Before spring of last year, I had only heard David Foster Wallace referenced by acquaintances and a TV show character with an affinity for oversized novels. When I was applying for my undergraduate internship at the Ransom Center, I noticed that the Center had acquired Wallace’s archive and opened it for research. I knew that a course on Wallace was being offered by the University as an English Honors seminar during the fall semester, and the opportunity to combine my academic studies with my new internship seemed like a perfect way to enhance my first experience with Wallace’s work. What I believed to be a simple coincidence turned out to be an unforgettable journey down the rabbit hole that is the mind of David Foster Wallace.
My first experience with Wallace was his essay A Supposedly Fun Thing I’ll Never Do Again, and I immediately fell in love with his wit and intimate voice. I would need aforementioned love to lay the foundation for my relationship with Infinite Jest, which has been admittedly rocky, yet rewarding. My professor, Heather Houser, has done an excellent job planning our exposure to Wallace, introducing us to his style in shorter, more light-hearted bursts before throwing us headfirst into the waters of Infinite Jest. She also planned two class trips to the Ransom Center to view items pulled from Wallace’s archive so that we could read marginalia written in miniscule handwriting, correspondence with editors and fans, and annotations in books that he used for research. When I asked her why she thought it was so important to bring our class to see Wallace’s archive firsthand, she replied, “Wallace’s letters, manuscripts, and notes show him to be a painstaking writer and reader. Writing was a laborious, often distressing process for Wallace. Students see this in the sheaves of drafts and series of letters between Wallace and his editors and friends.”
There is something about looking at an author’s handwriting, and leafing through his personal library that grounds you. This was a person, with a life and loved ones: an actual person wrote these books I’m reading, you think, and that realization can be sudden and startling. I am not quite sure why it is easy to forget about the human element of literature, but my time with the Wallace archive helped me remember that I am studying a brilliant person’s imagination incarnate.
I agree with this statement from my classmate Aaron Levine: “We as a class are privileged… most people who read Infinite Jest do not get to read it in segments and then have hour-and-a-half conversations with a room full of inquisitive minds.” It has been an even greater privilege to be taught by a professor who understands the value of pushing the limits of undergraduate study, and to have access to the unique resources that the Ransom Center has to offer. The experiences I have had as an undergraduate scholar at the Ransom Center have enriched my adventures as an intern, as well as my future academic endeavors. In fact, I am planning to research the Ransom Center’s collections for my upcoming undergraduate English Honors thesis.
John K. Young, a professor of English at Marshall University, reflects on the production history of Tim O’Brien’s novels and their implications for the kinds of narratives that are possible for soldiers’ experiences in the Vietnam War. Young received a fellowship from the Norman Mailer Endowed Fund.
“You can tell a true war story if you just keep on telling it,” Tim O’Brien writes in “How to Tell a True War Story.” As the O’Brien papers at the Harry Ransom Center reveal, perhaps the most prominent American novelist of the Vietnam War has kept on telling true war stories not only by mining his experience as a foot soldier across numerous works that often blur the lines between fiction and non-fiction, but also by continuing to revise those books, from the initial appearance of selected chapters in magazines, across typescripts and page proofs for first editions, and even to paperback reprints. While the Center’s collection does not include O’Brien’s earliest manuscripts (most of which he destroyed), it does enable scholars to trace O’Brien’s process of revision across multiple stages of a work’s production. In keeping with this refusal to let a text settle into a fixed, final form, O’Brien returned most recently to The Things They Carried, his 1990 masterwork, for a 2009 edition that contains substantial changes to the stories “The Sweetheart of the Song Tra Bong” and “The Ghost Soldiers,” although these revisions are too recent to have made their way to the Austin archive yet.
