Navigate / search

From the Outside In: Two portraits of James Joyce

By Alicia Dietrich

The atria on the first floor of the Ransom Center are surrounded by windows featuring etched reproductions of images from the collections. The windows offer visitors a hint of the cultural treasures to be discovered inside. From the Outside In is a series that highlights some of these images and their creators. Interact with all of the windows at From the Outside In: A Visitor’s Guide to the Windows. Below, Ransom Center volunteer Karen White writes about two portraits of James Joyce on the windows.

 

The windows of the Harry Ransom Center show two drawings of James Joyce, one by Desmond Harmsworth and one by Wyndham Lewis, depicting very different sides of the famous writer. The Lewis drawing, dated 1920, shows a portrait of Joyce from the outside: head down, identifiable by the thick eyeglasses and small beard. Lewis was one of Joyce’s Modernist contemporaries—a novelist, experimental artist, and founder of the abstract art movement Vorticism. He was also a well-known curmudgeon and critic, and his sketch hints at the distance from which he approached his fellow artist. Harmsworth, in contrast, was one of Joyce’s publishers and enjoyed long evenings talking and drinking with the writer. His drawing expresses more of Joyce’s personal character.

 

Modernist author James Joyce is known for his experiments with stream-of-consciousness writing, especially in his most controversial novel, Ulysses. Joyce was born in Dublin, Ireland, in 1882, into a large and no longer prosperous family. His literary interests and abilities were recognized when he was young, and he was educated in Jesuit schools and at University College Dublin, where he studied English, French, and Italian. Joyce enjoyed learning languages, especially when they added to his perspective on art; for instance, he admired playwright Henrik Ibsen, so he learned Norwegian to read Ibsen’s original texts. At Joyce’s death, he knew more than 17 languages, including Arabic, Sanskrit, and Greek. Joyce left Ireland in 1904 and made only four return visits, the last in 1912. He taught English in Trieste for a number of years, moved to Zurich during World War I, and then went to Paris, from which he and his family fled the Nazis in 1940 to return to Zurich. Despite leaving Ireland as a young man, Dublin society continued to be the backdrop for all of Joyce’s work, including the story collection Dubliners and the novels A Portrait of the Artist as a Young Man, Ulysses, and Finnegans Wake.

 

Ulysses provides an in-depth perspective on life in Dublin at the beginning of the twentieth century, told through the thoughts and perceptions of a number of its citizens over one day, June 16, 1904, and in a kaleidoscope of styles. As Joyce commented to a friend, he wanted “to give a picture of Dublin so complete that if the city suddenly disappeared from the earth it could be reconstructed out of my book.” This included aspects of life that until then had not been seen as fit for literature, from a trip to the outhouse to a voyeuristic encounter at the beach. The book was initially published in serial form in the journal The Little Review, but in 1921 it was banned in the United States for obscenity. Sylvia Beach published a complete edition of Ulysses in Paris in 1922, but it remained banned in the United States until 1933, although copies were smuggled in, and the book was widely known. When the American edition was published, the response was sometimes fierce. A reviewer in The New York Times commented that “the average intelligent reader will glean little or nothing from it” and that its narrative fashion was “in parodies of classic prose and current slang, in perversions of sacred literature… in symbols so occult and mystic that only the initiated and profoundly versed can understand.” When Joyce died in January 1941, the Times obituary stated that his status as a writer “never could be determined in his lifetime” and quoted critics who held a range of views. One placed him among the “Unintelligibles,” with Gertrude Stein and T. S. Eliot; another argued that Ulysses was a novel “which only could have been written ‘in an advanced stage of psychic disintegration;’” and a third hailed Joyce as one of “the great innovators of literature… whose influence upon other writers of his time was incalculable.” Today, the latter assessment is the one that prevails.

 

The Harry Ransom Center has collected all of Joyce’s works in depth, including four of the first 100 signed copies of Ulysses. It also has Joyce’s own Trieste library, which was formed between 1900 and 1920, comprising 673 volumes and including many source books used in his writing.

 

Please click on thumbnails below to view larger images.

 

 

Acclaimed writer Ian McEwan’s archive acquired

By Alicia Dietrich

The Harry Ransom Center has acquired the archive of writer Ian McEwan (b. 1948), one of the most distinguished novelists of his generation.  The archive documents McEwan’s career and includes early material from his childhood and adolescence, as well as his earliest abandoned stories dating from the late-1960s and early 1970s. The archive includes drafts of all of McEwan’s later published works including his critically acclaimed novels Amsterdam and Atonement up through On Chesil Beach and Solar.

