The University of Texas at Austin’s Michener Center for Writers hosts a reading by novelist and short-story writer T. C. Boyle this Thursday, March 21, at 7:30 p.m. in the University’s Avaya Auditorium (ACES 2.302).
Boyle is the author of more than 23 novels and short story collections and a Distinguished Professor of English at the University of Southern California.
The Ransom Center recently acquired Boyle’s archive, which covers the breadth of his prolific career. In honor of the event, the Ransom Center will give away two signed copies of Boyle’s novel The Tortilla Curtain (1995). Email email@example.com with “Boyle” in the subject line by midnight CST Wednesday to be entered in a drawing for the book. [Update: The winner has been drawn an notified.]
In Chicago in the fall of 1962, heavyweight champion Floyd Patterson squared up to face Sonny Liston, also known as “The Bear,” in a monumental fight. Liston, a former convict with ties to organized crime, seemed the opposite of the ambivalent and introspective Patterson, who was known to help an opponent mid-round to find a misplaced mouthpiece. Against the advice of his famed trainer, Constantine “Cus” D’Amato, Patterson agreed to confront Liston in the ring, only to be defeated in less than three minutes. Liston knocked out Patterson again the following July in Las Vegas.
The 1962 title bout against Liston in Chicago, a milestone in Patterson’s life and career, attracted hundreds of reporters. Norman Mailer was among the writers who traveled to Chicago to observe the event. Mailer, who trained as a boxer at Patterson’s gym, used boxing as a major motif in his work and was a lifelong fan of the sport. Out of the Patterson-Liston matchup, Mailer produced an important essay about boxing, “Ten Thousand Words a Minute” for Esquire, a piece that became a cornerstone in Mailer’s book The Presidential Papers (1963).
In his 2012 book, Floyd Patterson: The Fighting Life of Boxing’s Invisible Champion (Houghton Mifflin Harcourt), author W. K. Stratton draws from the Norman Mailer papers at the Ransom Center to share a portrait of Patterson’s boxing career. Mailer, who recognized the symbolic importance of Patterson’s confrontation with Liston, kept press kits and materials from both Liston fights. In addition to examining these materials, Stratton quotes Mailer’s handwritten notes about his interest in boxing.
Other boxing materials from Norman Mailer’s papers will be on display in The Ransom Center’s exhibition Literature and Sport, which runs from June 11 to August 4, 2013.
The Ransom Center launched updated websites for its two permanent exhibitions, the Gutenberg Bible and the First Photograph. The websites contain information, interactive components, and content geared toward children related to each exhibition.
The Gutenberg Bible is the first substantial book printed from movable type on a printing press. It was printed in Johann Gutenberg’s shop in Mainz, Germany, between 1450 and 1455. View a video demonstrating Gutenberg’s printing process.
Gutenberg’s invention revolutionized the distribution of knowledge by making it possible to produce many accurate copies of a single work in a relatively short amount of time. View a map that shows the spread of printing after Gutenberg.
Visitors can turn the pages of the Gutenberg Bible, view the pages in high-resolution, and browse by Books of the Bible or page characteristics, including famous passages, illuminations, and watermarks.
The Ransom Center holds one of five complete copies in the United States. View a map of where the other Gutenberg Bibles are housed.
The First Photograph, which Frenchman Joseph Nicéphore Niépce produced in 1826, is the foundation of the Ransom Center’s photography collection. The 8 x 6.5-inch heliograph depicts a view just outside the workroom window of Niépce’s estate in Le Gras in east central France.
Website visitors can watch an animated video showing how the First Photograph was made as well as create a virtual heliograph of themselves using a webcam; the virtual heliograph image replicates the photographic technique used to create the First Photograph.
Janine Barchas is an associate professor of English at The University of Texas at Austin. Barchas used the Ransom Center’s collections as she conducted research for her book Matters of Fact in Jane Austen: History, Location, and Celebrity, published this past fall by John Hopkins University Press. She writes about working in the collections and how they guided her research.
Did I do a lot of research for my new book Matters of Fact in Jane Austen in the Harry Ransom Center? You bet!