During a month-long fellowship in the summer of 2012, I made my way through five of O’Brien’s major works: If I Die in a Combat Zone, his Vietnam memoir; Northern Lights, his first novel; Going After Cacciato, which won the National Book Award for 1979; The Things They Carried; and In the Lake of the Woods, O’Brien’s fictional response to the My Lai massacre. In each case I found fascinating instances of what the editorial theorist John Bryant calls “revisions sites,” moments in a text that offer divergent readings in response to author’s and publisher’s multiple versions. While many of these changes seem minor—adjusting punctuation or reworking the order of a sentence—even such small moments can take on striking interpretive implications. The closing lines in the opening chapter of Cacciato, for instance, describe the protagonist, PFC Paul Berlin, as he watches the title character on his AWOL escape from the war: “‘Go,’ whispered Paul Berlin. It did not seem enough. ‘Go,’ he said, and then he shouted, ‘Go!’” The exclamation mark did not appear in the book’s first edition or in the versions of the first chapter that had been previously published in Ploughshares and Gallery. For a 1986 paperback reprint, O’Brien changed the punctuation, subtly heightening Paul Berlin’s emotional connection to the runaway soldier and, by extension, to his own fantasies of flight, which make up much of the narrative. Similarly, one of Cacciato’s several “Observation Post” chapters—in which Paul Berlin reflects on his tour of duty so far and the comrades who have been killed—first included a paragraph in which he attempts to reconstruct the sequence of those deaths, ending with the line “Then Cacciato.” This suggests the possibility that Cacciato has himself been dead from the time the novel begins, a reading that would add another layer of imagination to the platoon’s journey from Vietnam to Paris. But O’Brien deleted this line for a later paperback edition, returning Cacciato’s fate to greater levels of ambiguity.
Some revisions are much larger in scope. To take one example, the typescript of The Things They Carried originally included a chapter entitled “The Real Mary Anne,” which followed “The Sweetheart of the Song Tra Bong,” a powerful narrative about a high school girl from Cleveland who visits the war and eventually so embraces its chaos and moral rupture that she leaves the Green Berets behind, disappearing into the jungle. Whereas Things often returns to an episode to announce that it was not “true,” at least not in the factual sense, “The Real Mary Anne” (in Box 15, Folder 7) insists on perhaps the book’s most improbable story as entirely accurate, declaring, “there is substantial evidence that the pivotal events in this story actually occurred.” At the suggestion of his editor at Houghton Mifflin, O’Brien cut this chapter altogether from the published book, an omission that locates “Sweetheart” along the same lines as the book’s other chapters, in which the truth of a reader’s experience of the war trumps fidelity to historical detail. Readers often take this story to be the most clearly “made up,” even as such reactions may say as much about ongoing social assumptions about gender and war. While the inclusion of “The Real Mary Anne” might have more overtly interrogated those cultural biases, without it Things still oscillates artfully between metafiction and real expressions of trauma.
It is at this level that the array of revisions in the O’Brien archive is most telling: how they depict the ongoing effort in O’Brien’s texts to represent the trauma of war, and of Vietnam in particular. On the one hand, O’Brien’s work articulates the impossibility of not telling these stories; on the other hand, “How to Tell a True War Story” and other texts respond to the intractable problem of only a few readers—other Vietnam veterans—being able to truly understand the stories. Dr. Jonathan Shays, a psychiatrist who has worked extensively with Vietnam vets suffering from post-traumatic stress disorder, explains in his book Achilles in Vietnam that “Traumatic memory is not narrative. Rather, it is experience that reoccurs.” For Shays, one of the most important steps in addressing—which is not to say “curing”—the effects of post-traumatic stress comes from “rendering it communicable, however imperfectly.” Readers of Cacciato and Things, especially, have long known the ways in which these texts respond to the difficult necessity of rendering the war communicable at the level of fractured plots and thematic resistances to closure, but the materials in the Ransom Center allow them to discover as well the ways in which O’Brien’s processes of writing and revising themselves speak to the undying truths of war.
