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Ransom Center to host more than 80 scholars in fellowship program’s 25th year

By Bridget Ground

The Ransom Center will support more than 80 research fellows for 2014–2015, the 25th anniversary of the fellowship program. Since the program’s inception, the Center has awarded fellowships to more than 900 scholars from around the world.

 

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 2014–2015 fellowship recipients, more than half of whom will be coming from abroad, will use Ransom Center materials to support projects with such titles as “J. M. Coetzee and the Idea of the Literary,” “Imagined Heartlands: Post-Postmodern Literature and the American Midwest,” “The Films of Powell and Pressburger,” “Norman Hall: Photo-Editing and International Connections in Mid-Twentieth Century Photography,” and “Dawn of a New Day: New York City Between the Fairs.”

 

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 Creekmore and Adele Fath Charitable Foundation, the American Society for Eighteenth-Century Studies, and The University of Texas at Austin’s Office of Graduate Studies, Schusterman Center for Jewish Studies, and program in British Studies.

 

The Ransom Center will host eight additional scholars in collaboration with the Arts and Humanities Research Council (AHRC) International Placement Scheme (IPS). This program, funded and administered by the U.K.-based AHRC, offers early-career researchers and AHRC-funded doctoral students from U.K. universities the opportunity to enhance their research with a fellowship at one of its six participating host institutions.

 

Image: Cover of Eric Gill’s Twenty-five Nudes (1938; reprint, London: J. M. Dent & Sons Ltd., 1951); James Salter’s notes on possible titles for his novel Light Years, ca. 1974–5; cover of Paul Hayden Duensing’s 25: a quarter-century of triumphs and disasters in the microcosm of the Private Press & Typefoundry of Paul Hayden Duensing (Kalamazoo, Mich.: The Private Press and Typefoundry of Paul Hayden Duensing, 1976); signaled message from the Royal Air Force to John Pudney requesting a poem for the organization’s 25th anniversary, March 24, 1943; photograph of 25th Street Theater, Waco, ca. 1962.

 

War photography exhibition showcases images from the Ransom Center’s photography collection

By Natalie Zelt

Back in November the exhibition WAR/PHOTOGRAPHY: Images of Armed Conflict and Its Aftermath opened at its fourth and final venue, the Brooklyn Museum. This exhibition, which I curated with Anne Tucker and Will Michels in my former role in the photography department at the Museum of Fine Arts, Houston, featured over 400 photographic objects dating from 1848 to 2012, including a number of photographs from the Harry Ransom Center’s collections. Our curatorial mission was neither to tell a history of war illustrated by photography nor to present a series on singular photographers. Instead, we hoped to bring together a selection of objects that highlighted the intersections between war and photography.

 

Photographs from the Ransom Center collections were included throughout the exhibition, enriching the thematic sections that explored daily routine, shell shock, and dissemination, as well as battlefield burial and death.  The Gernsheim collection yielded a chilling 1871 print of communards in coffins, an image likely used to discourage further unrest in the streets of Paris, as well as Roger Fenton’s iconic and controversial 1855 photograph The Valley of the Shadow of Death from the Crimean War.

 

A Ransom Center fellowship funded by the Andrew W. Mellon Foundation Research Fellowship Endowment enabled curator Anne Tucker to spend weeks going through box after box of the Ransom Center’s prints, lantern slides, and stereographs. While in the reading room, she could compare the croppings of multiple photographs of Captain Ike Fenton and the U.S. Marines during the Korean War by David Douglas Duncan and share her findings. She also surveyed the collection of prints made at the height of the civil war in El Salvador by 30 international photographers, including Donna DeCesare and Harry Mattison.

 

The New York Journal- American photo morgue provided one of my favorite photographs in the exhibition. It is a small print from 1918 of a carrier pigeon being released from a tank on the Western Front. The image itself references one of the means of communication (pigeon transport) that is often associated with World War I, but it is also important as a photographic object because it carries the marks and highlights of an editor’s pencil, readying the print for reproduction and the image for dissemination.

 

Please click on the thumbnails below to view larger images.

 

Application process open for Ransom Center’s fellowships

By Jennifer Tisdale

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.

