Navigate / search

Turner Classic Movies to be premier sponsor for upcoming “Gone With The Wind” exhibition

Turner Classic Movies (TCM), the Peabody Award-winning network that is the leading authority on classic films, is a premier sponsor for the Harry Ransom Center’s exhibition The Making of Gone With The Wind, which opens September 9, 2014.

In its 20th year of presenting uncut and commercial-free films, TCM also hosts events such as the TCM Classic Film Festival. At the 2014 film festival, TCM will commemorate the 75th anniversary of Gone With The Wind (1939) with a screening of a recent restoration of the film in collaboration with Warner Bros. Studios.

Held in Hollywood April 10–13, the 2014 TCM Classic Film Festival will celebrate its fifth consecutive year of bringing together legendary stars, award-winning filmmakers, and classic movie fans. TCM host and film historian Robert Osborne serves as official host of the TCM Classic Film Festival.

TCM’s sponsorship will support the Ransom Center, which plans to exhibit more than 300 original items from Gone With The Wind film producer David O. Selznick’s archive housed at the Center, including behind-the-scenes photographs, storyboards, correspondence, production records, audition footage, fan mail, and gowns worn by Vivien Leigh. Donations for the exhibition will contribute to tours, an exhibition catalog, and programming.

Application process open for Ransom Center’s fellowships

Cover of Eric Gill's
Cover of Eric Gill's

The Harry Ransom Center invites applications for its 2014–2015 research fellowships in the humanities.

Information about the fellowships and the application process is available online. The deadline for applications, which must be submitted through the Ransom Center’s website, is January 31, 2014, at 5 p.m. CST.

More than 50 fellowships are awarded annually by the Ransom Center to support projects that require substantial on-site use of its collections. The fellowships support research in all areas of the humanities, including literature, photography, film, art, the performing arts, music, and cultural history.

All applicants, with the exception of those applying for dissertation fellowships, must have a Ph.D. or be independent scholars with a substantial record of achievement.

The fellowships range from one to three months, with stipends of $3,000 per month. Also available are $1,200 or $1,700 travel stipends and dissertation fellowships with a $1,500 stipend.

Information about the Ransom Center collections can be found online and in the Guide to the Collections.

The stipends are funded by Ransom Center endowments and annual sponsors , including the Andrew W. Mellon Foundation Research Fellowship Endowment, the Dorot Foundation Postdoctoral Research Fellowships in Jewish Studies, the Robert De Niro Endowed Fund, the Carl H. Pforzheimer Endowment, the Woodward and Bernstein Endowment, the Frederic D. Weinstein Memorial Fellowship in Twentieth-Century American Literature, the American Society for Eighteenth-Century Studies, the South Central Modern Language Association, the Schusterman Center for Jewish Studies at The University of Texas at Austin, and The University of Texas at Austin Office of Graduate Studies.

Applicants will be notified of decisions on April 1, 2014.

The 2014–2015 academic cycle will mark the 25th anniversary of the Ransom Center’s fellowship program. Since the program’s inauguration in 1990, the Center has supported the research of more than 800 scholars through fellowships.

Novelist, poet, and essayist Julia Alvarez’s archive acquired

Sketch of "The Tavárez-Mirabal 'Residence'" from Julia Alvarez's novel "In the Time of the Butterflies."
Sketch of "The Tavárez-Mirabal 'Residence'" from Julia Alvarez's novel "In the Time of the Butterflies."

The Harry Ransom Center has acquired the archive of acclaimed novelist, poet, and essayist Julia Alvarez (b. 1950).

Alvarez’s extensive archive consists of manuscripts, correspondence, journals, and professional files. The manuscripts span her writing career and include fiction, nonfiction, poetry, essays, and unpublished works, often in multiple drafts. Alvarez regularly sent drafts of her work to friends and colleagues, and these copies usually bear handwritten comments from the reader alongside Alvarez’s revisions.

Alvarez’s correspondence includes poems and letters from fellow writers such as Sandra Cisneros, Edwidge Danticat, Dana Gioia, and Marilyn Hacker.