The papers of British author Nicolas Freeling (1927–2003), best known for his internationally acclaimed crime novels, have opened for research at the Ransom Center. The collection consists of Freeling’s manuscript drafts, correspondence, journals, clippings, and other documents. Freeling is the author of more than 40 novels and has won several prestigious awards for crime fiction, including the British Crime Writers’ Association Golden Dagger award (1964), the Grand Prix de Roman Policier (1964), and the Edgar Allan Poe Award (1966).
Freeling began his writing career in 1959 while serving a three-week jail sentence in Amsterdam after being accused of stealing food. Although he was deported to England shortly after being released, his experience with an Amsterdam detective inspired him to write the first of his famous Piet Van der Valk detective novels, Love in Amsterdam. Freeling continued the series for ten years, and, to the dismay of readers and publishers alike, killed off the beloved detective in the final book.
Two years after writing the tenth and last van der Valk novel, Freeling introduced readers to French police detective Henri Castang, who appeared in 16 novels. He also penned four non-fiction titles, including two books inspired by 12 years of experience working as a restaurant chef, a book of essays about literature’s best crime writers, and his memoir, The Village Book.
Freeling resisted his classification as a crime writer, preferring to focus instead on human psychology and social institutions. The images featured in the slideshow largely represent Freeling’s novel Gadget and excerpts from his journals. His attention to detail in the research process and commitment to realism reveal talents that extend beyond writing excellent crime fiction.
Gadget paints an alarmingly factual account of the implications of the nuclear age and its effects on human behavior and motivation. Freeling worked closely with American physicist Peter Zimmerman to achieve accurate renderings of nuclear instruments, and the two men exchanged notes, research, and drawings throughout the novel’s development, all of which can be found in the archive.
The Freeling papers are a rich and varied resource, with documents ranging from recipes that reveal Freeling’s affinity for cooking, detailed drawings of a nuclear bomb referenced in Gadget, journal excerpts about the effects of drinking wine while writing, and more. While Freeling may be known primarily for his detective dramas, his dedication to the analysis of the human mind is preserved in his papers.
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Image: A drawing by physicist Peter Zimmerman with his and Nicolas Freeling’s notes as part of research for “Gadget,” 1971–1975.
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 theAndrew 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.
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Materials related to David Foster Wallace’s posthumous novel The Pale King (April 2011) are now open for research at the Ransom Center. The materials related to The Pale King were acquired as part of the Wallace (1962–2008) archive in 2010 but were retained by publisher Little, Brown and Co. until after the book’s publication and the subsequent publication of the paperback edition.
The Pale King materials fill six boxes and include handwritten and typescript drafts, outlines, characters lists, research materials, and a set of notebooks containing reading notes, names, snippets of dialog, definitions, quotations, and clippings.
The materials have been organized according to a spreadsheet developed by Wallace’s editor, Michael Pietsch. Pietsch, then-executive vice president and publisher of Little, Brown and Co., spent months reading through and organizing the material and found what he called “an astonishingly full novel, created with the superabundant originality and humor that were uniquely David’s.”
In conjunction with the publication of The Pale King, the Ransom Center partnered with publisher Little, Brown and Co. to offer an online preview of materials from the archive in April 2011.
Alison Clemens is a graduate student in the School of Information at The University of Texas at Austin. She processed the Daniel Stern papers as part of her capstone project for her program, and she shares her experiences working in the collection, which is now open for research.
The Harry Ransom Center acquired the papers of Daniel Stern (1928–2007), novelist and short story writer, in 2009. In doing so, the Center gained an illuminating piece of New York and American literary culture. The collection is filled with Stern’s numerous manuscripts, material related to his careers in writing, advertising, media, and academia, and correspondence with major literary figures, including Bernard Malamud and Anaïs Nin. The material provides a fascinating glimpse of how Stern produced stories as a working writer.
Born in New York City, Stern was raised in Manhattan’s Lower East Side and in the Bronx. He displayed considerable musical talent from an early age. He attended The High School of Art and Music and, upon graduation, played the cello with the Indianapolis Symphony and with Charlie Parker’s band. Stern disliked life in Indianapolis and returned to New York, where he took courses in creative writing and wrote jingles and copy for McCann Erickson advertising agency. Stern rose through the ranks and eventually began working in television at Warner Brothers, where he served on the board of directors in the 1970s.