Fellow discusses work with Henry James’s letters

By Abigail Cain

Peter A. Walker, a Harry Ransom Center fellow from Salem State University, discusses his research in the Henry James collection. As co-general editor of The Complete Letters of Henry James, Walker focused on the approximately 500 James letters that reside in the Ransom Center. Walker’s research allowed him to trace the author’s relationships through his correspondence.

Walker’s project was funded by the Andrew W. Mellon Foundation Research Fellowship Endowment.

More than 65 research fellowships awarded

By Jennifer Tisdale

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.

Fellows Find: Scholar explores varied creative processes in David Foster Wallace and Don DeLillo archives

By Mary Holland

 

Archival boxes in the Don DeLillo archive at the Harry Ransom Center. Photo by Alicia Dietrich.
Archival boxes in the Don DeLillo archive at the Harry Ransom Center. Photo by Alicia Dietrich.

Mary Holland  is an Assistant Professor of English at SUNY New Paltz. She recently spent time working in the David Foster Wallace and Don DeLillo archives at the Ransom Center. Her work, which was funded by the Andrew W. Mellon Foundation Research Fellowship Endowment, will be used in her article “‘Your head gets in the way’: Distortion, Vision, and Influence in Barth’s Lost in the Funhouse and Wallace’s Brief Interviews with Hideous Men.”

 

Last August, I spent six glorious days working in the David Foster Wallace and Don DeLillo archives at the Harry Ransom Center, research made possible by a travel stipend generously awarded by the Center. A week is a strange amount of time to spend in a place filled to the gills with archival treasures beyond the imagination of an academic wearied by paper-grading and class prep. At first, encountering this abundance in the framework of a week’s stay threatens to trigger an unhelpful paralysis in reaction to intense frustration. I managed to combat such stultification by using every available moment to gather information that I could examine in stolen moments of leisure once I was home.  During my stay, I looked at most of the Wallace materials and a good portion of the DeLillo materials.

For a longtime lover of Wallace’s work, the archive of his drafts, letters, and annotated books is exhilarating and revelatory. I read with glee his comments, written with his trademark tiny handwriting, in the margins of books I’ve never seen him quote from but knew in my gut he had to have mindfully read; I found in drafts of his work scribblings about other pieces he’d written much earlier or later, establishing how fluid and overlapping his creative process was—that his process for creating fiction was as recursive as the fiction he created.

The DeLillo archive is far vaster than the Wallace one and requires more time for full exploration than I could wrench from my life last August. But I did examine research folders for several of DeLillo’s novels, as well as multiple drafts of a few novels: one could not paint a clearer picture of the enormous differences between Wallace’s and DeLillo’s writing processes than by putting the two authors’ drafts side by side. Whereas DeLillo builds a novel like a house, crafting it room by room, paragraph by paragraph, all aiming to fit a blueprint he’s mapped out well ahead, Wallace’s novels spilled out of him like water, going where they would, joining other unexpected streams, requiring repeated and concerted acts of containment, reshaping, and solidification before becoming the complex crystalline structures they are. I also found some startling connections between novels by DeLillo I had previously not read as connected, and these kinds of discoveries will certainly fuel my next critical work on DeLillo.

Landing at such a place as the Ransom Center with only a week to stay before shoving off again is certainly a real test of fortitude and focus. (Yet I gladly set both aside for lost hours when I became passionately absorbed in this or that planned or unplanned thing: I think I spent an hour just reading letters from Gordon Lish to DeLillo. Lish’s cocky, melodramatic persona is not to be missed.) But every time I jogged up the stairs to the reading room on an energized morning, or down again on a tired evening for that well-earned beer on Sixth Street, I did so with enormous gratitude that the Center exists, that its staff members are so helpful and kind, and that I was afforded my week of work there.

Fellow uses astronomy collection to research novel

By Courtney Reed

John Pipkin, of Southwestern University and The University of Texas at Austin, discusses using the Herschel collection at the Ransom Center to conduct research for his forthcoming novel The Blind Astronomer’s Atlas. Pipkin’s research was funded by the C. P. Snow Memorial Fund and the Andrew W. Mellon Foundation Research Fellowship Endowment.

