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The Door to Opportunity: Undergraduate Internships at the Ransom Center

By Kelsey McKinney

Undergraduate intern Kelsey McKinney with the authors' door at the Ransom Center. Photo by Pete Smith.
Undergraduate intern Kelsey McKinney with the authors' door at the Ransom Center. Photo by Pete Smith.

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Each academic year, the Ransom Center hosts undergraduate interns sponsored by various programs and departments at The University of Texas at Austin. For the 2012–2013 academic year, the Center is pleased to announce the addition of four Ransom Center–sponsored undergraduate intern positions. Students do not need to be affiliated with any particular program or department but must be full-time undergraduate students at The University of Texas at Austin. Application materials should be delivered to the Administrative Suite on the third floor of the Ransom Center by April 9, 2012. Below, current undergraduate intern Kelsey McKinney discusses her internship experience at the Ransom Center.

I fell in love with the Ransom Center at first sight. It was my freshman fall semester at The University of Texas at Austin, and my English class visited the Ransom Center to view Anne Sexton manuscripts in the reading room. In addition to the manuscripts, we saw Anne Sexton’s Royal Quiet De Luxe typewriter. That typewriter showed me that the Ransom Center is a diverse place with hidden gems to discover. As an undergraduate intern, that belief has only been confirmed.

I began working at the Ransom Center in August 2011.  At the time, The Greenwich Village Bookshop Door: A Portal to Bohemia, 1920–1925 exhibition had recently opened, and I was offered the opportunity to work on a related project with the Ransom Center’s own authors’ door. The door, located deep within the fifth-floor stacks, began as a tribute to the Greenwich Village bookshop door. Since the 1970s, visiting artists and writers have been invited to sign the door. As of today, the door has 212 signatures. I began a project to document all of the signatures, many of which verged on being illegible. Having horrible handwriting myself, the match was ideal. I spent hours with the door, and it allowed me to interact with author archives and Ransom Center staff.  The work was exciting and fulfilling. Each time I deciphered another signature was just as exciting as the first. Today, 206 of the 212 signatures are identified.

There are so many collections and so many incredible projects to take on that there is something for everyone here. More than any specific project I have worked on during my time as an intern, I value most the knowledge I have gained through interaction with Ransom Center staff and scholars. Each day here, I learn more. As an intern in the public affairs department, I have researched and written blog posts. For these, I have learned from the Ransom Center collections and holdings. That knowledge, though, is only the beginning. Ultimately, the benefit of working with intelligent, interesting, and passionate people is that they share those passions willingly. I have learned about the evolution to digital photography, how to conserve a decaying book, how exhibitions are formed, and how collections are organized. Every person at the Ransom Center is a person to learn from. The greatest testament to this, I believe, is how unmanageably tall my book stack has grown during my time here.  The tasks and projects I have completed have improved my writing and research skills, but it is the level of intelligent, jovial, and interesting conversation that has taught me the most.

The University of Texas at Austin not only provides an excellent education for its undergraduate students, but also works to couple that education with compelling undergraduate experiences. Ideally, these experiences encompass the core values of the University: learning, freedom, discovery, leadership, individual opportunity, and responsibility. My time at the Ransom Center has developed within me every one of those values. I have learned more than I could ever describe, discovered dozens of new authors, encountered new ideas, and was granted the freedom to enjoy every step of the process. This undergraduate experience is one I would never trade.

Donated Tom Lea drawings add depth to collection

By Jennifer Tisdale

The Harry Ransom Center recently received a generous gift of four Tom Lea drawings. Dating from 1931 to 1951, the drawings of dancers and an acrobat showcase another artistic focus of Lea’s (1907 – 2001) expansive career.

Donated by Sandra Snyder, the drawings were previously owned by her aunt, Martha Esquivel Hahn, of El Paso, Texas. Hahn, herself a dancer and wardrobe supervisor, was a friend of Lea. Hahn and Lea went to the same high school in El Paso together and were life-long friends. After living in Chicago, New York City, and Las Vegas, Hahn returned to El Paso, where she opened a ballet school. One of the drawings, Portrait of Martha, is of Hahn.