True, many eighteenth-century books and newspapers can now be read online from the comfort of one’s home computer—and without having to attend to the time-consuming niceties of personal hygiene. As literary historians, we have books and documents at our fingertips (literally) that even five years ago demanded trips to far-flung scholarly libraries. E-tools are making historical research faster while also raising the bar of scholarship—since the skill is no longer in the mere finding.
In Matters of Fact in Jane Austen, I argue that Austen’s novels allude to actual high-profile politicians and contemporary celebrities as well as to famous historical figures and landed estates. As the book’s jacket asserts, the “extensive research into the names and locations in Austen’s fiction” takes “full advantage of the explosion of archival materials now available online.”
Digital archives—scholarly databases as well as open resources such as Google Books and even Google Maps—were indeed a great boon to my research. Still, new e-tools do not replace traditional archival spelunking. Nothing beats the targeted serendipity of researching in the collections of a truly great library. In the end, my proximity to the Ransom Center proved just as great an advantage as the e-revolution.
I’ve been asked to identify a few Ransom Center items that shaped, propelled, or redirected my research into Jane Austen. I picked three: one book, one map, and one manuscript.
1) A BOOK
Humphry Repton’s Observations on the Theory and Practice of Landscape Gardening, Including Some Remarks on Grecian and Gothic Architecture. London: Printed by T. Bensley for J. Taylor, 1803. [-Q- SB 471 R427 HRC WAU]
The celebrity landscaper Humphry Repton is mentioned by name in Austen’s Mansfield Park (1814), a novel slightly critical of the fashion for so-called “improvements” that would fell ancient trees just because they were planted in an unnaturally straight line. The Ransom Center owns Evelyn Waugh’s copy of Repton’s watershed Observations. It is a favorite show-and-tell piece among the Center’s curatorial staff, since the hand-colored illustrations have unique folding flaps that show the “before” and “after” views of the changes that Repton wrought at great estates and at great expense. The front of the book also boasts a list of the clients whose estates are mentioned as “examples” by Repton—his resume, as it were. Austen’s cousins, the Leighs of Adlestrop, appear among this client list. The complete list is a virtual who’s who of England’s wealthy and their landed estates. When, among Repton’s list of Britain’s most fashionable landowners, I recognized the telltale names of Austen’s leading men and women (including Dashwood and Wentworth), I began to wonder whether, long before James Joyce plucked names from city directories, she too had used works like Repton’s Observations as inspiration.
2) A MAP
“The N.W. Bank of Soundings by Captain F. W. Austin R.N. in 1808.” Published by the Hydrographic Office, 1816.
Slowly, I came to believe that Austen’s street names in, for example, Northanger Abbey and Persuasion are not casual throwaways to mark the urban setting of Bath generally but compact interpretive clues that reward those with particular knowledge of such locations. At the Ransom Center, I pored over old maps and guidebooks—first of Bath, then Lyme Regis, and other locales mentioned in her stories. Hearing of my Austen research and my queries about old maps, librarian Richard Workman showed me a map of the island of St. Helena, published in 1816 by the Hydrographic Office, which is (in spite of the spelling variation) based upon the painstaking coastal measurements, or “soundings,” taken by Jane Austen’s seafaring brother Frank (Francis William Austen), a ship captain in the Royal Navy in 1808. The existence of Frank’s chart of St. Helena suddenly suggested the larger cartographic sensibility that surrounded Jane Austen. If Austen maps her fictional characters with uncanny precision, she may have gleaned this impulse from another cartographer in her family. While this map was not direct evidence, it offered a larger historical and family context for Austen’s own cartographic exactitude.
3) A MANUSCRIPT
Letter by James Edward Austen-Leigh (1788–1874) to Mr. Cheney, dated April 14, 1870.
