Although the focus of The King James Bible: Its History and Influence is on the 400th anniversary of the Bible, the occasion presented an ideal opportunity to display early English Bibles from the Ransom Center’s collections and some of the finest examples of modern book design featuring Biblical texts.
“Whether you agree or disagree with what you will hear, we feel that none will deny the right of these views to be broadcast.”
Mike Wallace rose to prominence in 1956 with the New York City television interview program Night Beat, which soon developed into the nationally televised prime-time program The Mike Wallace Interview.
In the early 1960s, Wallace donated to the Ransom Center the show’s interviews on 16mm kinescope. The 30-minute interviews can be viewed online. Most of the episodes have not been seen on television since they aired.
Starting many of the interviews with “What you are about to see is unrehearsed and uncensored,” Wallace quickly became recognized for his tough questions and the forceful style for which he is still known today. Through the online videos, one can watch Wallace aggressively question his subjects, including Margaret Sanger about her support for birth control.
Almost half a century since their original broadcast, these interviews not only remain compelling and serve as a time capsule from the mid-twentieth century, but they also continue to resonate with many of the issues still being addressed today.
“With news of the death of Christine Brooke-Rose, the world of letters has lost a significant and courageous writer,” said Karen Lawrence, President of Sarah Lawrence College and author of Techniques for Living: Fiction and Theory in the Work of Christine Brooke-Rose.
A writer known for her unorthodox and experimental style, Christine Brooke-Rose died on March 21. Her archive is housed at the Ransom Center.
Christine Frances Evelyn Brooke-Rose was born in Geneva, Switzerland, on January 16, 1923. She was the youngest of two daughters of Alfred Northbrook Rose and Evelyn Brooke Rose. After the dissolution of their marriage while Brooke-Rose was quite young, both became Anglican Benedictine monastics.
During World War II, Brooke-Rose served as an intelligence officer in the British Women’s Auxiliary Air Force, where she met her first husband, Rodney Ian Shirley Bax. They married in May 1944 and divorced four years later. In February 1948, she married Polish poet and novelist Jerzy Pietrkiewicz. When Pietrkiewicz became ill in 1956, Brooke-Rose began to write novels after publishing Gold (1955), a metaphysical religious poem based on the anonymous fourteenth-century English poem Pearl.
After her own illness in 1962, Brooke-Rose’s fiction changed dramatically. Her next novel, Out (1964), discarded the traditional ideals of character and plot and began the play with language and form that has marked her work ever since. Some of her more famous works include Between (1968), which centers around the experiences of a professional translator and is written without the use of the verb “to be” in all its forms. Another, Xorandor (1986), is a science-fiction story about the discovery by two children of a silicon-based civilization that feeds on nuclear radiation. The story is written in the form of dialog and computer printouts by the children, who use an invented technological slang.
“As she herself pointed out, Christine Brooke-Rose escaped most would-be canonic labels,” said Lawrence. “She was a narrative theorist, literary critic, and novelist for whom new fictional techniques were necessary to represent the increased ‘unreality’ of the twentieth and twenty-first centuries. Her fictions are rehearsals for living under the constraints of a new world, yet with comedy, nuance, and toughness, they draw creative vitality and moral inspiration out of the very limitations they evoke.
“In different modes, Brooke-Rose’s overtly valedictory last books (Invisible Author: Last Essays and Life, End of), as well as her brilliant novel Textermination, dramatize the ‘death of the author’ and the fragility and tenacity of the connection between language and being. In doing so, they offer what she has called ‘techniques for living,’ new forms for telling the human story within the unreality of contemporary life.”
The Ransom Center’s current exhibition The King James Bible: It’s History and Influencetells the little-known story of one of the most widely read and printed books in the history of the English language. Exhibition co-curator Danielle Brune Sigler offers a list of recommended reading that traces the history of the influence of this translation.
In the 1890s, Kansas minister Charles M. Sheldon (1857–1946) turned to “sermon stories” to engage his congregation. In 1896, Sheldon began reading to the Central Church of Topeka a new series of stories called In His Steps. Like other Sheldon sermon stories, In His Steps ran as a serial in The Advance (Chicago) before being published as a book.
Sheldon and his publishers, who had failed to properly secure a copyright for In His Steps, were stunned at the novel’s success—and all of the pirated editions that emerged. In His Steps became a runaway bestseller in the United States and England.
Sheldon took his inspiration and title from I Peter 2:21 and used the newly revised King James Bible (1881/1885) as his source text: “For here unto were ye called: because Christ also suffered for you, leaving you an example, that ye should follow his steps.”
The 12 central characters in the novel take a pledge to live their lives guided by the question, “What would Jesus do?” As Sheldon was part of the larger Social Gospel movement that sought to improve social problems throughout the world, much of the novel centers on how characters used the pledge to minister to the needs of the urban poor and to fight the destructive effects of alcohol. The popularity of the novel waned, but it was “rediscovered” in the 1990s, and the question “What would Jesus do?” again swept the country, with the four letters “WWJD” appearing on bracelets, bumper stickers, and t-shirts.
Few writers have been as biblically obsessed as John Bunyan (1628–1688). In his spiritual autobiography, he writes of being literally accosted, struck, and pursued by Bible verses wherever he went. His life, like his writings, was a biblical allegory. One of his most famous works, The Pilgrim’s Progress,was the most popular book in English, apart from the Bible itself. Bunyan wrote the allegory during his imprisonment for preaching without the sanction of the Church of England. The novel follows the central character Christian on his journey “from this world to that which is to come,” and is evocative of such works as Dante’s Divine Comedy. The plan or map helps readers follow the protagonist’s journey and provides an effective plot summary as well, as it depicts major events of Christian’s voyage to the Celestial City. Both the style and language of The Pilgrim’s Progress demonstrate the profound influence the King James translation had on Bunyan.
From the very beginning of printing, the Bible was regarded as the ultimate challenge. It presented printers and artists with the daunting task of creating an appropriate medium for communicating sacred text. They met this challenge with widely divergent methods. Some favored sharp, clean typography and traditional artistic approaches, placing as little as possible between the reader and the word. Others celebrated the text with elaborate typographical or artistic interpretations of biblical passages.
One such example of the latter is this large publication in which the text of Exodusis paired with 24 color lithographs by artist Marc Chagall (1887–1985). The prints show Chagall’s expert use of color and are representative of the lyrical, dream-like scenes for which the artist is known. The Story of Exodus represents a major focus of Chagall’s work, namely Judaic spirituality and Hasidism. One of the great lithographers of modern art, Chagall produced more than 1,000 original lithographs over the course of his career.