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Video: The Undergraduate Visitor at the Ransom Center

By Io Montecillo

Each year, thousands of undergraduates come to the Harry Ransom Center to visit with a class, attend one the Center’s programs, or view an exhibition.

Since its founding, the Ransom Center has been an important resource for undergraduates at The University of Texas at Austin. Harry Ransom believed that meaningful undergraduate education was not complete without exposure to rare books and manuscripts.

The Ransom Center continues to maintain this vision to encourage undergraduate interaction with its collections and is launching a new resource that provides information about the many opportunities available to undergraduates.

Whether an entering freshman or a graduating senior, students can explore and be inspired by the offerings of the Ransom Center. Through exposure to and interaction with collection materials—whether it be a manuscript, photograph, artwork, or rare book—students can open the door to the creative process.

Undergraduate students tour the Ransom Center galleries. Photo by Pete Smith.
Undergraduate students tour the Ransom Center galleries. Photo by Pete Smith.

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.

In the galleries: Jacob Lawrence’s "Eight Studies for The Book of Genesis"

By Io Montecillo

"Eight Studies for the Book of Genesis, No. 4" by Jacob Lawrence, 1989. © 2011 The Jacob and Gwendolyn Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York.
"Eight Studies for the Book of Genesis, No. 4" by Jacob Lawrence, 1989. © 2011 The Jacob and Gwendolyn Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York.

Jacob Lawrence (1917–2000) received his early education as an artist in Harlem. By the time he was in his twenties, he had received national recognition for his work, notably “The Migration Series,” about the African-American migration from the South to the North following World War I. Lawrence spent most of the rest of his life in the Pacific Northwest, and at the time of his death, he was generally recognized as one of the most important African-American artists.

All eight of Lawrence’s large silkscreen prints for the Book of Genesis are on display in sequence in The King James Bible: Its History and Influence exhibition. They show the artist’s strongly colorful and mildly abstract style at its best. The words of the preacher invoke the simplicity and force of the King James Version.

Lawrence’s works and those of other artists who were inspired by the King James Bible are on view in the exhibition The King James Bible: Its History and Influence through July 29.

Fellow discusses work on wartime photography collections

By Io Montecillo

Anne Tucker, curator of the Museum of Fine Arts, Houston, discusses her research on wartime photography collections found at the Ransom Center. Her work covers collections ranging from Roger Fenton’s documentation of the Crimean War to the World War I photographs of Jimmy Hare to Edward Steichen’s images of the American Navy in World War II.

“To be able to look at the objects of the time in depth is an irreplaceable experience for understanding a time in which you didn’t live,” Tucker said.

Tucker’s research, “We Bear Witness: Photographers Responding to War,” was funded by the Andrew W. Mellon Foundation Research Fellowship Endowment. The Ransom Center is now accepting applications for the 2012–2013 fellowship program.

This Veteran’s Day Weekend: Free Book Giveaway of Tim O’Brien’s "The Things They Carried"

By Io Montecillo

Tim O'Brien's 'The Things They Carried.'
Tim O'Brien's 'The Things They Carried.'

Tim O’Brien’s The Things They Carried is an account of soldiers’ experiences during and after the Vietnam War. Like his other National Book Award-winning work, Going After Cacciato, The Things They Carried offers readers a glimpse of war that neither glorifies nor camouflages its realities. O’Brien himself has said he is only attempting to tell a “true war story.” Because of O’Brien’s frank depiction of war and strong use of language, The Things They Carried has been challenged and banned by some counties and schools.  In connection with the Ransom Center’s exhibition Burned, Banned, Seized, and Censored, visitors are invited to see the exhibition during Veteran’s Day weekend, Friday, November 11 through Sunday, November 13, and receive a free copy of The Things They Carried while supplies last. Tim O’Brien’s archive resides at the Ransom Center.

In the Galleries: Propaganda poster protesting Nazi book burnings

By Io Montecillo

This 1942 poster reminded Americans of the widespread 1933 Nazi book burnings and presented books as playing a fundamental role in the fight against tyranny.
This 1942 poster reminded Americans of the widespread 1933 Nazi book burnings and presented books as playing a fundamental role in the fight against tyranny.

On May 10, 1933, a series of coordinated book burnings took place across Germany. In the academic sphere, the German Students Association’s staged burnings were an attempt to eliminate “un-German” works from university libraries. Addressing the students gathered in Berlin, propaganda minister Joseph Goebbels encouraged them to “clean up the debris of the past.” Ultimately more than 25,000 books were burned, including works by Heinrich Heine, Thomas Mann, and Albert Einstein, Ernest Hemingway, Upton Sinclair, Jack London, and Helen Keller.

The 1933 Nazi-sponsored book burnings in Germany prompted a swift and very public response in the United States. On the day of the burnings, more than 100,000 marchers took to the streets of New York City in protest. American newspapers covered the story extensively, and citizens soon watched the burnings firsthand via newsreel footage in theaters throughout the United States.

In the aftermath, the Brooklyn Jewish Center created a Library of Nazi Banned Books, and the New York Public Library hosted an exhibition of banned books. The book burnings took on greater significance in 1942 as the United States, at war with Germany, pointed to the book burnings as evidence of the Nazi government’s tyranny.

The poster can be seen in the current exhibition Banned, Burned, Seized, and Censored, on display through January 22.

In the Galleries: Henry Miller’s "Tropic of Cancer"

By Io Montecillo

Henry Miller's 'Tropic of Cancer' (1934) was banned in the United States for 30 years. Photo by Anthony Maddaloni.
Henry Miller's 'Tropic of Cancer' (1934) was banned in the United States for 30 years. Photo by Anthony Maddaloni.

Upon its publication in 1934, Henry Miller’s Tropic of Cancer was deemed obscene by the United States Customs Department and was not legally available in the United States. Editions like this one, published in Japan, were smuggled into the U.S. to satisfy demand. Miller had been seeking an American publisher since 1934 and had hoped to defend Tropic of Cancer in court as early as 1936. Local district attorneys, however, were not persuaded, and over 50 cases against the novel were brought to various state and local courts. The ban on Miller’s work was finally lifted in 1964 after a Florida case made its way to the U. S. Supreme Court, which ruled that Tropic of Cancer may be legally sold and distributed throughout the United States.

Miller’s novel and articles relating to his work are on view in the exhibition Banned, Burned, Seized, and Censored through January 22.