Miller Williams (1930–2015) wrote, edited, or translated more than 30 books and is best remembered for writing poetry in plainspoken language that captured meaning in everyday experiences. The Ransom Center recently acquired his archive, which documents the career and writings of this influential American poet. Read more
The archive of Ben Bradlee (1921-2014), former editor of The Washington Post, has been donated to the Ransom Center.
Bradlee presided over the Post — first as managing editor and then as executive editor — and led the paper through the publication of the Pentagon Papers and coverage of the Watergate scandal. Under his leadership, the Post earned 17 Pulitzer Prizes and a reputation for excellence in investigative reporting.
Gabriel García Márquez was a perfectionist when creating his masterpieces, and that quality is demonstrated in his manuscripts. With the Ransom Center’s recent acquisition of the late author’s archive, scholars will be able to see the author’s edits and discuss García Márquez’s writing process. José Montelongo, the interim Latin American bibliographer at the university’s Nettie Lee Benson Latin American Collection, writes about the thrill of delving into García Márquez’s manuscripts and exploring the pentimenti—repentances, compunctions, remorses—in the archive. This piece originally appeared in the Spring 2015 Ransom Edition newsletter.
Spanning more than half a century, García Márquez’s archive includes original manuscript material, predominantly in Spanish, for 10 books, from One Hundred Years of Solitude (1967) to Love in the Time of Cholera (1985) to Memories of My Melancholy Whores (2004); more than 2,000 pieces of correspondence, including letters from Carlos Fuentes and Graham Greene; drafts of his 1982 Nobel Prize acceptance speech; more than 40 photograph albums documenting all aspects of his life over nearly nine decades; the Smith Corona typewriters and computers on which he wrote some of the 20th century’s most beloved works; and scrapbooks meticulously documenting his career via news clippings from Latin America and around the world.
Highlights in the archive include multiple drafts of García Márquez’s unpublished novel We’ll See Each Other in August, research for The General in His Labyrinth (1989), and a heavily annotated typescript of the novella Chronicle of a Death Foretold (1981). The materials document the gestation and changes of García Márquez’s works, revealing the writer’s struggle with language and structure.
Born in Colombia, García Márquez began his career as a journalist in the 1940s, reporting from Bogotá and Cartagena and later serving as a foreign correspondent in Europe and Cuba. In 1961, he moved to Mexico City. Alongside his prolific journalism career, García Márquez published many works of fiction, including novels, novellas and multiple short story collections and screenplays. He published the first volume of his three-part memoir Vivir Para Contarla (Living to Tell the Tale) in 2002.
Future plans relating to the archive include digitizing portions of the collection to make them widely accessible and a university symposium to explore the breadth and influence of García Márquez’s life and career. The García Márquez materials will be accessible once processed and cataloged.
Image: Gabriel García Márquez working on One Hundred Years of Solitude. Photograph by Guillermo Angulo.
The Ransom Center recently acquired a collection of letters and photographs relating to novelist and essayist Elizabeth Hardwick (1916–2007), co-founder of TheNew York Review of Books and one of the most brilliant literary critics of the late-twentieth century. The newly acquired material complements Elizabeth Hardwick’s archive, which she donated to the Ransom Center in 1991.
This new material was acquired from Jon R. Jewett, a personal friend of Hardwick—or “Lizzie,” as her closest friends called her. They met in Castine, Maine, in the early 1980s, where Hardwick had a summer residence that she once shared with her former husband, the poet Robert Lowell.
The collection includes more than 20 handwritten letters from Hardwick to Jewett spanning their three decades of friendship. The letters showcase Hardwick’s sharp wit and are filled with details of her daily activities, reflections on current events, and kind words of advice for her friend. In a letter dated January 21, 1991, she writes of the Gulf War, “The situation is really bizarre indeed, no jobs and a war that is not over in a week, as expected. I can’t tear myself away from the TV, but I suppose the worst thing will be that it is all to become repetition, nothing new happening and so the great happening, the war itself, just becomes another little repetitive show.”
On April 10, 1994, in a letter peppered with typos, she offers valuable advice about editing and proofreading but self-reflexively notes, “I can’t proofread my own work. It’s embarrassing how many mistakes there are in something I have read more than a dozen times.” She concludes, “I am aware of all the mistakes in this letter, but it is a rush and even the typing room is such a mess I can hardly see the page.”
The correspondence in the collection is supplemented with a number of photographs and candid snapshots—including one of a frail but smiling Lizzie taken just days before her death in 2007.
The Ransom Center’s extensive David Foster Wallace collection was recently enriched by a donation of the original manuscript of a little-known, unpublished story, titled “Shorn.” Wallace wrote the two-page story, about a boy having his hair cut by his mother, while a graduate student at the University of Arizona. The manuscript was donated by Karen Green, who was married to Wallace and now heads the David Foster Wallace Literary Trust.
The typed manuscript now resides at the Ransom Center alongside drafts of Infinite Jest, The Pale King, and Wallace’s other celebrated works; his childhood writings; correspondence; teaching materials; and his library of annotated books. The Ransom Center acquired David Foster Wallace’s archive in 2010 and has supplemented the archive in the years since with materials from Wallace’s literary agent, his publisher, and others.
These materials offer an unparalleled opportunity for researchers to gain deeper insight into Wallace’s work and his creative process, and they are among the Center’s most frequently researched collections. Biographers, literary scholars, students, and teachers have all studied the collection to learn more about Wallace’s writing. Since the Wallace archive became accessible in 2010, the Ransom Center has extended more than 14 research fellowships to support scholarly projects related to Wallace’s archive. The recent gift of Wallace’s story “Shorn” makes the archive an even richer resource.
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.”
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.
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