Alvarez was born in New York City but raised in the Dominican Republic until she was 10. In 1960 her family was forced to flee the Dominican Republic when it was discovered that her father was involved in a plot to overthrow dictator Rafael Trujillo.

Much of Alvarez’s work is considered semi-autobiographical, drawing on her experiences as an immigrant and her bicultural identity. Alvarez’s unique experiences have shaped and infused her writing—from such award-winning novels as How the Garcia Girls Lost Their Accents and In the Time of the Butterflies to her poetry.

Alvarez’s archive will complement the university’s internationally respected resources in Latin American studies, providing a unique and enriching resource not only for literary study, but also for the study of Latin American history and government and other prominent social and cultural issues of our time.

The Alvarez materials will be accessible once processed and cataloged.

McSweeney’s archive acquired

Cover dummy of "McSweeney's Quarterly" Issue 38.
Cover dummy of "McSweeney's Quarterly" Issue 38.

The Harry Ransom Center has acquired the archive of the McSweeney’s publishing company. Founded in 1998 by Dave Eggers, McSweeney’s is considered one of the most influential literary journals and publishing houses of its time. McSweeney’s publishes books, Timothy McSweeney’s Quarterly Concern, The Believer magazine, the food journal Lucky Peach, and the DVD-journal Wholphin.

The bulk of the archive is composed of manuscripts of books, essays, and short stories; correspondence drawn from the publishing house’s work with hundreds of writers; and award-winning design materials. A current digital copy of all files relating to McSweeney’s work will be included, as well as first editions of all its publications.

“We’re very happy to have the McSweeney’s archive at the Ransom Center,” said Eggers. “The Ransom Center is a world-class institution, and we’re honored to be included among their holdings. McSweeney’s is celebrating our 15th anniversary this year, and we’ve had the honor and pleasure of publishing hundreds of authors, established and upcoming, while navigating the choppy seas of independent publishing. We thank the Ransom Center for taking on our archive and for cleaning out our basement.”

The Ransom Center holds several publishers’ archives, including the records of Alfred A. Knopf, P.E.N. International, Nancy Cunard’s Hours Press, Anvil Press Poetry, Commentary magazine, the London Review of Books, and Little Magazine.

The McSweeney’s archive will be accessible once processed and cataloged.

Read more about the arrival of the McSweeney’s archive at the Ransom Center.

Registration opens for photography symposium “Magnum Photos into the Digital Age”

Image credit: Jonas Bendiksen, “Russia. Altai Territory. Villagers collecting scrap from a crashed spacecraft, surrounded by thousands of white butterflies. Environmentalists fear for the region’s future due to the toxic rocket fuel,” 2000. © Jonas Bendiksen/Magnum Photos.
Image credit: Jonas Bendiksen, “Russia. Altai Territory. Villagers collecting scrap from a crashed spacecraft, surrounded by thousands of white butterflies. Environmentalists fear for the region’s future due to the toxic rocket fuel,” 2000. © Jonas Bendiksen/Magnum Photos.

The Harry Ransom Center presents the symposium “Magnum Photos into the Digital Age.” Scheduled for October 25–27, the symposium will be held in conjunction with the Ransom Center’s upcoming fall exhibition Radical Transformation: Magnum Photos into the Digital Age.

The symposium brings together photographers, curators, and historians to discuss the ways in which Magnum Photos has continually reinvented itself from the moment of its founding.

Symposium registration information, including registration, is available online.

Twelve Magnum photographers — Christopher Anderson, Bruno Barbey, Thomas Dworzak, Eli Reed, Jim Goldberg, Josef Koudelka, Susan Meiselas, Mark Power, Moises Saman, Alec Soth, Chris Steele-Perkins, and Donovan Wylie — as well as Magnum CEO Giorgio Psacharopulo, are scheduled to appear in panel discussions with a focus on the cooperative’s evolution and future.

Panel moderators will be Kristen Lubben, associate curator at the International Center of Photography, New York; Anne Wilkes Tucker, Gus and Lyndall Wortham Curator of Photography at the Museum of Fine Arts, Houston; David Little, curator of photography and new media at the Minneapolis Institute of Arts; Stuart Alexander, independent curator and international specialist, photographs, Christie’s, New York; and Jessica S. McDonald, Nancy Inman and Marlene Nathan Meyerson Curator of Photography at the Ransom Center. They will be joined by keynote speaker Fred Ritchin, a professor of photography and imaging at New York University’s (NYU) Tisch School of the Arts and co-director of the NYU/Magnum Foundation Photography and Human Rights educational program.

