Diane Johnson’s dynamic career has encompassed a wide variety of genres, settings, and subjects. As a biographer, she has explored the lives of Mary Ellen Peacock and Dashiell Hammett. As a novelist, she has been named a finalist for both the National Book Award and Pulitzer Prize. She also co-authored the screenplay for Stanley Kubrick’s film The Shining. This year, Johnson has released her first memoir, Flyover Lives.
Johnson’s books are celebrated for their exploration of time and space and her characters for their curiosity and wit. Similarly, in Flyover Lives, Johnson discusses her roots in the American Midwest and her eventual escape to New York, California, and ultimately, Europe. The memoir provides her readers a deeper understanding of her own life and work through the exploration of her ancestry, her childhood, and herself as both mother and writer.
Johnson’s archive resides at the Ransom Center and contains drafts and production materials of her novels in addition to book reviews, essays, correspondence, and a variety of personal papers.
The symposium is organized in conjunction with the Ransom Center’s upcoming fall exhibition, The Making of Gone With The Wind, which opens September 9. In the 75 years since the film’s release, Gone With The Wind and the novel that inspired it have helped shape the way many Americans understand and remember the Civil War.
The symposium looks back to the nineteenth century to examine the cultural world of Union and Confederate painters, photographers, musicians, theater companies, and writers. The songs, images, poems, books, and plays that appeared between 1861 and 1865 offer a nuanced perspective on the Civil War that challenges later narratives, both fictional and historical.
Historians, literary critics, musicologists, and art historians will gather in Austin to discuss the works of well-known figures such as Walt Whitman, Louisa May Alcott, and Frederick Douglass, as well as works related to “Rose’s War,” an 1865 slave insurrection, and the 1864 “Siege of Atlanta.” Panelists will also reflect on the expanding Civil War canon and the legacy of the war’s cultural productions.
Deborah Willis, professor and chair of Photography & Imaging at New York University’s Tisch School of the Arts, will deliver the keynote address, which is co-sponsored by the John L. Warfield Center for African and African American Studies at The University of Texas at Austin.
To register and view more information, including the full list of panelists and a schedule, visit the Flair website.
In January 2015, Tom Stoppard’s newest play—yet to be titled—will premiere at the National Theatre in London. Stoppard, whose archive resides at the Ransom Center, is best known for the production, Rosencrantz and Guildenstern Are Dead, first performed by Oxford University students in 1966. Throughout his career, Stoppard has received four Tony Awards, in addition to an Academy Award for his screenplay for Shakespeare in Love. Philosophical in nature but comical in language and presentation, his work is often described as “serious comedy.”
The forthcoming play is Stoppard’s first since the production of Rock ’n’ Roll by the Royal Court Theatre in 2006. The content and cast of his most recent work has been kept secret by both the writer and the National Theatre’s artistic director, Nicholas Hytner. Hytner will be directing the play during his final season with the National Theatre.
To celebrate this news, Cultural Compass will be giving away a signed copy of Stoppard’s play Rosencrantz and Guildenstern Are Dead. To be eligible to win, tweet a link to this blog post and mention @ransomcenter. If you’re not on Twitter, send an email to hrcgiveaway(at)gmail.com with “Stoppard” in the subject line. All tweets and emails must be sent by midnight CST tonight, and winners will be drawn and notified Monday, April 21. [Editors Note: This contest has now closed, and the winner has been notified.]
Quentin Bell’s biography of Virginia Woolf begins with a famous sentence: “Virginia Woolf was a Miss Stephen.” Her father, Sir Leslie Stephen, was an eminent critic and editor of the Dictionary of National Biography; his first wife was W. M. Thackeray’s daughter Minny. The second Mrs. Stephen, Woolf’s mother, was Julia Prinsep Duckworth, celebrated as a model for the Pre-Raphaelite artist Sir Edward Burne-Jones and the photographer Julia Margaret Cameron.
Julia Stephen was a practicing nurse and the author of a single slim volume, Notes from Sick Rooms, published by Smith, Elder (her husband’s publisher) in 1885. No doubt it was published in a very small edition, most likely as a favor to the Stephens. The Ransom Center recently acquired a copy of this book, which is remarkable for a couple of reasons. First, nearly all the surviving copies are found in medical or nursing libraries, not in special collections specializing in modern literature. Secondly, this copy was inscribed in July 1934 by Vanessa Bell, Virginia’s sister, to her lover Duncan Grant and was probably one of a handful of copies kept in family hands.