Some years ago, in preparation for my first University of Texas class on Austen in 2005, I flipped through the manuscript card catalogue under “AUSTEN, J,” on the off-chance that the Ransom Center owned an actual letter by Jane Austen. It does not. Instead, I found a letter by Austen’s nephew and family biographer, James Austen-Leigh, who published his Memoir of Jane Austen in 1870. When I read it, I was surprised and intrigued. On the face of it, the note is a rather obsequious thank-you for “a kind letter of approbation” about his memoir, received from the brother of a former schoolfellow. In 2009, Deirdre Le Faye identified the recipient as Edward Cheney (1803–1884), whose brother was Robert Henry Cheney (1799–1866). The short letter also asks Cheney whether the cancelled Persuasion chapters should be published in a future second edition of the Memoir. Most suggestively, Austen-Leigh’s letter alludes to the difficulties of finessing the biography of his aunt:
In treating of a subject so mixed up with private matters, I have been chiefly anxious, by no means to offend, and, if possible, to satisfy my own family, & those old personal friends whom, next to my own family, I care most for.
He hints at the polite need to “satisfy” family feeling and keep “private matters” out of the biography. Is this letter a smoking gun? Since Cassandra Austen burned the bulk of her sister Jane’s letters, we know precious little about the author’s private life. Did family members who lived well into the Victorian age help whitewash and starch Austen’s reputation into the prim spinster of record? What might she have seemed like to us now if such “private matters” had not been finessed, repressed, and burned? In sum, this stray letter first sparked my interest and led to questions about what may have been willfully lost in the critical reception of her work.
Finally, in addition to tracking specific research leads, my work in the Ransom Center included old-fashioned reading pleasures. I cherished being able to touch the Austen family copies of Jane’s own novels that miraculously made their way from Chawton to Texas. I carefully turned pages in worn copies of Steel’s Navy List, where I searched, like the Musgrove sisters in Persuasion, for the names of ships, including those of Austen’s sailor brothers. In old editions of the Baronetage, I deciphered the cramped marginalia of former owners who, like the fictional Sir Walter, annotated their copies with details of deaths, births, and notable events. Maps in old guidebooks unfolded to show me the tourist sites of Bath as Austen would have known them in 1801, when her family relocated there. I even turned pages in the same books that Austen borrowed from the library at her brother’s Godmersham estate! No mere screen experience provides this type of thrill.
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The Harry Ransom Center welcomes Jed Perl, art critic for The New Republic, and Peter Kayafas, Director of the Eakins Press Foundation, to discuss their work on Magicians and Charlatans: Essays on Art and Culture and the way that artists, writers, and publishers have responded to the digital age. The discussion takes place Thursday, February 7, at 7 p.m. at the Ransom Center. A book signing will follow.
In Magicians and Charlatans, Perl distinguishes between artists he considers magicians—people who seek to create great art—and charlatans—who are merely seeking fame or profit. Perl does not shy away from making controversial assertions. In his reprinted 2002 essay on Gerhard Richter, he dismisses Richter’s retrospective as “a hymn to deracination, a visual moan.” He laments the commercialization of art, the age of Warholism, and the new “market-driven art world.” Perl offers praise for Meyer Schapiro, Lincoln Kirstein, and the eighteenth-century French painter, Jean-Siméon Chardin.
Perl’s book, published in October by the Eakins Press Foundation, has received praise from The Atlantic, Harper’s Magazine, and The Wall Street Journal. Perl has been an art critic at The New Republic for two decades, and has written for Harper’s, The Atlantic, The New York Times Book Review, among other publications. He is currently working on the first full-length biography of Alexander Calder.
“Mommy, is that God?” a little girl once whispered to her mother as Stella Adler swept into a party in New York City. The girl’s mistake was understandable: Adler was known as a presence of divine proportions, a tall, glamorous woman whose grand gestures and dramatic one-liners captivated audiences both large and small. Adler began acting at age four in the “Independent Yiddish Art Company,” run by her parents, and continued her acting career until 1961. In 1931, Adler joined the Group Theatre, where she worked closely with Harold Clurman and Lee Strasberg.
In 1934, she went with Clurman to Paris to study with Constantin Stanislavski, an acting great famous for developing the Stanislavski System, a set of acting techniques that was tweaked by Strasberg and is known today as Method acting. Adler believed strongly that actors should use their imagination to synthesize characters, whereas Strasberg relied on emotional memory exercises, and the two eventually split over their differences. Adler left the Group Theatre and later opened her own acting school, The Stella Adler Studio of Acting, in 1949 in New York City, where she taught famous actors such as Marlon Brando and Robert De Niro. She opened another school, The Stella Adler Academy of Acting, in Los Angeles in 1985 with her friend and protégé Joanne Linville, who continues to run the school today.