 

McEwan composed his novels partly in longhand, typically in uniform green, spiral-bound notebooks, and party on the computer. After an initial draft, he would transfer the entire text to a computer, printing out multiple drafts, which he would revise further by hand. McEwan’s Booker Prize-winning novel Amsterdam is represented in the archive in its earliest form as a handwritten notebook, followed by two further revised drafts. McEwan often notes details of composition in these drafts, including their completion or revision dates.

 

“The writer tends to forget rapidly the routes he or she discarded along the way,” McEwan said, commenting on his manuscripts. “Sometimes the path towards a finished novel takes surprising twists. It’s rarely an even development. For example, my novel Atonement started out as a science fiction story set two or three centuries into the future.”

 

Read a Q&A with McEwan, where he shares insights about his archive, writing process, and more.

 

McEwan’s archive will reside at the Ransom Center alongside the archives of many of his peers and contemporaries, including his longtime friend Julian Barnes, as well as J. M. Coetzee, Doris Lessing, Jayne Anne Phillips, and Tom Stoppard. The McEwan materials will be accessible once processed and cataloged.

 

McEwan will visit Austin and speak at the university on Sept. 10. More details about this event will be posted here later this summer.

 

Please click on thumbnails below to view larger images.

L.A. theater company resurrects deleted monologue in Sebastian Barry’s “The Steward of Christendom”

By Alicia Dietrich

Sebastian Barry’s play The Steward of Christendom tells the story of Irishman Thomas Dunne, the former chief of the Dublin Metropolitan Police who is now confined to an asylum. He reminisces about his personal and professional life, going back and forth between lucidity and seeming incoherence. A Roman Catholic still loyal to the British crown, Dunne looks back at the consequences of that loyalty.

 

The play opens with a monologue by Dunne as he appears to be reliving a scene from his childhood, but that wasn’t always the opening monologue. The first opening monologue was cut from the original production of the play due to transition challenges it presented for the actor.

 

In a fall production of the play by the Mark Taper Forum in Los Angeles, the director drew upon the Sebastian Barry archive at the Ransom Center to re-integrate the deleted monologue back into the play.

 

In the omitted speech, Dunne describes breaking up the famous 1913 labor protest at which Irish trade union leader James Larkin appeared to address a crowd of 20,000 striking transit workers who had been locked out by their employers.

 

Director Steven Robman first read about the deleted monologue in an academic essay written by University of Texas at Austin English Professor Elizabeth Cullingford. The essay appeared in a compendium about Barry’s work called Out of History: Essays on the Writings of Sebastian Barry (Catholic University of America Press, 2006). Robman asked Barry about the deleted monologue, and the playwright asked the Ransom Center to send scans of the original manuscript material to Los Angeles.

 

“This [event] is extremely important in Irish history, but it is little known to Americans,” said Robman. “It is also a crucial event in Thomas’s personal history, as it underscores his fall from grace in the eyes of Irish republicans.”

 

In the published version of the play, Dunne makes multiple references to Larkin, but there is no detailed description of the 1913 protest. Robman thought that adding the speech back in might help the audience understand the context of Dunne’s “vanished world.”

 

Robman learned that the monologue was cut from the original version because the transition between the Larkin speech—intended as a sort of prologue—and the speech as he’s reliving a childhood memory felt too awkward for Donal McCann, the lead actor in the original production.

 

Robman experimented with different placements of the monologue, finally inserting it later in the play almost as an aside that Dunne delivers to himself while one other character is on stage.  Barry himself called the Larkin protest “the moment that made Thomas hated in Irish folklore and history.”

 

Robman also worked with the playwright to add a few words or substitute words throughout the script to allow an American audience to have an easier time with certain historical references or unfamiliar vocabulary, though the monologue is the largest change.

 

Related content:

Sebastian Barry publishes new novel, The Temporary Gentleman

Writers Reflect with Sebastian Barry

Listen to Sebastian Barry read from The Secret Scripture

 

Please click on thumbnails below to view larger images.

Fall symposium to explore American cultural life during Civil War

By Alicia Dietrich

The Ransom Center announces the 11th Flair Symposium, “Cultural Life During Wartime, 1861–1865” to take place September 18–20.

