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New David Foster Wallace materials to be on display during Wallace Symposium

By Megan Barnard

Letter from David Foster Wallace to Frederick Hill Associates, dated Sept. 28, 1985, containing a chapter from "Broom of the System." Bonnie Nadell collection.
Letter from David Foster Wallace to Frederick Hill Associates, dated Sept. 28, 1985, containing a chapter from "Broom of the System." Bonnie Nadell collection.

On Thursday, April 5, the Ransom Center kicks off The David Foster Wallace Symposium with a public event featuring Wallace’s literary agent, Bonnie Nadell, and his editor, Michael Pietsch, in conversation with Los Angeles Times book critic David Ulin. The free, public event will take place at 7 p.m. (C.S.T.) at Jessen Auditorium, across the plaza from the Ransom Center on The University of Texas at Austin campus. Please note that seating will be limited. Registrants of the symposium will have reserved seating, and Ransom Center members will receive priority entry at 6:20 p.m. Doors will open to the general public at 6:30 p.m. Those unable to attend the event or the symposium can enjoy a live webcast.

Throughout the day on Friday, April 6, the symposium will continue with a series of panel discussions featuring esteemed writers, editors, critics, and journalists who will consider Wallace’s work, his life, and his contribution to contemporary literature. Registration is limited, and only a few spaces remain.

The Ransom Center acquired the David Foster Wallace papers and Wallace’s personal library in late 2009. Since that time, the Center has acquired several smaller collections related to Wallace, including:

  • Photocopies of Wallace’s completed “usage ballots” for the American Heritage Dictionary. Wallace was a member of the company’s board that governs decisions on usage, spelling, and pronunciation.
  • Items related to “Democracy and Commerce at the U. S. Open,” an article Wallace wrote for Tennis magazine in 1995, including correspondence with Jay Jennings, senior editor at Tennis.
  • A photocopy of a typed letter from Wallace to Brandon Hobson in which Wallace gives writing advice to the then-22-year-old Hobson.
  • Nine annotated drafts of “Host,” an essay Wallace published in The Atlantic Monthly in 2005, together with correspondence related to the essay between Wallace and Martha Spaulding of The Atlantic.
  • A small collection of correspondence, primarily from Wallace to recipients including collector Bernard Peyton Watson, who donated the materials.
  • An unpublished typescript essay titled Pearls & Swine by Wallace, written at the request of James Harmon, who wrote to well-known individuals requesting that they respond to the question, “If you could offer the young people of today one piece of advice, what would it be?”
  • A collection of correspondence and manuscripts Wallace sent to editor and literary critic Steven Moore between 1987 and 2004, together with photocopies of correspondence from Wallace to writer David Markson.

A two-case display of select items from these various collections will be on view in the Ransom Center’s lobby April 3–8.

Because of anticipated high demand for the use of the Wallace papers and associated collections during the symposium, all researchers intending to request access to these materials must inform curatorial staff of their research plans in advance of their visit, no later than March 30, 2012. To protect the materials, space and access will be limited. Walk-ins will not have access to the materials during this time.

We look forward to welcoming symposium participants, registrants, and other guests to the Ransom Center during the symposium to celebrate the life and work of one of the most creative and influential writers of our time.

Author T. C. Boyle’s archive acquired

By Elana Estrin

The Ransom Center has acquired the archive of novelist and short-story writer Tom Coraghessan “T. C.” Boyle, author of such acclaimed works as The Tortilla Curtain (1995) and World’s End (1987). Spanning more than 30 years from the 1970s through the present, the archive covers the breadth of Boyle’s prolific career.

“I am very pleased and honored to have my papers safely ensconced at the Ransom Center so that they may be preserved and made available to scholars,” said Boyle. “With such an archive, there is always the danger of damage or even destruction, especially when the papers are stored in filing cabinets and cardboard boxes in the basement of a very old house. I am vastly relieved to know that they are now safe.”

Boyle is the author of 22 books of fiction, and his short stories have appeared in The Atlantic, Esquire, Harper’s, McSweeney’s, and The New Yorker. He was awarded the PEN/Faulkner Prize for best novel of the year in 1988 for World’s End and the PEN/Malamud Prize in 1999 for T. C. Boyle Stories (1998). Boyle is currently a professor of English at the University of Southern California.

The collection includes manuscripts, correspondence, professional files, and teaching material. Nearly every published title is represented by a binder of manuscript notes, research material, drafts, and proofs. Also included are about 140 short-story files.