The Magnum Photos Inc. photography collection resides at the Ransom Center courtesy of MSD Capital, Michael and Susan Dell, Glenn and Amanda Fuhrman, and John and Amy Phelan.

Beat Generation poet Peter Orlovsky’s archive acquired

Peter Orlovsky’s notebook titled Rolling Thunder, Oct. 29, 1975.
Peter Orlovsky’s notebook titled Rolling Thunder, Oct. 29, 1975.

The Harry Ransom Center has acquired the archive of American poet Peter Orlovsky (1933–2010), an important figure in the Beat Generation.

Orlovsky was the companion of fellow poet Allen Ginsberg for more than 40 years, and his papers reflect significant aspects of their relationship. Orlovsky’s collection comprises manuscripts, journals and notebooks, correspondence, tape recordings, photographs, and other personal documents, including unpublished poetry and prose works.

Around the time that Orlovsky met Ginsberg, he began to keep a journal, filling more than 140 notebooks before his death. Some of Orlovsky’s published poems appear in the journals, yet none of the journals have been published.

Correspondence in the collection highlights Orlovsky’s many connections with other poets, authors, and artists. There are more than 1,600 letters written to Orlovsky and/or Ginsberg, including 165 letters written by Ginsberg himself. Some notable correspondents include Gregory Corso, Lawrence Ferlinghetti, Ken Kesey, and Robert LaVigne. Orlovsky also wrote regularly to his parents and siblings, and more than 65 of his letters are included in the archive.

The collection features more than 2,650 photographs taken by or of Orlovsky, documenting the years between 1970 and 2010. Also included are eight reel-to-reel tapes from the 1960s and more than 120 audiocassettes made by Orlovsky during the 1970s and 1980s, some recording conversations with Ginsberg.

The Ransom Center has extensive collections of Beat Generation writers, including materials related to William S. Burroughs, Neal Cassady, Corso , Ginsberg, and Jack Kerouac.

The Orlovsky materials will be accessible once processed and cataloged.

Related content:
Ransom Center Humanities Coordinator Gregory Curtis writes about a piece of correspondence in the archive, revealing how a misunderstanding began between Allen Ginsberg and Diana Trilling.

Austin Critics' Table Awards recognize two exhibitions

The exhibition "I Have the Future: Norman Bel Geddes Designs America." Photo by Pete Smith.
The exhibition "I Have the Future: Norman Bel Geddes Designs America." Photo by Pete Smith.

The Harry Ransom Center was honored this week by the Austin Critics’ Table Awards in the categories “Museum Exhibition” for I Have Seen the Future: Norman Bel Geddes Designs America and “Touring Show, Art” for Arnold Newman:Masterclass. For more than 20 years, the Austin Critics’ Table Awards have celebrated achievement in the arts disciplines. An informal group of critics annually recognize Austin’s art successes, ranging from visual art to theater.

View a list of the diverse recipients.

More than 65 research fellowships awarded

James H. 'Jimmy' Hare crossing the Piave river, 1918, lantern slide; Gordon Conway, 'Red Cross Girl' illustration for Vanity Fair, 1918; Bob Landry, film still from 'A Farewell to Arms,' 1957; Erich Maria Remarque, 'All Quiet on the Western Front,' 1930; Lucile Patterson, National League for Woman's Service World War I military recruiting poster.
James H. 'Jimmy' Hare crossing the Piave river, 1918, lantern slide; Gordon Conway, 'Red Cross Girl' illustration for Vanity Fair, 1918; Bob Landry, film still from 'A Farewell to Arms,' 1957; Erich Maria Remarque, 'All Quiet on the Western Front,' 1930; Lucile Patterson, National League for Woman's Service World War I military recruiting poster.

The Harry Ransom Center has awarded more than 65 research fellowships for 2013-14.