The Ransom Center hold Adler’s papers, which were used extensively by Barry Paris in his book Stella Adler on America’s Master Playwrights (Knopf). The volume peeks into Adler’s classroom and explores the acting master’s take on American playwrights such as Eugene O’Neill, Tennessee Williams, Arthur Miller, Edward Albee, Clifford Odets, and others.
The book was put together using transcripts from Adler’s script analysis classes, where lively discussions of American culture, socioeconomics, and history fleshed out the context of the plays—a practice on which Adler placed the utmost importance. Adler once said of the great artists featured in the book: “these playwrights all saw what was wrong.” She believed it was imperative for the actor not only to bring personal experience to the role, but to truly understand the beliefs, prejudices, and lives of the playwrights who crafted the plays she taught. Peter Bogdanovich, one of Adler’s former students, praised the book for “bring[ing] back the sound of Stella’s unique voice and thought processes, as well as her own particular vision.”
Molly Miller is a graduate student in the School of Information at The University of Texas at Austin. She is studying to become a teen services librarian, but has many other interests, including nineteenth-century British literature, vampires, rare books, and anything to do with the Victorian Era. As part of a research project in Michael Laird’s class “Studies in the Book Arts,” Miller studied a first edition of John William Polidori’s The Vampyre.
Vampires have inspired human imagination for centuries. They even play a huge role in popular culture today, and vampire mythology has been explored in literature, movies, and many other forms of media. While big names such as Bram Stoker’s Dracula come to mind when thinking about the vampire legend, it is easy to overlook the tale that solidified these legends and presented to the world of literature the dark, brooding, mysterious, and somewhat Romantic figure that we recognize as the vampire today. This tale is John William Polidori’s The Vampyre.
Though Polidori’s Lord Ruthven rose to fame and became one of the most important figures for studying the roots of our contemporary idea of the vampire, Polidori himself remained in obscurity for several reasons. Perhaps the most prevalent one is that Polidori did not at first set out to be a writer. He was originally Lord Byron’s personal physician, who traveled with him in Switzerland. On one very cold summer’s night in 1816 (“The Year Without a Summer”), Polidori participated in a challenge to write the scariest ghost story among Byron and his group of friends. This same challenge produced Mary Shelley’s Frankenstein. Three years later, Henry Colburn, publisher and editor of New Monthly Magazine, came across Polidori’s manuscript of The Vampyre and published it serially in his literary magazine under Lord Byron’s name to promote the magazine using Byron’s established celebrity. Although Byron vehemently denied authorship of The Vampyre, it was not enough to disassociate his name from the work, and it became a sensation. When Polidori tried to assert his authorship, Colburn had the tagline “a tale by Lord Byron” removed from the book versions of the story he ordered from London printers Sherwood, Neely, and Jones. Polidori’s name, however, was not added, and the supplementary material printed before and after The Vampyre both relate to Byron in some manner. Therefore, Byron’s name continued to be attached to the work that Polidori had written, and Polidori remained in obscurity.
The Ransom Center holds one of these important London first editions of The Vampyre in the Robert Lee Wolff collection. It is essential to see and read the physical copy of this first edition to get the sense of why Byron’s name continued to be tied to the text even after he publicly denied writing it. It is similarly important to study this original first edition hastily printed for Colburn because of high demand by readers, to understand how the alluring Lord Ruthven would foster our enduring image of the vampire not only as a mythical monster but also as the glamorous seducer in society.
For Further Reading:
“The London Editions of Polidori’s The Vampyre.” by Henry R. Viets, M.D.
Poor Polidori: A Critical Biography of the Author of The Vampyre by D.L. Macdonald
LightBox, TIME’s photography blog, included the anthology Nathan Lyons: Selected Essays, Lectures, and Interviews (University of Texas Press, 2012) as one of its “2012 photobooks of the year.”
Jessica S. McDonald, the Ransom Center’s Nancy Inman and Marlene Nathan Meyerson Curator of Photography, edited the anthology, which provided the first comprehensive overview of Lyons’s career as one of the most important voices in American photography.