If you’re in Austin, don’t miss the chance to see Boyle at BookPeople on March 19.

 

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Ransom Center acquires collection of contemporary tintypes

By Kelsey McKinney

The Ransom Center recently acquired ten tintype images from photographer Robb Kendrick. Tintype printing is a historical photo technique that was used primarily during the nineteenth century. The tintypes acquired are each handmade and one-of-a-kind.

The acquired tintypes vary in subject matter from portraits to landscapes to cacti. Several of Kendrick’s photographs were taken on location for National Geographic, and many were taken for personal projects.  Kendrick’s most recent wet-plate work documented the working cowboy for the December 2007 issue of National Geographic. The photographs were taken in 14 western states, Mexico, and Canada.  These photographs were then collected in the critically acclaimed book Revealing Character.

Kendrick’s documentary photography regularly appears in National Geographic, but he also frequently works with wet-plate photography. Kendrick currently splits time between Austin and San Miguel de Allende, Mexico, with his wife and two sons.

 

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Fleur’s Fleurs: "Flower Game" reveals friends and their favorite flowers

By Jennifer Tisdale

The personal archive of publisher, author, and artist Fleur Cowles (1908–2009) has been donated to the Ransom Center. The materials will be accessible once processed and cataloged, but an initial assessment confirms that the archive is as dynamic as Cowles was herself.

In 1983, Cowles celebrated the publication of The Flower Game, a book that shared hundreds of responses from friends around the world, all answering the question of what ten flowers they would like to take to a lonely island, assuming anything would grow there.

When soliciting friends, Cowles wrote, “The replies will determine the best loved flowers everywhere (I am writing to many places around the world).”

Participants ranged from European to Hollywood royalty, proving that Cowles didn’t limit herself to a continent nor to small social circles. A detailed chart documents the progress of Cowles’s initiative, revealing the friends invited to participate and the dates for solicitation and receipt.

Just as these responses provide insight into Cowles’s broad personal and professional network, the hundreds of typed and handwritten, signed responses represent just a small fraction of the correspondence found in the archive.

Below are highlights from a handful of the participants.

Cecil Beaton:
Photographer Beaton provided not only his list of flowers but also a handwritten note stating “Any large white orchid of any variety, as long as it is white.”

Candice Bergen:
Actress Bergen’s list included wisteria and night-blooming jasmine, and she elaborated on her selections: “Flowers to see and smell—by day and night—that bloom underfoot and hang overhead, plus a few insect escorts—butterflies and caterpillars, the odd ladybug—for company.”
November 28, 1981

Olivia de Havilland:
Actress de Havilland gave herself an hour to construct her list, which contained water lilies, blue bells, and peonies.

Douglas Fairbanks:
Actor Fairbanks’s list includes a reference to his trademark carnation. Topping his list at number one is “The dark red (or Harvard red) carnation, as I have worn one in my button-hole actually since I have had a button-hole.”
March 6, 1979

Jane Goodall:
The challenge of selecting flowers was difficult for anthropologist Goodall, who wrote, “The first 6 flowers were very easy to chose—but the last 4 were much harder. Not because it is difficult to think of 4 flowers one loves, but because it is difficult to reject others.”
February 27, 1979

Princess Grace of Monaco:
Listed among her favorite flowers, Princess Grace included bamboo, noting, “I hope you will accept bamboo although I have never seen it flower.”
March 7, 1979

David Hicks:
Among his list of flowers, designer and interior decorator Hicks includes datura, hyacinth, and tuberose.
July 8, 1980

Lady Bird Johnson:
Former First Lady “Lady Bird” Johnson touted resilient flowers, claiming “Since I am an intensely practical person, I would choose flowers which give the most results for the least work and Zinnias and Marigolds and white Daisies would have to be on my list of favorite flowers. In my lifetime experience, I have found them to be so hardy and they give a great profusion of color over long weeks—I’ve always saluted their generosity!”
February 8, 1979

Laurence Olivier:
Actor Olivier’s list focused on roses. He wrote, “At the moment my gardening mind is filled with roses, so let me offer you a dozen of these.” Some of the varieties included Papa Meilland, Panorama Holiday (an exquisite pink, commonly named Beautiful Flower) and Blue Moon.
August 10, 1981

Nancy Reagan:
Former First Lady Nancy Reagan’s list included sweet peas, freesia, and violets.

