The medieval and early modern manuscripts collection contains 215 items dating from the eleventh to the seventeenth centuries. It comprises items from various collections, including those of George Atherton Aitken, W. H. Crain, Carlton Lake, Edward A. Parsons, Sir Thomas Phillipps, Walter Emile Van Wijk, Evelyn Waugh, John Henry Wrenn and others.
The Ransom Center is in the process of digitizing all of the collection items, which will be added to the database as they are completed. At present, digital images are available for 27 of the items for a current total of 7,288 pages.
The database contains item-level descriptions for all 215 items, and the collection is searchable by keyword and any combination of the following categories: name, country of origin, century, language, format (such as charters or diaries), subject, and physical features (such as musical notation or wax seals).
The Ransom Center has acquired the manuscripts of anthropologist Claude Lévi-Strauss’s major and minor doctoral theses. The typed theses, annotated with handwritten corrections, were presented by Lévi-Strauss at the Sorbonne University in Paris in 1948 upon completion of his doctorate in humanities. Lévi-Strauss’s major thesis, “Les structures élémentaires de la parenté,” was published in English as “The Elementary Structures of Kinship” in 1949. In the thesis, he proposed the “alliance theory,” a structuralist model for the anthropological study of relations and kinship. His minor thesis, “La vie familiale et sociale des indiens Nambikwara” (“The Family and Social Life of the Nambikwara Indians”), is an ethnography of an indigenous group of the Brazilian Amazon.
Frequently referred to as the father of modern anthropology and structuralism, Lévi-Strauss is known for works such as A World on the Wane (1955), The Savage Mind (1962) and the four-volume Mythologiques series, completed in 1971.
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2010 marks the twentieth anniversary of the publication of Tim O’Brien’s The Things They Carried, a ground-breaking meditation on war, memory, imagination, and the redemptive power of storytelling. The book depicts the men of Alpha Company: Jimmy Cross, Henry Dobbins, Rat Kiley, Mitchell Sanders, Norman Bowker, Kiowa, and the character Tim O’Brien, who has survived his tour in Vietnam to become a father and writer at the age of 43.
The Ransom Center acquired the archive of the National Book Award–winning writer in 2007, and a finding aid for the collection is available online. Also, read what O’Brien has to say about his papers residing at the Ransom Center.
Thomas F. Staley, director of the Harry Ransom Center for the last 22 years, will retire August 31, 2011. During his tenure, Staley has raised more than $100 million in donations and collection materials, expanded the Center’s holdings substantially, increased awareness of the collections, and focused on making them more accessible to scholars and the public. Learn more or view a list of major acquisitions and achievements under the leadership of Staley
The papers of British writer Jim Crace, author of acclaimed works Continent (1986), Arcadia (1992), Quarantine (1997), Being Dead (1999), and The Pesthouse (2007), are now open at the Ransom Center. A finding aid of the collection can be accessed online.
The Center acquired Crace’s archive in 2008. The collection is made up of more than 45 boxes of materials, including the research notes, early drafts and edited page proofs of All That Follows (2010), Crace’s novel that is being released next Tuesday.
Below you can view a video of Crace reading from All That Follows. Also, listen to audio of Crace reading from his other works and view a list of his recommended reading.
The Ransom Center has received a $1 million gift from the Booth Heritage Foundation to support and enrich its conservation and preservation programs. The gift to Campaign for Texas, the university’s capital campaign, will support a five-year initiative to enhance the Ransom Center’s conservation and preservation programs for physical materials and to transform the Center’s digital preservation program.
The gift will establish a Conservation and Preservation Programs Excellence Fund, supporting initiatives such as staff participation in conservation and preservation workshops, meetings, conferences and programs; the development of a digital preservation management system and the establishment of internships in conservation and digital preservation. The gift will enable the recruitment of two new Ransom Center staff members in photograph conservation and digital preservation, providing funding while the Center seeks to endow the positions permanently.
Screenwriter and director Paul Schrader has donated his collection to the Harry Ransom Center. Schrader wrote screenplays for such iconic films as Taxi Driver (1976), Blue Collar (1978), Raging Bull (1980), American Gigolo (1980), The Mosquito Coast (1986), and Affliction (1997).
Schrader had previously donated Robert De Niro’s costume from Taxi Driver after De Niro donated his archive to the Ransom Center in 2006. The costume is now on display in the Ransom Center’s exhibition Making Movies, which runs through Aug. 1.
The Schrader collection consists of more than 300 boxes and includes outlines and drafts of scripts and screenplays, correspondence, production materials, videos, audio tapes, press clippings, photographs, and juvenilia.
The collection will be made accessible once it is processed and cataloged. A small case of materials from the collection will be on display in the Ransom Center lobby through March 21.
Bonnie Nadell, longtime literary agent of David Foster Wallace, shares her thoughts on what scholars can learn from Wallace’s archive about his creative process:
Organizing David Wallace’s papers for an archive was not a task I would wish on many people. Some writers leave their papers organized, boxed, and with careful markers, David left his work in a dark, cold garage filled with spiders and in no order whatsoever. His wife and I took plastic bins and cardboard boxes and desk drawers and created an order out of chaos, putting manuscripts for each book together and writing labels in magic markers.