In anticipation of Lyons’s November 8, 2012, visit to the Ransom Center, McDonald shared insight about the photographer, curator, and educator.
Nathan Lyons: Selected Essays, Lectures, and Interviews is available online through University of Texas Press.
Edited by Donald Albrecht, an independent curator and curator of architecture and design at the Museum of the City of New York, Norman Bel Geddes Designs America reveals the astonishing breadth of Bel Geddes’s work.
Enjoy a preview of Norman Bel Geddes Designs America through Albrecht’s introduction to the volume, which includes images of Bel Geddes’s varied work, from construction of the stage set for The Eternal Road to his design for an all-weather, all-purpose, never-built stadium for the Brooklyn Dodgers.
Essays by more than 15 leading scholars explore Bel Geddes’s work in theater, housing, graphic design, and work place design, as well as his famous Futurama installation and his working process. More than 400 illustrations from the Bel Geddes archive at the Ransom Center reveal and showcase Bel Geddes’s extensive interests and talents. Essay contributors include Regina Lee Blaszczyk, Christina Cogdell, Christin Essin, Christopher Innes, Sandy Isenstadt, Christopher Long, Jeffrey L. Meikle, Lawrence Speck, and others.
Norman Bel Geddes Designs America is available for purchase at the Ransom Center’s visitor desk during gallery hours and online. Members receive a discount.
Jeweled bindings, which use metalwork, jewels, ivory, and rich fabrics to decorate a book, date back at least to the Middle Ages, but the form was revived around the turn of the twentieth century by the English binders Sangorski & Sutcliffe.
Francis Sangorski and George Sutcliffe met in evening bookbinding classes in 1896. After a few years teaching bookbinding at Camberwell College of Art, they opened their own shop in a rented attic in Bloomsbury despite the difficult economic climate. Then on October 1, 1901, they founded Sangorski & Sutcliffe. Quickly, they became known for their sumptuous multi-colored leather book bindings complete with gold inlay and precious jewels. Their designs were intricate, bold, and creative. These early years were the golden age of the company. During this time Sangorski & Sutcliffe created dozens of fine bindings and grew in both popularity and notoriety. More than 80 Sangorski & Sutcliffe originals are housed in the Ransom Center’s collections.
Many of the Sangorski & Sutcliffe books at the Ransom Center are high-quality bindings but rather plain in appearance, while a few of them are quite ornate. A Sangorski & Sutcliffe binding of Thomas Moore’s Lalla Rookh, for example, has semiprecious stones inlaid inside the front and back covers. An edition of Lewis Carroll’s The Hunting of the Snark is bound in leather with stingray onlay, and semiprecious stones are inlaid inside the front and back covers. Two works, Oliver Goldsmith’s The Hermit and James Russell Lowell’s The Vision of Sir Launfal, are handwritten in calligraphy on parchment by Alberto Sangorski with decorative borders and illuminated miniatures.
One famous book that the Ransom Center doesn’t hold is a book known as the Great Omar, which was a magnificent Sangorski & Sutcliffe binding of Rubáiyát of Omar Khayyám, a narrative poem about the importance of living in the moment. Set in a Persian garden, the lyrical verses are filled with imagery of roses, celebrations of wine, and questions about mortality, fate, and doubt.
Sangorski & Sutcliffe was commissioned in 1909 to design the luxurious binding for the Rubáiyát. The front coverwas to be adorned with three golden peacocks with jeweled tails, surrounded by heavily tooled and gilded vines. The Great Omar was the pride of Sangorski & Sutcliffe. Sadly, it was fated for disaster. The book was sent on the Titanic in 1912. The Great Omar went down with the ship and was never recovered. A second copy of the Rubáiyát was bound on the eve of World War II. This copy was kept in a bank safe vault to protect it. However, enemy bombing during the war destroyed the bank, the safe vault, and the second version of the Great Omar. Stanley Bray, the nephew of George Sutcliffe, created a third version of the book after he retired. This third version follows the original design and is housed in the British Library.
Sangorski drowned in 1912, but Sutcliffe continued the firm until his death in 1936. The business changed hands and names in the postwar years as interest in fine bindings declined. The firm was bought by Shepard’s in 1998, and the name of Sangorski & Sutcliffe was restored.
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