Liz Smith:
Journalist Smith, a native Texan, elaborated on her list, “But my favorites, the ones I would have to have, are the lovelies—the wildflowers of Texas: Bluebonnets, winecups, Indian paintbrush, wild daisies, wild poppies—a collage of color and nostalgia.”
June 10, 1980

Rufino Tamayo:
Among some of the Mexican artist’s favorites, Tamayo includes the calla lily, hibiscus, and the yucca.
April 3, 1979

 

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A glimpse into J. M. Coetzee’s bound drafts: "Life & Times of Michael K"

By Molly Schwartzburg

The day-to-day work of a special-collections curator does not leave much time for actually reading manuscripts, despite assumptions to the contrary on the part of outsiders. I sometimes look with envy at researchers who sit with one document for hours at a time. So it was with great anticipation that I set aside time to survey a shipping carton containing drafts of J. M. Coetzee’s 1983 novel Life & Times of Michael K. I chose it because I was halfway through my first reading of this, the writer’s fourth novel and the recipient of his first Booker Prize. After my brief encounter with this novel’s drafts, I could only imagine the rich research potential of the Coetzee archive as a whole.

The novel concerns Michael K, a gardener of unidentified race who may or may not be mentally challenged. When his mother, Anna, becomes ill, he leaves work to care for her. Anna works as a domestic servant for a wealthy couple and lives in a tiny room beneath their expensive apartment in Cape Town. When the city erupts into violent unrest, the wealthy couple flee, and Michael and Anna briefly inhabit their apartment and then begin a long trek to escape the war-ravaged city for the countryside where Anna once lived; I won’t give away the remainder of the story. The portion of the story described above is told in a flat third-person voice, the distanced narration contrasting dramatically with the appalling physical and emotional conditions of the two main characters.

Like the remainder of the Coetzee papers, the drafts of Michael K arrived at the Ransom Center in remarkably good order, carefully arranged by Coetzee (my pleasure in perusing these materials was enhanced by Coetzee’s elegant, eminently legible handwriting—a rare boon for archival researchers). The novel’s nine drafts are held in five hand-bound volumes, and all but the last are titled simply “#4.” Each draft is numbered and bound in sequence. All of the drafts are written (and in one case typed) in one or more yellow or blue University of Cape Town examination books; each of these is likewise carefully numbered and marked with the appropriate version number. Coetzee appears to have bound the volumes together himself, using whatever materials were near at hand: while some are anchored in large file folders using brads, others are bound in large sheets cut from heavy cardboard shipping boxes, held together by hand-cut pieces of thick metal wire bent and pushed through the hole-punched manuscripts. The resulting artifacts have a charm that belies the novelist’s very serious and explicit intent to preserve a linear record of the novel’s composition.

This compositional record is indeed replete with opportunities for scholars of Michael K. The earliest versions of the novel reveal that Coetzee settled upon several foundational elements of the finished novel early on: the characters are named Anna (or Annie) and Michael. They are related. Anna lives in a room on the ground floor of an expensive apartment complex, and her employers flee. She is ill, and Michael comes to help her. Even some wordings in the earliest drafts appear in the finished novel.

But these similarities are accompanied by profound differences. The first five versions are perhaps best described as windows into alternate realities for the characters of Michael and Anna K, who are reimagined anew by Coetzee as he seeks to determine the nature of the novel’s central relationship. In the first version, Michael is Anna’s son, but he is a brilliant poet, not a gardener who is perceived as dimwitted. In the second, Michael is again her son, but is married and has a child; his wife is killed, and his child taken away before he comes to stay with his mother. In the third, Michael is Anna’s young grandson and worships his absent father (notably, this draft is told entirely in the first person by the child). In the fourth, he is her adult grandson who works as a gardener. In the fifth version, he is Anna’s common-law husband.

Only in the sixth version does Coetzee settle upon the published relationship; this heavily annotated draft is much longer than the ones that precede it and appears to mark a major shift in the compositional process. I skimmed through the later drafts and found further interesting changes too numerous to mention here, but found myself repeatedly returning to the variant Michaels and Annas, wondering how many further variations Coetzee may have considered, and wondering, too, at the elements that he apparently never doubted. For instance, he knew from the beginning that Anna’s legs would be swollen—this detail is described in grim detail in the published novel and appears often in the early drafts—but did not know whether the woman’s son, grandson, or husband would cope with this ailment.

