Long before viewers watched Pimp My Ride or American Chopper—in fact, long before the combustion engine—readers personalized, customized, glamorized, and just plain peacocked their books. Whether encrusted with jewels, adorned by portraits of queens, or scribbled upon with ballpoint pens, the books pictured here demonstrate post-market enhancements, or primping, as a recurring phenomenon in book culture across centuries. These volumes embody fantasies of transformation through the act of dressing up. The story of the custom book starts with medieval illumination, a process that primped a book on the inside. The remaining books mediate the relationship with the text through their covers.
The warmth of red velvet, the chill of a silver hinge, the sparkle of precious jewel, or the smell of fine leather can create a sensory experience that complements, critiques, or even contradicts the words within the covers. Using these diverse materials, as well as techniques from inlay to Cosway, these covers make statements, sometimes even jokes, about their books’ contents.
Students in The University of Texas at Austin Professor Janine Barchas’s fall 2010 graduate seminar, English 384k: Graphic Design & Literary Text put together a display case at the Ransom Center with these examples of various bindings. This display can be seen during Reading Room hours through the end of January. Students who worked on this project include Lynn Cowles, Colleen Eils, Jennifer Harger, Brianna Hyslop, Aaron Mercier, Michael Quatro, Robin Riehl, Jessica Shafer, Connie Steel, Laura Thain, Joanna Thaler, and Jay Voss.
The Ransom Center has received $137,015 from the Council on Library and Information Resources Cataloging Hidden Special Collections and Archives for “Revealing Texas Collections of Comedias Sueltas.”
The Ransom Center holds more than 14,000 “comedias sueltas,” a generic term for plays published in small pamphlet formats in Spain from the late 17th through the 19th century. Purchased in pieces, generally in collections of bound volumes, the materials have been described as one of the major collections of Spanish dramatic literature in suelta form in North America.
While portions of the collection are minimally cataloged, the grant will allow for the creation of individual database records for each suelta, making more extensive information about the collection available on the Ransom Center’s Web site. The grant will also support the cataloging of more than 600 sueltas at the Cushing Library at Texas A&M University.
Bill Powers, President of The University of Texas at Austin, shared the below communication with faculty and staff today:
I am pleased to announce that Tom Staley has agreed to stay on as director of the Harry Ransom Center. Tom was previously scheduled to retire on August 31 of this year.
Tom is one of the world’s most highly respected library directors, and under his leadership the Ransom Center has celebrated the humanities, advanced scholarship, expanded our collections, and brought great distinction to the University.
I know that many people on our campus will join me in welcoming this news.
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.
The Ransom Center holds the Knopf Inc. archive, which includes material related to the publication of the groundbreaking cookbook Mastering the Art of French Cooking by Julia Child, Simone Beck, and Louisette Bertholle. View photos and read some of the letters that document the book’s progress and publication over several years.
Steven Soderbergh’s film And Everything Is Going Fine (2010) documents the life and work of the master monologist Spalding Gray (1941–2004) using only footage of Gray’s performances, interviews, and home movies with Gray and his family.
Last year, the Ransom Center acquired Gray’s archive, which traces the author’s career since the late 1970s, when Gray helped define a new era in theater where public and private life became an indivisible part of each new performance. Recognized for his critically acclaimed dramatic monologues in which he drew upon his experiences, Gray wrote and performed such works as Swimming to Cambodia, Monster in a Box, Gray’s Anatomy, It’s a Slippery Slope, and Morning, Noon and Night.
The documentary splices together footage from these performances and more to show how Gray discovered his gift for storytelling and how he turned the stories of his own life into compelling and deeply personal narratives on the stage.
The documentary has been making the rounds on festival circuits, including SXSW last March, and has played to great reviews. The Alamo Drafthouse is screening the film tonight as part of its SXSW Presents series of popular films from the festival.
The collection at the Ransom Center includes more than 90 handwritten performance notebooks that were the templates for Gray’s live performances and more than 100 private journals. It also includes over 150 audio tapes and 120 VHS tapes documenting Gray’s performances and various interviews, as well as more than 300 letters. The materials will be accessible once they are processed and cataloged.
Stefania Porcelli of Libera Università- San Pio V in Rome, Italy, recently visited the Ransom Center on an Alfred A. and Blanche W. Knopf fellowship to research the Elizabeth Bowen collection. She shares some of her findings.
With the support of an Alfred A. and Blanche W. Knopf fellowship, I spent six weeks at the Harry Ransom Center this autumn, carrying out my project on Elizabeth Bowen’s attitude toward World War II and the language of propaganda, which also investigates her involvement in the “media ecology” of the time.
I worked mostly with unpublished material. Encouraged by Ransom Center Director Thomas Staley, and thanks to archivist Gabby Redwine’s help, I was able to access Bowen’s uncatalogued letters to Charles Ritchie. Although intensely focused on their love affair, these letters nonetheless provide ultimate evidence that Bowen constantly reflects upon ongoing political events, and on the language used by media to represent or censor them. This idea finds its perfect literary counterpart in the image of history sitting at the same table with the main characters in Bowen’s wartime novel The Heat of the Day (1949).
Bowen’s papers show that her attitude toward the war is at least ambiguous: while supporting Britain’s engagement in the conflict, she deconstructs the language of British propaganda. While appreciating Irish neutrality as an act of independence, she volunteers to spy on Ireland for the British Ministry of Information. Since my broader research also involves Dylan Thomas’s documentaries written for Strand Film, I was excited to find a contract for a propaganda script Bowen was supposed to write for the same company. I was also surprised to find some correspondence about the Italian translation of three of her novels. Apparently, neither Bowen nor her literary agents were satisfied with these translations. I look forward now to reading them and seeing how these early Italian versions metamorphosed Bowen’s peculiar, challenging style.