commemorating our joint battles with my superior.

We continued to correspond sporadically over the years, the last time just months before he took his own life, when I wrote to him about an exhibition match I’d seen between the retired Pete Sampras and John McEnroe. He replied by postcard that he thought McEnroe was ‘so lovely to watch play’ but ‘a ghastly TV commentator,’ a contrarian view I shared. When I heard he’d committed suicide, I remembered an earlier postcard he’d sent me, not so much for what he wrote, which was typically funny and kind, but for the picture. It showed a detail from the exterior of Salisbury Cathedral in England, a close-up of a stone bust in a silent, eternal, open-mouthed scream; on the verso, the work, a portrait of pain, was identified simply as “Head of Man.”

Jay Jennings is the author of Carry the Rock: Race, Football, and the Soul of an American City, and the editor of Tennis and the Meaning of Life: A Literary Anthology of the Game and the forthcoming Escape Velocity: A Charles Portis Miscellany.

Scholar reads between the lines in new Lillian Hellman biography

By Harry Ransom Center

 

Cover of Alice Kessler-Harris’s “A Difficult Woman: The Challenging Life and Times of Lillian Hellman.”
Cover of Alice Kessler-Harris’s “A Difficult Woman: The Challenging Life and Times of Lillian Hellman.”

Alice Kessler-Harris, R. Gordon Hoxie Professor of History at Columbia University, made several trips to the Ransom Center between 2003 and 2011. Her biography, A Difficult Woman: The Challenging Life and Times of Lillian Hellman, will be published by Bloomsbury Press on April 24. She has written many books, but this is her first biography.

Lillian Hellman sent her papers to the Harry Ransom Center in several different consignments. The initial agreement included only her manuscripts, but when she died, her will provided that all her “literary property” be conveyed to the library. The will also specifically excluded “such correspondence that is personal and confidential in nature or of no public or literary value.” The provision created a bit of a conundrum. Despite her celebrity, Hellman tried hard to control information about her private life; and yet to those interested in her place in twentieth-century politics and letters, every aspect of that life is of public interest.

As I worked through the 120 plus boxes of papers and material in the Ransom Center’s Lillian Hellman collection, I was acutely aware of this conundrum. How much of what I encountered was meant, even inadvertently, to shape Hellman’s image? How much would she have omitted had she been able to speak from the grave? Was I reading what Hellman would have wanted me to know about her? Could I read between the lines, find the odd document that revealed what she would have preferred to keep to herself?

My mind was set at rest when I discovered tucked into the files some of those wonderful public/private items that revealed her human face and that suggested that no matter how carefully one tries, the private will somehow become public. In Hellman’s case, I found among the several manuscripts of each play, among the letters to her agents protesting one decision and promoting another, among the records of who she wanted invited to which party, some far more humble papers. They were lists of instructions to the domestic helpers she employed. The lists tended to be quite specific, often filled with diatribes about what had been done wrong as well as what should be done to make her life comfortable. They ranged from mandating a daily bath towel and twice-weekly bedding changes to the frequency with which furniture should be polished and with what kinds of oil. They identified which items of clothing might be washed, which dry-cleaned, and which cleaners could best handle the most expensive garments. They noted the right time to fill ice buckets and provided instructions for waiting at the table. Sometimes these instructions were undated handwritten notes on lined paper, and others they were letters left for new members of her staff. All of them evoked the expectation of good and faithful service.

The private is, I now believe, concealed between the lines of the public—sometimes literally as it is in those boxes, sometimes symbolically—but always somewhere there.

Notes from the Undergrad: Signature Course delves into works, life of Russell Banks

By Harry Ransom Center

 

‘The Sweet Hereafter’ by Russell Banks.
‘The Sweet Hereafter’ by Russell Banks.

 

Dillon Welch is an undergraduate student studying violin performance at the Butler School of Music. He researched the Ransom Center’s Russell Banks archive for a class devoted to the author’s works. During the course, Banks was on campus for an event at the Ransom Center, and Welch was given the opportunity to meet Banks in person.