The Annas and Michaels have stayed with me, and I have already started reading the novel again from the first page, seeking traces of those lost characters and viewing the swollen legs, the room beneath the apartment, and the names “Anna” and “Michael” with fresh attention.

 

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Coetzee’s ties to Texas date back almost 50 years

By Alicia Dietrich

The acquisition of Nobel laureate J. M. Coetzee’s archive by the Ransom Center is a fitting tribute to the writer’s long-standing ties to The University of Texas at Austin and, in a way, brings his relationship with the University full circle.

Coetzee enrolled in the University in 1965, and he earned his Ph.D. in English, linguistics, and Germanic languages in 1968. While at the University, he conducted research in the Ransom Center’s collections for his dissertation on the early fiction of Samuel Beckett.

In a 1984 essay for the New York Times titled “How I Learned About America—and Africa—in Texas,” Coetzee writes about working in the collections at the Ransom Center:

“In the Manuscripts Room of the library, I found the exercise books in which Samuel Beckett had written “Watt” on a farm in the south of France, hiding out from the Germans. I spent weeks perusing them, pondering the sketches and numbers and doodles in the margins, disconcerted to find the well-attested agony of composing a masterpiece had left no other traces than these flippancies. Was the pain perhaps all in the waiting, I asked myself, in the sitting and staring at the empty page?”

Once the Coetzee archive is cataloged, students will have access to Coetzee’s own papers for scholarly work and perhaps will explore some of these same questions about the writer’s process.

Coetzee was on campus during the Charles Whitman shooting in 1966, and in the same essay, he recalls hiding under a desk during the ordeal. He also recalls happier times on campus spent with cricket teammates and traveling to College Station to play the Aggie team, also composed mostly of students from colonial countries. Coetzee lived in Austin with his wife during those three years, and their son Nicholas was born here.

Coetzee returned to the University as a guest of the linguistics department and again in 1995 to teach students in the MFA program at the Michener Center for Writers. Student evaluations from his time at the Michener Center are included among his papers, and the anonymous responses are almost unanimous in their praise.

“John Coetzee has an astonishing mind,” wrote one student.

“I feel very fortunate to have had him as a teacher,” wrote another. “His intellect is world-class. I admire his writing as well as his teaching. He parses meaning with rather exquisite precision, displays humor, never loses the larger sense. He has high standards but was always approachable. He guided classroom discussions with a light hand—they were spontaneous but not chaotic. He was, in short, very great—interesting and interested.”

The Texas Exes, the alumni organization for The University of Texas at Austin, awarded Coetzee the Distinguished Alumnus Award in 2004.

Coetzee returned to the University once more in May 2010 to give a talk as part of the Graduate School‘s 1910 Society Lecture Series, which celebrated the 100th anniversary of the school.

In his talk, Coetzee said of his time in Austin: “My free hours I spent in the library, which I cannot praise more highly than to say it did not know all the treasures it contained.”

Scholars, researchers, and students will no doubt be mining the Coetzee archive in the coming years in search of the many treasures that it contains.

 

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Nobel Prize-winning writer J. M. Coetzee's archive acquired

By Alicia Dietrich

A portrait of J. M. Coetzee taken during his visit to The University of Texas at Austin in May 2010. Photo by Marsha Miller.
A portrait of J. M. Coetzee taken during his visit to The University of Texas at Austin in May 2010. Photo by Marsha Miller.

The Ransom Center has acquired the archive of Nobel Prize-winning writer and University of Texas at Austin alumnus J. M. Coetzee. Spanning more than 50 years, the archive traces the author’s life and career from 1956 through the present.

“My association with The University of Texas goes back almost half a century,” said Coetzee. “It is very satisfying to me to know that my papers will find a home at the Ransom Center, one of the world’s great research collections.”

Coetzee was born in Cape Town, South Africa, in 1940 and graduated from the University of Cape Town. After working three years as a computer programmer in England, he enrolled in The University of Texas at Austin in 1965 to pursue his Ph.D. in English, linguistics, and Germanic languages, which he earned in 1969. While at the university, he conducted research in the Ransom Center’s collections for his dissertation on the early fiction of Samuel Beckett.

Coetzee is an acclaimed novelist, academic, and literary critic. Influenced by his personal history of growing up in South Africa, he writes with strong anti-imperialist feelings. He has published 13 books, including Life & Times of Michael K in 1983 and Disgrace in 1999. Both novels received the Man Booker Prize, awarded each year for best full-length novel, making Coetzee the first author to receive the award twice.