The Ransom Center is now receiving applications for its 2011–2012 research fellowships in the humanities. The application deadline is February 1, 2011, but applicants are encouraged, if necessary, to request information from curators by January 1. About 50 fellowships are awarded annually by the Ransom Center to support scholarly research projects in all areas of the humanities. Applicants must demonstrate the need for substantial on-site use of the Center’s collections.

Photo Friday

By Jennifer Tisdale

Each Friday, the Ransom Center shares photos from throughout the week that highlight a range of activities and collection holdings. We hope you enjoy these photos that reveal some of the everyday happenings at the Center.

Ransom Center curators Steve Wilson (far left) and Jill Morena (second from right) discuss future collaboration with the University’s School of Human Ecology to analyze fiber content and the construction history of the green curtain dress from ‘Gone With The Wind.’ University colleagues from Human Ecology include from left, Dr. Bugao Xu, Professor in the Division of Textiles and Apparel; Dr. Kay Jay, Director of the Historical Textiles and Apparel Collection; Dr. Sheldon Ekland-Olson, Director of the school; and Nicole Villarreal, Human Ecology graduate student. Photo by Anthony Maddaloni.
Ransom Center curators Steve Wilson (far left) and Jill Morena (second from right) discuss future collaboration with the University’s School of Human Ecology to analyze fiber content and the construction history of the green curtain dress from ‘Gone With The Wind.’ University colleagues from Human Ecology include from left, Dr. Bugao Xu, Professor in the Division of Textiles and Apparel; Dr. Kay Jay, Director of the Historical Textiles and Apparel Collection; Dr. Sheldon Ekland-Olson, Director of the school; and Nicole Villarreal, Human Ecology graduate student. Photo by Anthony Maddaloni.
Ransom Center photographer Anthony Maddaloni photographs the boxes of the final page proofs for James Joyce's 'Ulysses' for an upcoming newsletter feature. Photo by Pete Smith.
Ransom Center photographer Anthony Maddaloni photographs the boxes of the final page proofs for James Joyce's 'Ulysses' for an upcoming newsletter feature. Photo by Pete Smith.
Associate Curator of Performing Arts Helen Adair examines an original costume design by William Nicholson for the title role in ‘Peter Pan,’ first performed at the Duke of York’s Theatre in 1904. The drawing, located in the records of the London costumier B. J. Simmons & Co., was pulled for ‘Design Skills: Costume,’ a class in the Department of Theatre and Dance. Photo by Pete Smith.
Associate Curator of Performing Arts Helen Adair examines an original costume design by William Nicholson for the title role in ‘Peter Pan,’ first performed at the Duke of York’s Theatre in 1904. The drawing, located in the records of the London costumier B. J. Simmons & Co., was pulled for ‘Design Skills: Costume,’ a class in the Department of Theatre and Dance. Photo by Pete Smith.
Fellow Jeffrey McCarthy discusses collections that he is researching for “Green Modernism.” McCarthy, recipient of a fellowship funded by the Andrew W. Mellon Foundation Research Fellowship Endowment, was one of five fellows that shared their research during an informal lunchtime discussion. Photo by Anthony Maddaloni.
Fellow Jeffrey McCarthy discusses collections that he is researching for “Green Modernism.” McCarthy, recipient of a fellowship funded by the Andrew W. Mellon Foundation Research Fellowship Endowment, was one of five fellows that shared their research during an informal lunchtime discussion. Photo by Anthony Maddaloni.

Edward Gorey collection at the Ransom Center

By Patricia Bruckmann

Cover of ‘Dracula: The sets and costumes of the Broadway production of the play designed by Edward Gorey’
Cover of ‘Dracula: The sets and costumes of the Broadway production of the play designed by Edward Gorey’

Patricia C. Brückmann, Emeritus Professor of English at the University of Toronto, recently spent time working in the Edward Gorey collection at the Ransom Center for a book she is writing about his work. Gorey (1925–2000) was a writer, illustrator, and a designer of books, sets, and costumes. Born in Chicago, Gorey attended the Francis Parker School (which also claims Ransom Center playwright David Mamet as an alumnus). He spent a semester at the School of the Art Institute of Chicago and later attended Harvard University, where he roomed with Frank O’Hara. He is well-known for animating the opening sequence of PBS’s Mystery! series, and he won a Tony award in 1978 for his costume design for the Broadway revival of the play Dracula.