 

The symposium is organized in conjunction with the Ransom Center’s upcoming fall exhibition, The Making of Gone With The Wind, which opens September 9. In the 75 years since the film’s release, Gone With The Wind and the novel that inspired it have helped shape the way many Americans understand and remember the Civil War.

 

The symposium looks back to the nineteenth century to examine the cultural world of Union and Confederate painters, photographers, musicians, theater companies, and writers. The songs, images, poems, books, and plays that appeared between 1861 and 1865 offer a nuanced perspective on the Civil War that challenges later narratives, both fictional and historical.

 

Historians, literary critics, musicologists, and art historians will gather in Austin to discuss the works of well-known figures such as Walt Whitman, Louisa May Alcott, and Frederick Douglass, as well as works related to “Rose’s War,” an 1865 slave insurrection, and the 1864 “Siege of Atlanta.” Panelists will also reflect on the expanding Civil War canon and the legacy of the war’s cultural productions.

 

Deborah Willis, professor and chair of Photography & Imaging at New York University’s Tisch School of the Arts, will deliver the keynote address, which is co-sponsored by the John L. Warfield Center for African and African American Studies at The University of Texas at Austin.

 

To register and view more information, including the full list of panelists and a schedule, visit the Flair website.

Materials from Peter Matthiessen’s archive on display in Ransom Center’s lobby

By Alicia Dietrich

To honor acclaimed novelist, naturalist, and wilderness writer Peter Matthiessen (1927–2014), the Ransom Center is highlighting materials from his archive in its lobby.

 

Matthiessen was born in New York City to a well-to-do family and educated at Yale. Determined to pursue a writing career, Matthiessen moved to Paris where he became one of the founders of The Paris Review, which, he later admitted, he invented as a cover while working briefly for the CIA. In his 45-year career as a writer, Matthiessen produced more than 30 works, winning National Book Awards for The Snow Leopard (1978) and Shadow Country (2008), a one-volume revision of a trilogy of frontier Florida novels published in the 1990s. In writing to the Ransom Center about Shadow Country, Matthiessen confessed, “I was dismayed to find upon opening the finished product at long last that it was still unfinished.”

 

Matthiessen’s rich archive was acquired by the Center in 1995, and materials were added in succeeding years. It includes manuscripts, correspondence, journals, and professional files that span his writing career and include fiction, nonfiction, and essays, often in multiple drafts.

 

Writer James Salter, whose papers also reside at the Ransom Center, paid tribute to Matthiessen in The New Yorker.

 

The materials in the lobby are on view through April 27.

 

Photo of Peter Matthiessen by Jesse Close.

Biographer mines Ransom Center’s collections to uncover “The Unknown Henry Miller”

By Alicia Dietrich

Arthur Hoyle’s recent biography The Unknown Henry Miller: A Seeker in Big Sur was recently published by Skyhorse/Arcade. The biography recounts Miller’s career from its beginnings in Paris in the 1930s but focuses on his years living in Big Sur, California, from 1944 to 1961, during which he wrote many of his most important books, including The Rosy Crucifixion trilogy, married and divorced twice, raised two children, painted watercolors, and tried to live out an aesthetic and personal credo of self-realization. While researching for the book, Hoyle visited the Ransom Center, and he shares some of his findings below.

 

Three collections at the Harry Ransom Center deepened and enriched my research as I wrote my recently published biography of Henry Miller, The Unknown Henry Miller: A Seeker in Big Sur.

 

The Barbara Sandford papers contain Miller’s letters to his long-estranged daughter Barbara, with whom he reconnected in 1954 when she wrote to him in Big Sur from Pasadena, where she was then living. Through Miller’s letters to her and her replies to him, held by the Special Collections Department at the UCLA Research Library, I was able to track the path of their renewed relationship as it unfolded over the next dozen years. The correspondence reveals Barbara’s growing dependence on her father and his attempts to steer her into a satisfying and self-sufficient life.

 

The Alexander B. Miller collection contains Miller’s letters to Renate Gerhardt, the editor and translator whom Miller met in 1960 while visiting his German publisher Ledig-Rowohlt in Hamburg. Miller fell in love with Renate and hoped to make a life with her in Europe, an intention that led him to agree to the U.S. publication of Tropic of Cancer by Grove Press. The correspondence exposes the desperate lengths to which Miller went to hold onto Renate. Her replies, also held at UCLA, show her to be a sensitive but calculating woman who understood why a domestic relationship with Miller was not feasible for them, and who saw opportunity in Miller’s continued longing for her.

