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“Great Gatsby” materials on display

By Richard Oram

 

F. Scott Fitzgerald’s The Great Gatsby, now generally recognized as the closest approximation to “The Great American Novel” and a staple of the high school curriculum, is embarking on yet another new life. Today, a film adaptation opens starring Leonardo DiCaprio and directed by Baz Luhrmann, and it has already been described as one of the most stylish movies ever made.  Three previous movies and one television drama based on Gatsby reflect their time periods as much as they do the Twenties.

The film has sent the paperback edition soaring to the top of the Amazon best-seller list.  Yet the first edition (1925) was only a modest success, as Fitzgerald notes in a letter in the Ransom Center’s collection.  Although his literary reputation went into a swoon in the late 1930s and 40s, the novel was reprinted from time to time, though it was rarely regarded as an American classic.  More than a decade after the author’s early death in 1940, biographical and critical re-evaluations finally established The Great Gatsby’s permanent place in the canon of modern fiction. In the above slideshow, a group of editions from the Ransom Center’s collections shows its progress from first edition to the current movie mass-market tie-in.  Not for the first time in its history and probably not for the last, Gatsby has been born again.

A case of materials related to The Great Gatsby and F. Scott Fitzgerald are on display in the Ransom Center lobby through June 9.

Please click on thumbnails for larger images.

Image: The first edition of The Great Gatsby (New York: Scribner’s, 1925). The dust jacket by Francis Cugat incorporates several themes of the novel, while maintaining a certain ambiguity. The eyes most likely belong to Daisy, “the girl whose disembodied face floated along the dark cornices and blinding signs” of Jay Gatsby’s consciousness. The jacket was completed before the novel, and Fitzgerald was so fond of it that he claimed he wrote it into his book. Today, intact dust jackets are exceptionally valuable; both of our copies have been repaired.

Gobsmacked: Professor Recounts Class’s Tour of the Ransom Center

By Elana Estrin

Jacket worn by Robert De Niro in 'Taxi Driver' from the Paul Schrader collection.
Jacket worn by Robert De Niro in 'Taxi Driver' from the Paul Schrader collection.

In October, University of Texas at Austin Psychology Professor Marc Lewis brought his freshman Plan II Honors class on a trip to the Ransom Center. Professor Lewis has won numerous teaching awards, including the Regents’ Outstanding
Teaching
Award and the President’s Associates Teaching Excellence Award. Below, Professor Lewis writes about his class’s private tour of the Ransom Center, led by Director Thomas F. Staley.
 

Page from the Shakespeare First Folio.
Page from the Shakespeare First Folio.

Over 30 years of teaching, I can remember many occasions where students were excited and interested, but my Plan II Honors Signature class’s visit to the Ransom Center on October 4 marks the first time that I have heard audible gasps of astonishment. The class arrived with high expectations, knowing that even among the “gems of the university,” the Ransom Center is unique. They had ordered an eclectic collection of treasures to view: the original manuscript of Arthur Conan Doyle’s “A Scandal in Bohemia,” a Shakespeare first folio, Robert De Niro’s jacket from Taxi Driver, Volume 1 of the 1609 Douay Old Testament, original notes from a Woodward and Bernstein interview with Deep Throat, Abraham Ortelius’s 500-year-old map of the New World, a set of original architectural drawings by Frank Lloyd Wright, and various other rare items. The students came expecting that those exhibits would be the highlight of the day; what they did not expect was that the real magic would be a talk by Director Tom Staley followed by a personal tour of the closed, nonpublic sections of the building.

These freshmen students knew what they experiencing. As one student wrote afterwards: “Walking through rooms filled with original movie posters, books filled with presidential autographs, and other priceless historical artifacts spread casually along shelves was incredible in and of itself, but the places and people Dr. Staley took us to were even more remarkable. Seemingly without ever planning to do so, he showed us the full scope of the Ransom Center’s activities and their significance, everything from the meticulous preservation of the cover from a first edition of The Great Gatsby to colorful sketches of Macy’s parade floats from 40 or 50 years ago.”

Another student was as struck by the excitement of the Center as fully as he was by the items: “Having a backstage pass with Director Tom Staley as guide was a spectacular experience. Simply observing his reactions to the artifacts we saw being restored revealed to me the passion that goes into maintaining this Center.”

Conservator Ken Grant works in the paper lab, consolidating the paint layer on designer Norman Bel Geddes’s 1926 drawing for floats and participants in Macy’s parade. The drawing will be included in an upcoming exhibition on Bel Geddes, with support generously provided by an FAIC/Tru Vue Optium® Conservation Grant. Photo by Kelsey McKinney.
Conservator Ken Grant works in the paper lab, consolidating the paint layer on designer Norman Bel Geddes’s 1926 drawing for floats and participants in Macy’s parade. The drawing will be included in an upcoming exhibition on Bel Geddes, with support generously provided by an FAIC/Tru Vue Optium® Conservation Grant. Photo by Kelsey McKinney.

And: “Around a corner, we encountered an original poster for the 1962 film adaptation of To Kill a Mockingbird—you just don’t find this sort of thing anywhere else. Sometime later in the trip, we were taken to a room where an ancient map a dozen-and-a-half feet long was undergoing a preservation process. You see this sort of artifact on the Discovery Channel and think, ‘Oh, that’s neat!’ but it is only when you see it first-hand that you get a true appreciation for the talent, dedication, and effort that goes into it all.”

Other students commented on the way that the Ransom Center’s collections connect the dots to show artistic flows of thought: “The Ransom Center’s pursuit of an understanding of the creative process and the artistic mind made me completely rethink the process of bringing together collections of art and writing.”

These students had never seen anything like the Ransom Center, and I am pleased that they were wise enough to understand how rare an opportunity they were given. I understood that opportunity as well, and I am not embarrassed to admit that my own jaw dropped more than once during the visit. What an astounding afternoon.