Katherine Slusher, an art curator and writer based in Barcelona was a David Douglas Duncan Fellow at the Ransom Center in 2009. She writes about her research in the Duncan collection, which documents his travels all over the world as a photojournalist.
Slusher’s article highlights Duncan’s extensive travels to the Florida Everglades, the Caribbean, South America, Central America, Afghanistan, Egypt, Persia, and Turkey as he captured iconic images for such publications as LIFE Magazine.
The Ransom Center annually awards more than 50 fellowships to support scholarly research projects that require on-site use of its collections. The Center is receiving applications for its 2011-2012 fellowships in the humanities.
Novelist Don DeLillo received the 2010 PEN/Saul Bellow Award for Achievement in American Fiction. He is the author of 15 novels, 4 plays, and a number of short stories and essays. The PEN/Saul Bellow Award for Achievement in American Fiction goes to a distinguished living American author of fiction whose body of work in English possesses qualities of excellence, ambition, and scale of achievement over a sustained career, which places him or her in the highest rank of American literature.
Author, essayist, playwright, screenwriter, and film director David Mamet received the 2010 PEN/Laura Pels Foundation Award for a Master American Dramatist. Mamet is the author of more than 50 plays and 25 screenplays that have earned him a Pulitzer Prize, Oscar nominations, and a Tony Award. The PEN/Laura Pels Foundation Award for Drama recognizes a master American dramatist whose literary achievements are vividly apparent in the rich and striking language of his or her work.
“The fact that the archives of Don DeLillo and David Mamet, two of PEN’s literary award winners this year, are at the Ransom Center is a reminder of the extraordinary collections at the Center,” said Steve Isenberg, executive director of the PEN American Center, a member of the Ransom Center’s Advisory Council, and a former visiting professor of humanities at The University of Texas at Austin. “It’s wonderful that these collections are readily available to scholars, students, faculty, and the public to see firsthand.”
The current (and final) installment of the Ransom Center’s series on Books of Hours surveys the 300-year reign of the Book of Hours as a medieval bestseller, from its beginnings in the fifteenth century to the Age of Print to the Post-Reformation period.
Part I of the series describes the emergence of the Book of Hours as a distinctive class of text and provides an introduction to the subject. Part II discusses and illustrates the most common elements found inside a Book of Hours.
With 2010 drawing to a close, Ransom Edition, the Center’s print newsletter, asked writers and scholars to share their picks for the best book of the past decade. See the recommendations of Booker Prize-winner Penelope Lively, writer and filmmaker Iain Sinclair, writer Stephen Harrigan, writer and journalist Selina Hastings, and associate professor Randolph Lewis.
The Harry Ransom Center celebrated the opening of its exhibition, Discovering the Language of Photography: The Gernsheim Collection, with a “Picture Perfect Evening” on Friday, September 10. Guests enjoyed informal tours of the exhibition, photo-inspired screenings, “make-and-take” photo keepsakes with The WonderCraft, cocktails courtesy of Tito’s Handmade Vodka, hors d’oeuvres, and more.
Guests received gift bags with items from The Blanton Museum of Art, Con’ Olio Oils & Vinegars, CSI Printing, Lip Glosserie, Saks Fifth Avenue, and South Austin People – So.A.P.
Jacqueline Muñoz, librarian at the Ransom Center, cataloged more than 300 books from David Foster Wallace’s archive. Here, she writes about her experience working with the collection and her personal response to Wallace’s work.
I didn’t think much of Infinite Jest in the beginning. My impression of David Foster Wallace’s writing was that it was wordy and unfocused with some seriously flawed characters. Gradually I settled into his use of language, which is quite impressive, and finally at the Boston AA section, I was hooked—certainly on the plot, but even more so on the man behind the prose. All at once, it was clear the length of the story and ambiguity of the characters was Wallace’s vehicle for articulating how unforgiving it is to be human, and how, though various generations may seem vastly different on the surface, they struggle internally with the same issues. I thought, this man is a genius; I want to know him better. So, I was thrilled to find out the Ransom Center would be acquiring his archive, especially given the description about the extensive annotations to his books.
Even then, I was not prepared for what we received. Of the more than 300 titles in his collection, there are maybe 10 or 15 that are not annotated—not simply with underlined passages but ample and personally revealing margin notes. The library basically falls into two categories: novels/stories he taught in his literature classes and books for use in research and self-analysis. Finishing Infinite Jest, I came away with a lot of questions about the origin of some of the characters, as well as theories about the story itself. I think the items in his library, which feel very much like journal entries the way he marked them up, provide some answers.
Looking at his collection, one can see that Wallace was undoubtedly a highly intelligent man: a philosopher, mathophile, physics buff, grammarian, pop-fiction reader, lit professor, creative writer, and spiritual seeker. He didn’t merely own these books; he digested them. Cover to cover there are handwritten notes and vocabulary words; he dog-eared pages, annotated the most pertinent passages, and even used the tomes as coffee mug coasters and phone conversation doodle pads. Through his books, one gains a sense of him on a personal, human level—his struggles, unpretentiousness, sense of humor, diligent research skills, and devotion to masterful writing. It’s almost as if he’s still teaching and sharing.