Throughout Stern’s corporate employment in the 1960s and 1970s, he continued to work on his writing and published numerous novels. The Suicide Academy (1968), to which Anaïs Nin dedicated an essay in her collection InFavor of the Sensitive Man, was popularly successful. In the 1970s, however, Stern would experience two major shifts. First, he left Warner Brothers and moved to the promotions department of CBS in 1979. During this time, he also began writing short stories and sending them to literary reviews, including to Joyce Carol Oates at her magazine Ontario Review. After achieving success as a short story writer, Stern left CBS in 1986 and served as humanities director of the 92nd Street Y until 1988. He assumed teaching positions, including at Harvard and Wesleyan Universities, and joined the University of Houston as Cullen Distinguished Professor of English in 1992.
Stern’s short story collections—including Twice Told Tales and Twice Upon a Time—revisit, revise, and reinterpret literary classics by other authors. Malamud described Stern’s prose as filled with “poetry, inventiveness, verve of style, wisdom in paradox, the argument, [and] wit and comedy.” Stern’s creative process and output is well documented in the papers at the Ransom Center, as the collection contains drafts, correspondence pertaining to specific works, and even unpublished material.
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To celebrate the 150th birthday anniversary of American writer William Sidney Porter—better known by his pen name of O. Henry—Cultural Compass has compiled a gallery of images from the O. Henry manuscript collection. The Ransom Center holds two boxes of materials that include letters and manuscripts.
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Alice Kessler-Harris, R. Gordon Hoxie Professor of History at Columbia University, made several trips to the Ransom Center between 2003 and 2011. Her biography, A Difficult Woman: The Challenging Life and Times of Lillian Hellman, will be published by Bloomsbury Press on April 24. She has written many books, but this is her first biography.
Lillian Hellman sent her papers to the Harry Ransom Center in several different consignments. The initial agreement included only her manuscripts, but when she died, her will provided that all her “literary property” be conveyed to the library. The will also specifically excluded “such correspondence that is personal and confidential in nature or of no public or literary value.” The provision created a bit of a conundrum. Despite her celebrity, Hellman tried hard to control information about her private life; and yet to those interested in her place in twentieth-century politics and letters, every aspect of that life is of public interest.
As I worked through the 120 plus boxes of papers and material in the Ransom Center’s Lillian Hellman collection, I was acutely aware of this conundrum. How much of what I encountered was meant, even inadvertently, to shape Hellman’s image? How much would she have omitted had she been able to speak from the grave? Was I reading what Hellman would have wanted me to know about her? Could I read between the lines, find the odd document that revealed what she would have preferred to keep to herself?
My mind was set at rest when I discovered tucked into the files some of those wonderful public/private items that revealed her human face and that suggested that no matter how carefully one tries, the private will somehow become public. In Hellman’s case, I found among the several manuscripts of each play, among the letters to her agents protesting one decision and promoting another, among the records of who she wanted invited to which party, some far more humble papers. They were lists of instructions to the domestic helpers she employed. The lists tended to be quite specific, often filled with diatribes about what had been done wrong as well as what should be done to make her life comfortable. They ranged from mandating a daily bath towel and twice-weekly bedding changes to the frequency with which furniture should be polished and with what kinds of oil. They identified which items of clothing might be washed, which dry-cleaned, and which cleaners could best handle the most expensive garments. They noted the right time to fill ice buckets and provided instructions for waiting at the table. Sometimes these instructions were undated handwritten notes on lined paper, and others they were letters left for new members of her staff. All of them evoked the expectation of good and faithful service.
The private is, I now believe, concealed between the lines of the public—sometimes literally as it is in those boxes, sometimes symbolically—but always somewhere there.