 

The third collection (Henry Miller collection) contains Miller’s letters to Emil White, the man who served as Miller’s factotum and close friend during the 17 years of his residence in Big Sur. To Emil, Miller revealed himself candidly on a wide range of subjects—his writing, his domestic issues, his travels, his frantic and ultimately unsuccessful attempts to find a place to settle in Europe with Renate.

 

Miller’s extensive correspondence with friends, lovers, fellow artists, and professional associates is as important to an understanding of the man as his numerous autobiographical works. These three collections bring the researcher into the depths of Miller’s inner life during a peak creative period.

 

Image: Cover of The Unknown Henry Miller by Arthur Hoyle.

Enter to win tickets to “Love & War” exhibition opening celebration

By Alicia Dietrich

Today the galleries open for the Ransom Center’s spring exhibition, The World at War, 1914­–1918. Join us for “Love & War,” the opening celebration for the exhibition from 7 to 9 p.m. on Friday, February 14.

 

Drawing on the Ransom Center’s extensive collections, this exhibition illuminates the experience of the war from the point of view of its participants and observers, preserved through letters, drafts, and diaries; memoirs and novels; and photographs and propaganda posters.

 

Listen to hand-cranked phonographs in the lobby and keep warm with coffee and doughnuts as Wright Bros. Brew & Brew provides a modern take on the popular “Doughnuts for Doughboys” wartime campaign. Enjoy internationally-inspired light bites as you sip on wine courtesy of The Austin Wine Merchant, a “Flying Ace” whiskey cocktail from Ranger Creek Brewing & Distilling, and “Victory Punch,” featuring Dripping Springs Vodka. Enter to win an exclusive prize package that includes a stay at Hotel Havana, a gift certificate to Uncommon Objects, handcrafted chocolates from the Chocolate Makers Studio and more.

 

Ransom Center members receive complimentary entry and valet parking at this celebration. If you are not yet a member, you may order tickets to the opening for $20 through Thursday, February 13 by calling (512)232-3669 (valet parking is not included for non-members). Tickets will also be available for purchase at the door.

 

The Ransom Center is giving away a pair of tickets to “Love & War.” Email hrcgiveaway@gmail.com with “Love & War Giveaway” in the subject line by midnight CST on Tuesday, February 11 to be entered in a drawing for complimentary admission for two. The winner will be notified by email.

 

Special thanks to these sponsors: Austin Wine Merchant, The Chocolate Makers Studio, Dripping Springs Vodka, Henri’s, Hotel Havana, Inn Above Onion Creek, Lexus Broadway at Texas Performing Arts, Ranger Creek Brewing and Distilling, Uncommon Objects, and Wright Bros. Brew & Brew.

Notebooks illuminate creative process behind Billy Collins’s poem “The Names”

By Alicia Dietrich

Among the papers in the recently acquired Billy Collins archive are materials related to his poem “The Names,” which was written to commemorate the victims of the September 11, 2001 attacks. Interspersed throughout the poem are the names of 26 victims of the attacks, one name for each letter of the alphabet, from “Ackerman” through “Ziminsky.”

 

Collins, a native of New York City, was the U.S. Poet Laureate when the attacks occurred in 2001. He wrote the poem and read it at a special joint session of Congress on September 6, 2002.

 

One of the notebooks in Collins’s archive contains his notes and early drafts of the poem, along with lists of names for different letters of the alphabet. An annotated typescript shows a later draft of the poem with Collins’s handwritten notes and edits.

 

The archive will be accessible in the Ransom Center’s reading room once it has been processed and cataloged.

 

Please click on thumbnails to view larger images.

 

Rare French “Cisiojanus” fragment identified in bookbinding through crowdsourcing project

By Alicia Dietrich

Farley P. Katz is a tax lawyer in San Antonio who collects rare books, manuscripts, and “too many other things.” He is one of the contributors to the medieval fragments project, a crowdsourcing research project headed by archivist Micah Erwin to identify fragments of medieval manuscripts bound into rare books at the Ransom Center. Katz describes a recent discovery below.

Recently, I identified a very unusual and interesting manuscript waste fragment on archivist Micah Erwin’s medieval fragments project Flickr site. The fragment was used as a pastedown inside the rear cover of some collected works of Cicero printed by Aldus Manutius in Venice, Italy, in 1514. Its call number at the Ransom Center is Uzielli 99, referring to Giorgio Uzielli. The Ransom Center holds a collection of books printed by Aldus and his successors.