 

For the spring 2011 semester, as part of the new Signature Course program at The University of Texas at Austin, I took a class on the works of Russell Banks. I’d never heard of him before. But I soon got to know him through both his characters and themes. After we had thoroughly delved into the depths of Banks’s mind on the page, we got to do the same with the man. To me, this was the highlight of the course: a small group of people sitting around a table having an intimate conversation with the author that ranged from deep political questions on his frequent use of racial themes in his novels, to why his characters like to drink Canadian Club. It was an enlightening 90 minutes, for which I could scarcely stop asking questions. To know that we were learning things about Banks that few people actually knew was fascinating. We spent a semester reading close to half of his novels and several short stories. In addition, we spent time studying his archive at the Ransom Center, setting our eyes on rarely seen items. At the beginning of the semester, our professor, Evan Carton, said, “When you leave this course, you will be some of the foremost scholars on Russell Banks.” He was so right.

Related posts:
Signature Courses offer freshmen opportunity to experience primary materials and archival research
Russell Banks signs the authors’ door at the Ransom Center.
In the Galleries: Russell Banks adapts to a word processor

Notes from the Undergrad: Student finds passage to past through diary is a journey full of surprises

By Harry Ransom Center

Joe Marshall recently graduated from The University of Texas at Austin, where he majored in Plan II Honors. He spent time in the Ransom Center’s reading room as he prepared to choose his senior thesis topic, and he shares that experience here.

Arriving at the Ransom Center, I didn’t have anything particular in mind. I wanted to explore primary materials as one of any number of possible venues for thesis work; my keenest interest was in journals, diaries, and the like. I’d been encouraged by a friend’s experience reading the journal of T. H. White—best known for his book The Once and Future King—during the early years of the London Blitz, when the damage inflicted by Adolf Hitler’s bombs was reaching its terrifying crescendo. My friend told how White thought he was witnessing the birth of Hitler’s “Thousand-year Reich” and the end of England and Western civilization as he knew it. I was fascinated. This was experiencing reality directly through the eyes of another: feeling their feelings, suffering their travails, witnessing their very thoughts as much as one could—or one ever can. So I came in, watched the instructional video, completed the requisite training, and asked to see manuscripts from Journal of My Life in India, 1825–1857 by Lieutenant Colonel Alexander Cumming Dewar (1803–1880).

And they gave it to me. I could see and touch, smell and hear (but not taste, crucially) the tiny leather-bound book—the creak of its worn pages—without any of the SWAT gear or hazmat suit I naturally assumed would be necessary. And as I leafed through the surprisingly pristine pages and the tiny script (script!) this meticulous British person had lain down a truly incomprehensible age ago, I came to a stark and sudden realization: this person was not me. They weren’t even a nineteenth-century facsimile of me—a more educated, more analog, but still recognizable permutation of myself.

“Four died a-midships last night” the tiny hand would read. “Spoke with the captain this morning about disembarking for a time in Bengal” the next line would continue, coolly accustomed to the habit people had in that age of, well, dying aboard a tiny wooden ship as it sailed half a world away without GPS or 4G or—perish the thought—even TiVo. I had come to the Ransom Center expecting to inhabit another person, to play around in the thoughts they chose to pen, and to assume their consciousness as one would put on a pair of especially difficult pants. But what I realized was that the gulf of time separating us was so vast and filled with wonder, that I could never truly know them. They (he) was as alien to me as the great gas giants or the terrain of the abysmal deep, except perhaps more so. You can study Jupiter or map the ocean depths, but you can never recreate a person with all the historical context, life experience, and accumulated wisdom of their time. You can only glimpse and hope that glimpse enlightens.

I ended up doing something else entirely for my thesis (something about music and authenticity or some such). But, while it would be clichéd and untrue to say I never forgot, I believe I will always feel the impact of that day’s search. It was too exciting and too unexpected to not worm its way into me—as deep (have I said it?) as the ocean depths.

 

Please click the thumbnails below to view full-size images.