Stephen’s little book is not a nursing manual but rather a collection of practical advice on tending the sick (this task would have been an inescapable part of life for every Victorian). The text is not without a sly, allusive wit worthy of Woolf: “The origin of most things has been decided on [a reference to Darwin?], but the origin of crumbs in bed has never excited sufficient attention among the scientific world, though it is a problem which has tormented many a weary sufferer.” Based on the evidence of this book, Julia Stephen seems to have been ideally suited to the profession—a tireless caregiver with a great deal of compassion and consideration for the dignity of invalids.
The same compassion is palpablein Virginia Woolf’s essay “On Being Ill,” published in her friend T. S. Eliot’s NewCriterion in 1926. In this piece, she drew upon her own extensive personal experience of migraines, pneumonia, and a host of nervous complaints that often confined her to bed. The author wonders why illness is not more frequently written about in essays, since disease confers upon the sufferer a unique perspective on the world: “It is only the recumbent who know what, after all, Nature is at no pains to conceal—that she in the end will conquer.” Despite the seriousness of the subject matter and our knowledge of Virginia’s eventual suicide, the essay abounds with good humor and intellectual playfulness.
Woolf would be surprised to find that disease has become the subject of so many memoirs and that critics have identified a modern genre of “pathography.” Like Woolf, quite a few of these memoirists struggle to find some hidden meaning in their illness— the so-called “gift” of depression, cancer, or what have you. Julia Stephen’s Notes from Sick Rooms, rooted in another era, simply accepts that illness and its “disagreeable circumstances” are part of life.
Please click on thumbnails below to view larger images.
To honor acclaimed novelist, naturalist, and wilderness writer Peter Matthiessen (1927–2014), the Ransom Center is highlighting materials from his archive in its lobby.
Matthiessen was born in New York City to a well-to-do family and educated at Yale. Determined to pursue a writing career, Matthiessen moved to Paris where he became one of the founders of The Paris Review, which, he later admitted, he invented as a cover while working briefly for the CIA. In his 45-year career as a writer, Matthiessen produced more than 30 works, winning National Book Awards for The Snow Leopard (1978) and Shadow Country (2008), a one-volume revision of a trilogy of frontier Florida novels published in the 1990s. In writing to the Ransom Center about Shadow Country, Matthiessen confessed, “I was dismayed to find upon opening the finished product at long last that it was still unfinished.”
Matthiessen’s rich archive was acquired by the Center in 1995, and materials wereadded in succeeding years. It includes manuscripts, correspondence, journals, and professional files that span his writing career and include fiction, nonfiction, and essays, often in multiple drafts.
Writer James Salter, whose papers also reside at the Ransom Center, paid tribute to Matthiessen in The New Yorker.
The materials in the lobby are on view through April 27.
Within Club TCM, the gathering point for festival passholders in the Hollywood Roosevelt Hotel, the Ransom Center will exhibit a selection of Gone With The Wind storyboards and concept art from the Center’s David O. Selznick archive.
Also at the festival, TCM will commemorate the 75th anniversary ofGone With The Wind (1939) with a screening of a recent restoration of the film in collaboration with Warner Bros. Studios.
Beginning September 9 at the Ransom Center, more than 300 original items from Gone With The Wind will be on display in the exhibition The Making of Gone With The Wind, including behind-the-scenes photographs, storyboards, correspondence, production records, audition footage, fan mail, and costumes worn by Vivien Leigh. Drawing from its extensive archive of the film’s producer, David O. Selznick, the Ransom Center is in a unique position to tell, and share, the story of the making of this epic film.
Image: Dorothea Holt’s concept painting of Scarlett at the Butler House in Gone With The Wind.
The University of Texas Press recently announced the undertaking of the publishing project The Texas Bookshelf, a series of 16 books, with an accompanying website, focusing on all things Texan. All books are to be written by faculty and staff at The University of Texas at Austin. The inaugural book, to be released in 2017, will be a history of Texas written by Stephen Harrigan, faculty member at the Michener Center for Writers. The subsequent books will focus on Texas history, business, culture, art, music, film, politics, and more.
Of the contributors, two are affiliated with the Harry Ransom Center.
Greg Curtis, Humanities Coordinator at the Ransom Center and Senior Lecturer at The University of Texas at Austin, plans to write a book on the history of Texas literature, with profiles of the lives of Texas writers and critical responses to their work.