The Flickr posting noted only that the fragment includes a calendar possibly from a book of hours (a medieval devotional book containing prayers, hymns, and religious calendars and often painted miniatures). There was text below the calendar that included French words. I could make out “C’est mon” and “Et tout,” but little else was easily readable. The fact that each line began with a capital letter, however, suggested that it might be a poem.

Usually if a text is well known, it can be identified by searching on Google with a few strings of words (using quotation marks so that only the exact phrase is sought). While reading the words may not be so easy given the antiquated scripts and condition of the fragments, it helps to have some knowledge of the languages the texts are written in and the nature of the manuscripts themselves. Here, I tried a number of searches, but the few phrases I could make out were insufficient for this purpose. Then, I tried searching “C’est mon” and “book of hours.” Success! I found an article by two scholars, Kathryn M. Rudy and René Stuip, about a French prayer book that contained a calendar for each month that was followed by rhyming lines of poetry. Those for March appear to be close or identical with the first four lines on the Ransom Center’s fragment:

Au-bin dit que mars est pril-leux.  (1 Albinus)
C’est mon, fait Gre-goir, il est feux. (12 Gregory)
Et tout prest de don-ner des eaux.
Ma-ri-e dit: il est caux. (25 Annunciation, Lady Day)

They translate as: “Albinus says that March is changeable. That’s right, says Gregory, it’s fire, and quite ready to give water. Mary says it’s hot.”

Rudy and Stuip explained that these are not mere amusing rhymes, but actually a complex mnemonic device known as a “Cisiojanus” (from Circumcisio Januarius, referring to the Feast of the Circumcision of Christ, celebrated on January 1).  The number of syllables in each poem equals the number of days in the month. So for March, which has 31 days, there are 31 syllables. The most important saints or holy days of each month are identified by name and numerical position in the poem. Thus, the first syllable of the March rhyme starts with the name Aubin and St. Albinus’s day was March 1. Similarly, the twelfth syllable of the rhyme starts with Gregoir, whose feast day was March 12.

Cisiojani (the plural form) originated in Germany in the twelfth century in Latin and were later produced in vernacular languages, ultimately making it into early printed books. Manuscripts written in French of Cisiojani, however, are quite rare. It’s difficult to date the manuscript fragment because the text is obscured, but an educated guess would be fifteenth century.

Although I have not seen the book “in person,” the catalog states that it has a “Fanfare” binding. Fanfare bindings are ornate bindings in which the covers are divided into many compartments often filled with gold tooling. They originated in France in the sixteenth century and spread throughout Europe. Since Uzielli 99 contains manuscript waste from France, it most likely was bound there.

Identifying this manuscript fragment at the Ransom Center thus not only adds to the limited body of knowledge about French Cisiojani but also provides evidence of where an early bookbinding was probably made.

Related content:

Archivist seeks help in identifying manuscript waste material

Archivist traces manuscript waste in a set of volumes back to a dark origin in Frankfurt

Archivist declares medieval manuscript fragment crowdsourcing project success

Image: Detail of Uzielli 99 manuscript.

Winter break hours

By Alicia Dietrich

Holiday hours for the Ransom Center are as follows:

 

Ransom Center Galleries
10 a.m.–5 p.m. Tuesday, Wednesday, and Friday
10 a.m.–7 p.m. Thursday
Noon–5 p.m. Saturday and Sunday

 

The Ransom Center Galleries are closed Mondays and the following holidays:
Christmas Eve Day (Tuesday, December 24)
Christmas Day (Wednesday, December 25)
New Year’s Day (Wednesday, January 1)

 

Please also be aware that the Reading and Viewing Rooms and administrative office will be closed during the University holidays from Monday, December 23, through Wednesday, January 1.

 

Visitors can see the current exhibition, Radical Transformation: Magnum Photos into the Digital Age through January 5.

 

The First Photograph and the Gutenberg Bible remain on permanent display.

 

Docent-led gallery tours occur on Tuesdays at noon, Thursdays at 6 p.m., and Saturdays and Sundays at 2 p.m. (There will be no public tour on Thursday, November 28.) The public tours meet in the lobby, and no reservations are required.

 

Admission is free. Your donation supports the Ransom Center’s exhibitions and public programs. Parking information and a map are available online.

 

The Cultural Compass blog will be on hiatus during the University’s winter break and will return the week of January 6.