Many scholars rank the invention of eyeglasses among the most important contributions to humankind in the last 2,000 years. Yet, the inventor of this now thoroughly quotidian piece of technology remains anonymous. Indeed the inventor (or inventors) will almost certainly never be known, given the numerous conflicting claims, lack of specificity, and scarcity of surviving documentation.
What scholars do know about the history of eyeglasses is that they were probably invented at the end of the thirteenth century by a craftsman living near Pisa. The evidence originates from a passage by Friar Giordano da Pisa who recounts having met the anonymous craftsman in 1286. A friend of Giordano named Friar Allesandro della Spina learned how to make them shortly thereafter and shared the secret with the public. A number of other possible inventors of eyeglasses have been posited over the centuries, all of which have finally been proven spurious in recent scholarship.1
During the early period of the production of eyeglasses, they were referred to as vitreos ab oculis ad legendum (eyeglasses for eyes for reading) and oglarios de vitro (spectacles with glass lenses). Eventually these rather clunky terms were shortened to occhiali and ocularia. Either way, the evidence indicates that spectacles were probably invented in Italy at the end of the thirteenth century, and by the early fourteenth century, they were being produced and sold in Venice.
Scholars believe that by the end of the fifteenth century, spectacles were probably being sold and produced throughout most of Europe, with countries like England importing them by the thousands. Florence led the way in manufacturing and apparently produced some of the highest quality spectacles. Despite this widespread production, there are relatively few surviving specimens. Indeed, although Florence was known to be a major producer, archeologists have found only one pair of rivet spectacles in that city.
It is with this in mind that it becomes all the more significant to find evidence of a pair of medieval spectacles anywhere at all. One can imagine why the recent discovery of what appears to be an impression of a pair of medieval rivet spectacles in one of the Ransom Center’s early printed books was cause for excitement. While conducting a survey of manuscript waste found in early printed books I noticed a faint reddish-brown impression of a pair of spectacles on the rear parchment endpapers of a copy of the Opera of Fr. Luigi di Granata. The endpapers in this book comprise a piece of parchment taken from a page in a medieval manuscript (it was a common practice in the hand-press period to reuse old disbound parchment manuscripts for endpapers, pastedowns, stubbs, or spine linings).
A discovery like this is fairly uncommon. Among the many thousands of medieval manuscripts and early printed books in U.S. libraries, only a handful of similar discoveries have been made: a pair of spectacles found in the Folger copy 46 of the First Folio at the Folger Shakespeare Library; the outline of a pair spectacles carved into the wooden boards of a sixteenth-century volume in the rare books department at Catholic University of America and in a fifthteenth-century Breviary at the Fribourg, Bibliothèque Cantonale et Universitaire (seen in Christopher De Hamel’s History of Illuminated Manuscripts, fig. 193); and an impression in a manuscript at the Walters Art Museum. One medieval scholar who has conducted a survey of more than 3,000 manuscripts in the United States informed me that he had encountered only one such example.
The earliest spectacles comprised two convex glass disks enclosed in metal or bone rims with handles centrally connected by a rivet and could either clamp onto the nostrils or be held before the eyes. Later specimens had wire and even leather rims. We know this not only from surviving examples but also from artistic depictions. A painter from northern Italy working in 1352 provides us with the first depiction of spectacles. It appears in a fresco that adorns the Chapter House of a Dominican monastery in Treviso, Italy. The Cardinal Hugh of St. Cher can be seen hard at work in his study with quill, parchment, and a pair of early spectacles on his nose. St. Jerome, the famous scholar-saint and translator of the Latin Bible, also was frequently depicted wearing spectacles in his study.