The four works will be added to the Ransom Center’s Sarah and Tom Lea art collection, which consists of the artist’s personal art works, including book illustrations, paintings, drawings, and lithographs. The Ransom Center also holds a large archive of manuscripts relating to Lea’s books, including The Brave Bulls (1949) and The Wonderful Country (1952), both of which were produced as films.

“It is a good day when someone contacts the Center about finding a proper home for their artwork, especially when the work is strongly associated with artists already in the collection,” said Ransom Center Associate Curator of Art Peter Mears. “Ms. Snyder’s thoughtful gift of Tom Lea drawings adds depth to the collection as well as new insight into this El Paso artist’s exceptional career.”

The Tom Lea collection is accessible for research in the Ransom Center’s Reading and Viewing Room. The Tom Lea Room (located on the Ransom Center’s third floor), which chronicles Lea’s life and career and includes period photographs and original works of art, is available by appointment.

 

Please click the thumbnails to view full-size images.

 

New book explores origins of Watergate's Deep Throat

By Jennifer Tisdale

Cover of Max Holland's "Leak: Why Mark Felt Became Deep Throat."
Cover of Max Holland's "Leak: Why Mark Felt Became Deep Throat."

Author and journalist Max Holland accessed the Ransom Center’s Bob Woodward and Carl Bernstein Watergate Papers while researching his book Leak: Why Mark Felt Became Deep Throat (University Press of Kansas, 2012), which is now available. Holland describes his work at the Center:

The genesis of Leak: Why Mark Felt Became Deep Throat began when I read a news item in 2007 about the opening of materials relating to Mark Felt in the Woodward and Bernstein Papers at the Ransom Center. Having done research in archives for years, one thing I’ve learned is that newly opened papers invariably contain new insights into a historical event, no matter how much it has already been written about.

I wasn’t disappointed after perusing the collection.

The single-most important documents, of course, were Bob Woodward’s typewritten notes from his encounters with W. Mark Felt, a.k.a. Deep Throat. Other Woodward notes from contemporaneous interviews with L. Patrick Gray III and Donald Santarelli were useful too. Early drafts of All the President’s Men, particularly those portions about Deep Throat that were excised from the published book, illuminated the Woodward/Felt relationship. Finally, an interview that Carl Bernstein and Woodward conducted with the late Howard Simons was vital for my book, since he was the only Post editor I could not interview myself.

In the Galleries: The Poetry of Phillis Wheatley

By Io Montecillo

Portrait of Phillis Wheatley.
Portrait of Phillis Wheatley.

Phillis Wheatley (ca. 1753–1784) was born in Africa and sold into slavery. At the age of seven or eight she was purchased by a Boston tailor, John Wheatley, for his wife. While in the Wheatley household, Wheatley learned to read and write. Within 16 months of her arrival, Wheatley said she could read “the most difficult part of the sacred writings.” She also read extensively from the poetry of John Milton, Alexander Pope, and Thomas Gray, as well as classics from Ovid, Horace, and Virgil.

Wheatley began writing her own poetry, and in September 1773, her Poems on Various Subjects, Religious and Moral was published in London. As the title suggests, Wheatley’s collected poems explored a variety of topics, from the well-known “On Being Brought from Africa to America” to elegies on the deaths of loved ones to a poem simply titled “On Imagination.” Two of these poems, “Goliath of Gath” and “Isaiah lxiii. 1-8,” incorporate the language of the King James Bible. This excerpt from “Isaiah” reveals the influence of the King James Version on Wheatley:

“Mine was the act,” th’ Almighty Saviour said,

And shook the dazzling glories of his head,

“When all forsook I trod the press alone,

“And conquer’d by omnipotence my own;

“For man’s release sustain’d the pond’rous load,

“For man the wrath of an immortal God:

“To execute th’ Eternal’s dread command

“My soul I sacrific’d with willing hand;

“Sinless I stood before the avenging frown,

“Atoning thus for vices not my own.”

Like Milton, Wheatley incorporated elements of classical literature into her poetry. Her retelling of the story of Goliath not only reproduced the language of the King James Bible but also followed the conventions of classical epic poetry. Wheatley’s poetry was largely forgotten after her death until abolitionists rediscovered and popularized her work in the 1830s.

Some of Wheatley’s Poems on Various Subjects, Religious and Moral and those of other poets inspired by the King James Bible are on view in the exhibition The King James Bible: Its History and Influence, through July 29.