The Ransom Center’s Gorey collection includes books, manuscripts, illustrations, correspondence, material related to Dracula

, and some material from Gorey’s college days.

Brückmann, whose research was funded with a fellowship from the Andrew W. Mellon Foundation, shares her ruminations on her work in the Gorey papers.

 

“So I cannot come to your musicale…..love, Mildred.” This cryptic note, from Edward Gorey to Frank O’Hara, typifies their exchanges in the late ’40s when they shared rooms at Harvard in Eliot House. Although O’Hara’s musical, artistic, and literary talents were already manifest, Gorey’s mother was suspicious about her gifted only child’s friend, writing “I know nothing about this boy except what you tell me.”

Mrs. Gorey also worried about his future. Rejected by The New Yorker (the drawings were strange, they wrote, and the ideas “not funny”), she proposed that he send earlier work, perhaps more to their taste. The editor did suggest that he drop in, but said that he need not rush. The collection contains only two letters from his father, scrawled on Chicago City Council paper, the salutation “dear Son,” the sign-off “Ed.”

I can’t imagine anyone addressing Gorey with “Hi, honey,” but the birthday card in the collection, from a Chicago neighbor, I think, is real.

These, with tests of scansion and rhyme, scribbled all over yellow sheets (and on bills from the Harvard Coop) are among the papers found in three manuscript boxes at the Center. They include Gorey’s undergraduate essays, from a particularly suggestive one on La Rochefoucauld to a dull study on ship-building in Bath, Maine, and reveal the C+ Gorey received on the essay. The lively voice of his mother’s sister, Isabel Garvey, who shared and may have inspired his interest in dance, theater, and old books, leaps out—most often on 3 x 5 cards.

There are also many limericks, some printed later, and a large box of photostats (similar to a photocopy) from drawings for Dracula, these from a later time, and another box of sketches. The clippings in the vertical file, sent from home, often relate the engagements and marriages of his classmates at the Francis Parker School. The art master there, a Chicago painter, gave him, his mother says, “practically a major in art.” So he did have training in addition to the semester at the Institute. The saddest query, in a letter about Harvard, reads “Who was that professor who jumped out of a window?” The professor was F. O. Matthiessen. Harvard was not just pastoral in the ’40s. It was also, as Lillian Hellman said, “Scoundrel time.”

Scholar explores Hemingway family papers

By Mary Dearborn

As a fellow at the Ransom Center last year, independent scholar Mary V. Dearborn uncovered new information about the Hemingway family while studying the Ernest Hemingway collection and Leicester Hemingway’s New Atlantis collection. She’s currently working on a book based on her findings: The Hemingway Family: The Human Cost, which is scheduled for publication in 2011. Her research at the Ransom Center was funded by the Andrew W. Mellon Foundation.

Dearborn says her book will “tell for the first time the hundred-year story of a tragic American family,” and shares some highlights from her research at the Ransom Center:

I was working in the Hemingway family papers, and I was astounded by what I found there. The papers were mostly Ernest’s mother’s, containing all her correspondence, records, and photographs. None of Hemingway’s previous biographers seem to have really looked at this material, perhaps dismissing it as “domestic” and thus trivial.

Grace Hemingway is usually written off as a cold, castrating shrew—the picture of her that her son wholesaled, blaming her for his father’s suicide. She was definitely difficult, but she was a fascinating woman, and her marriage was a complicated and nuanced relationship of power that Ernest learned a great deal from, for good and ill.

The added bonus is that in these papers there are numerous anecdotes and descriptions of Ernest’s upbringing, contributing to a far more well-rounded picture of the boy and young man than we have previously been given. Ernest once confided to Max Perkins, his editor at Scribner, that he couldn’t write freely while his mother was still alive—not at all the impression he commonly gave out! Their relationship was, until her death in 1951, fraught and intense—and heretofore unexplored.