Advanced scientific methods for dating aside, we can get a good estimate of the age of the eyeglasses that left the impression on the parchment by first examining the script on the parchment (to establish the earliest possible date) and then by looking at the shape of the impression itself. The text is what is known as Southern Textualis or Rotunda. Southern Textualis was popular in Italy and Southern Europe between the late 1200s and the late 1400s. Alternately, the 1568 publication of the printed text provides us with a possible later date. Regardless, the spectacles conform to the physical features and rough time period for early medieval leather-framed spectacles.* But dare we hope for more? Because the book was printed in Venice, Italy, the tantalizing possibility exists that the wearer who deposited his spectacles in between the parchment leaves may have been using a pair of the earliest eyeglasses ever made, because Florence, where eyeglasses were invented, is less than 165 miles from Venice. Although we may never know exactly how (or when) these spectacles left their mark on the parchment, their faint impressions nevertheless offer an intriguing glimpse into the early history this important invention.
1This topic, and the history of spectacles in general, is thoroughly summarized in Vincent Ilardi’s Renaissance Vision from Spectacles to Telescopes (Philadelphia, PA: American Philosophical Society, 2007).
*The author now concludes that the shape of the spectacles is closer to that of leather-framed spectacles, not rivet spectacles, as this post originally stated. Consequently, a better date range would be late 1400s and circa 1500s. Thanks to David Fleishman for his assistance with identification. For an example of leather-framed spectacles, see those of Willibald Pirckheimer (1470-1530).
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Image: Rear flyleaf: It’s difficult to tell exactly how the spectacles left their impression, but they must have been sandwiched between the two parchment endleaves for an extended period of time. Photo by Pete Smith.
On Thursday, April 5, the Ransom Center kicks off The David Foster Wallace Symposium with a public event featuring Wallace’s literary agent, Bonnie Nadell, and his editor, Michael Pietsch, in conversation with Los Angeles Times book critic David Ulin. The free, public event will take place at 7 p.m. (C.S.T.) at Jessen Auditorium, across the plaza from the Ransom Center on The University of Texas at Austin campus. Please note that seating will be limited. Registrants of the symposium will have reserved seating, and Ransom Center members will receive priority entry at 6:20 p.m. Doors will open to the general public at 6:30 p.m. Those unable to attend the event or the symposium can enjoy a live webcast.
Throughout the day on Friday, April 6, the symposium will continue with a series of panel discussions featuring esteemed writers, editors, critics, and journalists who will consider Wallace’s work, his life, and his contribution to contemporary literature. Registration is limited, and only a few spaces remain.
The Ransom Center acquired the David Foster Wallace papers and Wallace’s personal library in late 2009. Since that time, the Center has acquired several smaller collections related to Wallace, including:
Photocopies of Wallace’s completed “usage ballots” for the American Heritage Dictionary. Wallace was a member of the company’s board that governs decisions on usage, spelling, and pronunciation.
Items related to “Democracy and Commerce at the U. S. Open,” an article Wallace wrote for Tennis magazine in 1995, including correspondence with Jay Jennings, senior editor at Tennis.
A photocopy of a typed letter from Wallace to Brandon Hobson in which Wallace gives writing advice to the then-22-year-old Hobson.
Nine annotated drafts of “Host,” an essay Wallace published in The Atlantic Monthly in 2005, together with correspondence related to the essay between Wallace and Martha Spaulding of TheAtlantic.
A small collection of correspondence, primarily from Wallace to recipients including collector Bernard Peyton Watson, who donated the materials.
An unpublished typescript essay titled Pearls & Swine by Wallace, written at the request of James Harmon, who wrote to well-known individuals requesting that they respond to the question, “If you could offer the young people of today one piece of advice, what would it be?”
A collection of correspondence and manuscripts Wallace sent to editor and literary critic Steven Moore between 1987 and 2004, together with photocopies of correspondence from Wallace to writer David Markson.
A two-case display of select items from these various collections will be on view in the Ransom Center’s lobby April 3–8.
Because of anticipated high demand for the use of the Wallace papers and associated collections during the symposium, all researchers intending to request access to these materials must inform curatorial staff of their research plans in advance of their visit, no later than March 30, 2012. To protect the materials, space and access will be limited. Walk-ins will not have access to the materials during this time.
We look forward to welcoming symposium participants, registrants, and other guests to the Ransom Center during the symposium to celebrate the life and work of one of the most creative and influential writers of our time.