But what scholars and readers will find fascinating I think is that as messy as David was with how he kept his work, the actual writing is painstakingly careful. For each draft of a story or essay there are levels of edits marked in different colored ink, repeated word changes until he found the perfect word for each sentence, and notes to himself about how to sharpen a phrase until it met his exacting eye. Having represented David from the beginning of his writing career, I know there were people who felt David was too much of a “look ma no hands” kind of writer, fast and clever and undisciplined. Yet anyone reading through his notes to himself will see how scrupulous they are. How a character’s name was gone over and over until it became the right one. How David looked through his dictionaries making notes, writing phrases of dialogue in his notebooks, and his excitement in discovering a wild new word to use.
We want readers to see how he thought because how he thought was unique and beautiful and precise. So anyone looking through his drafts and even his books will see the levels of thinking that went into every sentence and every page. The corrections on Infinite Jest for the paperback edition even after a master copyediting job, David’s love of language in his dictionary and in his notebooks, and how he deconstructed other writer’s stories and sentences so he could teach his students how to write better and how to read better. The archives are a window into his mind, and I really think scholars and readers will appreciate seeing that for the first time.
Approximately 200 books from David Foster Wallace’s library arrived at the Ransom Center with his papers. When the staff unpacked the collection to check its condition, we could see immediately that the library was not simply a supplement to the archive but an essential part of it. Wallace annotated many of the books heavily: he underlined passages, made extensive comments in the margins, and utilized the front and back inside covers for notes, vocabulary lists, brainstorms, and more. As a reader of Infinite Jest, one book in particular caught my eye: a battered paperback copy of Pam Cook’s edited volume The Cinema Book (New York: Pantheon, 1985). This reference work is heavily used: it lacks both its front and back cover, its spine is held on with two pieces of tape, and the exposed inside cover is inscribed “D. Wallace ’92,” four years before the publication of Infinite Jest.
Infinite Jest is a book about many things, and the mesmerizing power of movies is one of its most dominant themes. One of the book’s central figures is the late James O. Incandenza, an auteurwhose filmography has left an indelible mark upon all of the novel’s characters in one way or another. Early in the novel, the reader learns of the extent of his importance in endnote 24. Endnote 24 comprises Incandenza’s entire filmography, which fills eight pages in tiny print. The reader discovers here that it is essential to actually read Wallace’s footnotes (spoiler alert), because only in this endnote do we learn that Infinite Jest is the title of an Incandenza film.
Traces of The Cinema Book may be found throughout Wallace’s novel, beginning with the basic format of the filmography itself: notably, Wallace penned a bracket around the “Special Note” at the front of The Cinema Book, in which Cook outlines the format her citations will take, and Wallace’s citations of Incandenza’s films resemble these closely. Wallace may also have gathered much film knowledge from this volume. The Incandenza filmography is a virtuosic pastiche of film history, technology, and vocabulary. We are told that Incandenza made every kind of film: “industrial, documentary, conceptual, advertorial, technical, parodic, dramatic noncommercial, nondramatic (‘anti-confluential’) noncommercial, nondramatic commercial, and dramatic commercial works” (985). Wallace annotated passages throughout The Cinema Book, with the exception of two theoretical chapters. He noted concrete information such as the names of actors, directors, production companies, film journals, and significant events in film history. His annotations show his interest in a wide range of terms and themes covered in the volume, with particular interest in sections on the idea of the auteur, the technology of deep focus cinematography, new wave cinema, the Hollywood star system, and most film genres (with the notable exception of the “the gangster/crime film,” the only genre lacking any Wallace annotations).
At two points in the volume he explicitly mentions Infinite Jest. In the section on “National cinema and film movements,” he underlines much of the section on Roberto Rossellini’s place in the neo-realist Italian tradition, writing in the bottom margin “Rossellini + ‘ad-hoc’ structure—Infinite Jest” (39). More dramatically, he writes the letters “IJ” no less than four times in the three-page section on “The Hollywood Star Machine.” He underlines several passages with particular attention to the following, which will not come as a surprise to readers of Infinite Jest:
It has been argued that the erotic play of the “look” around the female star figure in classic Hollywood cinema is an integral part of the narrative drive towards closure and the reinstatement of equilibrium (Mulvey, “Visual pleasure and narrative cinema,” 1975). This argument uses psychoanalytical concepts to address the question of the fantasy relationship between spectators and film and the role of the star in that relationship (see also Cook, “Stars and politics,” 1982; Friedberg, “Identification and the star,” 1982). 
Finally, my favorite set of annotations surround the section on the genre of the musical, written by Andy Medhurst. Medhurst spends a considerable amount of time discussing this genre’s dominant theme: entertainment. Wallace has underlined passages discussing the ways in which this genre taps into viewers’ nostalgia and their desire to experience a “vision of human liberation” in a utopian entertainment experience. Wallace has penned “ENTERTAINMENT” at the top of the page and circled the page number (107). This word is central to the project of Infinite Jest, and it is enlightening to read one of the sources from which its meanings in the novel likely derive.
Unpacking Wallace’s library was a once-in-a-lifetime experience for this reader; once this and his other books have been cataloged, I look forward to seeing what insights scholars will derive from the hundreds of books and thousands of annotations beyond the few I have noted here.