Roy Flukinger, Senior Research Curator at the Ransom Center, will be writing and compiling a volume about the evolution and expansion of twentieth-century photography in Texas, which will feature hundreds of significant images created by important photographers and artists who worked throughout the state during that century.
Image: Photo of contributors to UT Press series The Texas Bookshelf by Michael O’Brien.
The Harry Ransom Center has acquired the archive of American poet Billy Collins. The materials span Collins’ personal and professional life from the 1950s to the present and documents in detail his creative development.
Collins, born in 1941, is known as a poet for the people, with a witty, conversational style that welcomes readers and illuminates the profound details of everyday life. He has described the beginning of his poems as “a kind of welcome mat … inviting the reader inside.” This accessible style and public presence have garnered a wide following, and from 2001 to 2003 he served as Poet Laureate of the United States.
“Collins is one of a very few poets whose poems are widely read,” said Harry Ransom Center Director Stephen Enniss, “and it is a great pleasure to extend the Center’s holdings in this way, with the archive of a poet beloved by readers everywhere.”
Within the archive are dozens of notebooks, which include Collins’ observations, notes, doodles, clippings, and extensive drafts of poems, both published and unpublished. It also includes desk diaries or datebooks that document his life as a teacher, poet and public figure. The earliest materials in the archive include childhood compositions and early family photographs. Also documented is Collins’ career as a teacher and his later emergence as a poet in the late 1970s. Audio and video recordings and drafts of speeches and talks document a full public life as one of the country’s most popular poets. The archive includes extensive correspondence, both personal and professional.
“I am deeply honored and not a little intimidated to have my papers join the literary trails of so many illustrious writers housed at the Harry Ransom Center, several of whom I count among my literary heroes,” said Collins.
Collins will be speaking at Austin’s Paramount Theatre on Thursday, Jan. 23, at 8 p.m. Tickets can be purchased online or by phone at 512-474-1221.
The Ransom Center has acquired 21 previously unrecorded and unpublished letters by author J. D. Salinger. The letters are accessible as part of the Ransom Center’s existing Salinger collection, which includes published and unpublished manuscripts, galleys, page proofs, and correspondence.
Most of the newly acquired letters are written by Salinger to Ruth Smith Maier, a classmate and friend he met at Ursinus College. Salinger attended Ursinus College in Collegeville, Pennsylvania, in the fall of 1938, but he quit midterm and returned to New York City. He and Maier maintained a 40-year correspondence in which Salinger commented on a wide range of topics including his literary ambitions, his writing, and his family life. A number of letters offer insight into his evolving attitude toward public exposure and cast light on his decision to withhold new work from public view.
In the earliest letter, the 22-year-old Salinger expresses confidence in his literary gifts: “Oh, but I’m good,” he writes Maier. “It will take time to convince the public, but [it] shall be done.” In later letters Salinger reminisces about his brief time at Ursinus College (“one of the last peaceful or simple or oddly comforting times of my life”) and comments on his second marriage and early fatherhood. Five letters from 1977 and 1978 are written to Ruth Maier’s son, Christopher. In one he offers an explanation for his decision to withhold his writing from the public, explaining “publication tends, for me, at least, to put all work still in progress in dire jeopardy . . . I distrust the finality of publication.”
The acquisition also includes copies of Ruth Smith Maier’s letters to Salinger and a draft of the first letter Christopher Maier sent the author.
Ransom Center Director Stephen Enniss notes the correspondence will be of particular interest to those who wish to understand Salinger’s withdrawal from public life. He adds, “It also humanizes the author, showing him confronting a range of life-changing events from marriage to fatherhood and his own aging.”
The Ransom Center’s Salinger collection was established in 1968 and has been augmented with subsequent additions over many years. The Ransom Center is one of a handful of institutions that hold original Salinger manuscripts, including Princeton University, Harvard University, the New York Public Library, the Library of Congress, and the Morgan Library.
Docent-led gallery tours occur on Tuesdays at noon, Thursdays at 6 p.m., and Saturdays and Sundays at 2 p.m. (There will be no public tour on Thursday, November 28.) The public tours meet in the lobby, and no reservations are required.
Admission is free. Your donation supports the Ransom Center’s exhibitions and public programs. Parking information and a map are available online.
The Cultural Compass blog will be on hiatus during the University’s winter break and will return the week of January 6.