The fellowships support research projects in the humanities that require substantial on-site use of the Center’s collections of manuscripts, rare books, film, photography, art, and performing arts materials.

The fellowship recipients, half of whom will be coming from abroad, will use Ransom Center materials to support projects with such titles as “Postirony: Countercultural Fictions from Hipster to Coolhunter,” “Elliott Erwitt: Early Work,” “Obsession: The Films of Brian De Palma,” “David Foster Wallace: The Form of His Fiction,” “Matisse’s Illustrations for Ulysses,” and “Doris Lessing’s Intuitive Style.”

“Support of scholarly research is one of the primary goals of the Ransom Center,” said Director Thomas F. Staley. “With what has become one of the largest fellowship programs of its kind, we encourage scholars from around the world to make new discoveries about the writers and artists who have shaped our culture.”

The fellowships range from one to three months in duration and provide $3,000 of support per month. Travel stipends and dissertation fellowships are also awarded.

The stipends are funded by individual donors and organizations, including the Andrew W. Mellon Foundation, the Hobby Family Foundation, the Dorot Foundation, the American Society for Eighteenth-Century Studies, the Schusterman Center for Jewish Studies at The University of Texas at Austin and The University of Texas at Austin Office of Graduate Studies.

University appoints new director of the Ransom Center

Photo of Stephen Enniss by Julie Ainsworth/Folger Shakespeare Library.
Photo of Stephen Enniss by Julie Ainsworth/Folger Shakespeare Library.

The University of Texas at Austin has appointed head librarian of the Folger Shakespeare Library Stephen Enniss as the new director of the Ransom Center.

Enniss will take over the duties of current Director Thomas F. Staley, who will retire August 31. Staley, who has been responsible for scores of notable acquisitions and the Center’s enormous growth during his 25-year tenure, had announced plans to retire in 2011, but later agreed to postpone his retirement date. Staley, who is also the Harry Huntt Ransom Chair in Liberal Arts, will remain on faculty and plans to teach in the College of Liberal Arts. Enniss will start at the Ransom Center on August 1.

Enniss will be the seventh director in the Ransom Center’s 56-year history.

J. M. Coetzee’s association with The University of Texas at Austin

April 1, 1965, letter to J. M. Coetzee from C. L. Cline, Chairman of the Department of English at The University of Texas.
April 1, 1965, letter to J. M. Coetzee from C. L. Cline, Chairman of the Department of English at The University of Texas.

J. M. Coetzee was born in Cape Town, South Africa, in 1940 and graduated from the University of Cape Town. After working three years as a computer programmer in England, he enrolled in The University of Texas at Austin in 1965 to pursue his Ph.D. in English, linguistics and Germanic languages, which he earned in 1969. While at the University, he conducted research in the Ransom Center’s collections for his dissertation on the early fiction of Samuel Beckett.

Coetzee’s archive now resides in the Ransom Center and is available for research.
Below, Coetzee writes of his association with The University of Texas at Austin.

Somewhere among the boxes of letters included in this collection is one from the Chair of the Department of English at the University of Texas to John M. Coetzee at an address in Surrey, England. It is dated April, 1965; it thanks young John for his application to come and study in Austin and is pleased to offer him a teaching assistantship at a salary of $2,000 per annum while he works toward a graduate degree.

Thus was initiated my association with The University of Texas, an association by now nearly half a century old. In the 1960s the Ransom Center already had a certain fame, worldwide, for having struck out into a new field for collectors, the field of living authors and their manuscripts. The word “brash” tended to find its way into comments on the Ransom Center and its activities, as did the phrase “oil money.”

I am not sure that such supercilious attitudes would find much traction nowadays. The present-day Ransom Center has custody of one of the world’s great collections of twentieth-century manuscripts, a collection that will bring scholars to Texas for many years to come.

It is a privilege to have graduated from being a teaching assistant at The University of Texas to being one of the authors whose papers are conserved here.

I write these words from my home on the south coast of the Australian mainland, an area prone to destructive bushfires. It is a secondary source of satisfaction to me that, even if this house itself goes up in flames, the work of my hands will have been whisked away to a place of safety in the vaults of the Ransom Center.