Navigate / search

Application process open for Ransom Center’s fellowships

By Jennifer Tisdale

Cover of Eric Gill's
Cover of Eric Gill's

The Harry Ransom Center invites applications for its 2014–2015 research fellowships in the humanities.

Information about the fellowships and the application process is available online. The deadline for applications, which must be submitted through the Ransom Center’s website, is January 31, 2014, at 5 p.m. CST.

More than 50 fellowships are awarded annually by the Ransom Center to support projects that require substantial on-site use of its collections. The fellowships support research in all areas of the humanities, including literature, photography, film, art, the performing arts, music, and cultural history.

All applicants, with the exception of those applying for dissertation fellowships, must have a Ph.D. or be independent scholars with a substantial record of achievement.

The fellowships range from one to three months, with stipends of $3,000 per month. Also available are $1,200 or $1,700 travel stipends and dissertation fellowships with a $1,500 stipend.

Information about the Ransom Center collections can be found online and in the Guide to the Collections.

The stipends are funded by Ransom Center endowments and annual sponsors , including the Andrew W. Mellon Foundation Research Fellowship Endowment, the Dorot Foundation Postdoctoral Research Fellowships in Jewish Studies, the Robert De Niro Endowed Fund, the Carl H. Pforzheimer Endowment, the Woodward and Bernstein Endowment, the Frederic D. Weinstein Memorial Fellowship in Twentieth-Century American Literature, the American Society for Eighteenth-Century Studies, the South Central Modern Language Association, the Schusterman Center for Jewish Studies at The University of Texas at Austin, and The University of Texas at Austin Office of Graduate Studies.

Applicants will be notified of decisions on April 1, 2014.

The 2014–2015 academic cycle will mark the 25th anniversary of the Ransom Center’s fellowship program. Since the program’s inauguration in 1990, the Center has supported the research of more than 800 scholars through fellowships.

Summer by the Lake: Travel vicariously through letters and postcards from the Carlton Lake collection

By Edgar Walters

Looking for inspiration this summer, or maybe just some relief from the heat? Take a trip with these authors and artists from the Carlton Lake French manuscript collection.

Carlton Lake (1936–2006), a longtime curator at the Ransom Center, collected a wealth of modern French materials, including manuscripts, musical scores, and art by Paul Eluard, Antoine de Saint-Exupéry, Marcel Proust, Samuel Beckett, and Claude Debussy.  Below are selected items from his collection. Full-size versions of the thumbnail images can be viewed in the below images.

 

Novelist, poet, and essayist Julia Alvarez’s archive acquired

By Jennifer Tisdale

Sketch of "The Tavárez-Mirabal 'Residence'" from Julia Alvarez's novel "In the Time of the Butterflies."
Sketch of "The Tavárez-Mirabal 'Residence'" from Julia Alvarez's novel "In the Time of the Butterflies."

The Harry Ransom Center has acquired the archive of acclaimed novelist, poet, and essayist Julia Alvarez (b. 1950).

Alvarez’s extensive archive consists of manuscripts, correspondence, journals, and professional files. The manuscripts span her writing career and include fiction, nonfiction, poetry, essays, and unpublished works, often in multiple drafts. Alvarez regularly sent drafts of her work to friends and colleagues, and these copies usually bear handwritten comments from the reader alongside Alvarez’s revisions.

Alvarez’s correspondence includes poems and letters from fellow writers such as Sandra Cisneros, Edwidge Danticat, Dana Gioia, and Marilyn Hacker.

Alvarez was born in New York City but raised in the Dominican Republic until she was 10. In 1960 her family was forced to flee the Dominican Republic when it was discovered that her father was involved in a plot to overthrow dictator Rafael Trujillo.

Much of Alvarez’s work is considered semi-autobiographical, drawing on her experiences as an immigrant and her bicultural identity. Alvarez’s unique experiences have shaped and infused her writing—from such award-winning novels as How the Garcia Girls Lost Their Accents and In the Time of the Butterflies to her poetry.

Alvarez’s archive will complement the university’s internationally respected resources in Latin American studies, providing a unique and enriching resource not only for literary study, but also for the study of Latin American history and government and other prominent social and cultural issues of our time.

The Alvarez materials will be accessible once processed and cataloged.

Book annotations document scuffle between Ernest Hemingway and Max Eastman

By Michael Gilmore

Annotated inside cover of Max Eastman's "Art and the Life of Action, with other Essays."
Annotated inside cover of Max Eastman's "Art and the Life of Action, with other Essays."

Ernest Hemingway, on his way to cover the civil war in Spain, stops in New York for a couple of days and drops in at Charles Scribner’s Sons publishing house. He wants to touch base with editor Max Perkins. Hemingway’s arrival is unannounced, and another writer, Max Eastman, is in Perkins’s office at the time. Hemingway nods at Eastman and proceeds to ignore him until he remembers a comment of Eastman’s. In a review titled “Bull in the Afternoon,” Eastman had described Hemingway as a member of the “False Hair on the Chest School of Writing.” Hemingway exposes his chest and asks, “Look false to you, Max?” Hemingway unbuttons Eastman’s shirt, and Eastman’s chest proves to be, in Perkins’s words, “as smooth as a bald man’s head.” Perkins tries to demonstrate that it’s not such a bad review by reaching for Eastman’s essay collection and reading a passage. This proves to be a tactical error. Hemingway snatches the book from Perkins’s hand, reads a passage that inflames his temper, and snaps the book shut on Eastman’s nose, and the two began grappling on top of Perkins’s desk and then the floor—until Hemingway, whom Perkins thinks is going to tear Eastman apart, begins to laugh.

If you think this a never-filmed Woody Allen parody, you’d be wrong. The Hemingway/Eastman dust-up is documented in various forms in newspaper columns of the time and in several biographies of Hemingway, Eastman, and Perkins. Depending on the teller, punches, slaps, shoves, and wrestling figure into the narrative.

***

This narrative featured into my work at the Ransom Center decades later in relation to Lee Samuels, a tobacco importer who travelled back and forth between New York and Havana. He collected Hemingway first editions and ephemera and not infrequently lent Hemingway money. He hung out with Hemingway, and the poolside author photo on the original dust jacket of The Old Man and the Sea was taken by Samuels. Samuels donated a box of manuscripts and books to the Ransom Center in June 1963, but the materials were restricted from access for 25 years.

When I learned the Hemingway/Samuels box was to be opened in 1988, I “volunteered” to catalog the Hemingway monographs. Most of the contents were manuscripts and went to that department, but about 15 books made their way to my desk. I was excited to examine the titles. I picked one up, and it opened flat between pages 100 and 101 because the spine was cracked. I was surprised because I thought Hemingway took better care of his books. I could see threads in the broken binding. Then I noticed the header “Bull in the Afternoon” above the text block.

No, it couldn’t be.

I turned a few pages and at the bottom of page 95, at a slant in the corner, “Witness: Max Perkins” and underneath, in a different hand, “Aug 12 1937 / for archive / Papa.” I then turned to the front free endpaper and halfway down the page was a crude drawing of a hand, beneath which was written, “This is the book I ruined on Max (the Prick) Eastman’s nose, I sincerely hope he burns forever in some hell of his own digging. — Ernest Hemingway.”

Annotated page from Max Eastman's "Art and the Life of Action, with other Essays." The book was part of a skirmish between Ernest Hemingway and Max Eastman.
Annotated page from Max Eastman's "Art and the Life of Action, with other Essays." The book was part of a skirmish between Ernest Hemingway and Max Eastman.