Screenwriter and director Paul Schrader has donated his collection to the Harry Ransom Center. Schrader wrote screenplays for such iconic films as Taxi Driver (1976), Blue Collar (1978), Raging Bull (1980), American Gigolo (1980), The Mosquito Coast (1986), and Affliction (1997).
Schrader had previously donated Robert De Niro’s costume from Taxi Driver after De Niro donated his archive to the Ransom Center in 2006. The costume is now on display in the Ransom Center’s exhibition Making Movies, which runs through Aug. 1.
The Schrader collection consists of more than 300 boxes and includes outlines and drafts of scripts and screenplays, correspondence, production materials, videos, audio tapes, press clippings, photographs, and juvenilia.
The collection will be made accessible once it is processed and cataloged. A small case of materials from the collection will be on display in the Ransom Center lobby through March 21.
Bonnie Nadell, longtime literary agent of David Foster Wallace, shares her thoughts on what scholars can learn from Wallace’s archive about his creative process:
Organizing David Wallace’s papers for an archive was not a task I would wish on many people. Some writers leave their papers organized, boxed, and with careful markers, David left his work in a dark, cold garage filled with spiders and in no order whatsoever. His wife and I took plastic bins and cardboard boxes and desk drawers and created an order out of chaos, putting manuscripts for each book together and writing labels in magic markers.
But what scholars and readers will find fascinating I think is that as messy as David was with how he kept his work, the actual writing is painstakingly careful. For each draft of a story or essay there are levels of edits marked in different colored ink, repeated word changes until he found the perfect word for each sentence, and notes to himself about how to sharpen a phrase until it met his exacting eye. Having represented David from the beginning of his writing career, I know there were people who felt David was too much of a “look ma no hands” kind of writer, fast and clever and undisciplined. Yet anyone reading through his notes to himself will see how scrupulous they are. How a character’s name was gone over and over until it became the right one. How David looked through his dictionaries making notes, writing phrases of dialogue in his notebooks, and his excitement in discovering a wild new word to use.
We want readers to see how he thought because how he thought was unique and beautiful and precise. So anyone looking through his drafts and even his books will see the levels of thinking that went into every sentence and every page. The corrections on Infinite Jest for the paperback edition even after a master copyediting job, David’s love of language in his dictionary and in his notebooks, and how he deconstructed other writer’s stories and sentences so he could teach his students how to write better and how to read better. The archives are a window into his mind, and I really think scholars and readers will appreciate seeing that for the first time.
Approximately 200 books from David Foster Wallace’s library arrived at the Ransom Center with his papers. When the staff unpacked the collection to check its condition, we could see immediately that the library was not simply a supplement to the archive but an essential part of it. Wallace annotated many of the books heavily: he underlined passages, made extensive comments in the margins, and utilized the front and back inside covers for notes, vocabulary lists, brainstorms, and more. As a reader of Infinite Jest, one book in particular caught my eye: a battered paperback copy of Pam Cook’s edited volume The Cinema Book (New York: Pantheon, 1985). This reference work is heavily used: it lacks both its front and back cover, its spine is held on with two pieces of tape, and the exposed inside cover is inscribed “D. Wallace ’92,” four years before the publication of Infinite Jest.
Infinite Jest is a book about many things, and the mesmerizing power of movies is one of its most dominant themes. One of the book’s central figures is the late James O. Incandenza, an auteurwhose filmography has left an indelible mark upon all of the novel’s characters in one way or another. Early in the novel, the reader learns of the extent of his importance in endnote 24. Endnote 24 comprises Incandenza’s entire filmography, which fills eight pages in tiny print. The reader discovers here that it is essential to actually read Wallace’s footnotes (spoiler alert), because only in this endnote do we learn that Infinite Jest is the title of an Incandenza film.
Traces of The Cinema Book may be found throughout Wallace’s novel, beginning with the basic format of the filmography itself: notably, Wallace penned a bracket around the “Special Note” at the front of The Cinema Book, in which Cook outlines the format her citations will take, and Wallace’s citations of Incandenza’s films resemble these closely. Wallace may also have gathered much film knowledge from this volume. The Incandenza filmography is a virtuosic pastiche of film history, technology, and vocabulary. We are told that Incandenza made every kind of film: “industrial, documentary, conceptual, advertorial, technical, parodic, dramatic noncommercial, nondramatic (‘anti-confluential’) noncommercial, nondramatic commercial, and dramatic commercial works” (985). Wallace annotated passages throughout The Cinema Book, with the exception of two theoretical chapters. He noted concrete information such as the names of actors, directors, production companies, film journals, and significant events in film history. His annotations show his interest in a wide range of terms and themes covered in the volume, with particular interest in sections on the idea of the auteur, the technology of deep focus cinematography, new wave cinema, the Hollywood star system, and most film genres (with the notable exception of the “the gangster/crime film,” the only genre lacking any Wallace annotations).
At two points in the volume he explicitly mentions Infinite Jest. In the section on “National cinema and film movements,” he underlines much of the section on Roberto Rossellini’s place in the neo-realist Italian tradition, writing in the bottom margin “Rossellini + ‘ad-hoc’ structure—Infinite Jest” (39). More dramatically, he writes the letters “IJ” no less than four times in the three-page section on “The Hollywood Star Machine.” He underlines several passages with particular attention to the following, which will not come as a surprise to readers of Infinite Jest:
It has been argued that the erotic play of the “look” around the female star figure in classic Hollywood cinema is an integral part of the narrative drive towards closure and the reinstatement of equilibrium (Mulvey, “Visual pleasure and narrative cinema,” 1975). This argument uses psychoanalytical concepts to address the question of the fantasy relationship between spectators and film and the role of the star in that relationship (see also Cook, “Stars and politics,” 1982; Friedberg, “Identification and the star,” 1982). 
Finally, my favorite set of annotations surround the section on the genre of the musical, written by Andy Medhurst. Medhurst spends a considerable amount of time discussing this genre’s dominant theme: entertainment. Wallace has underlined passages discussing the ways in which this genre taps into viewers’ nostalgia and their desire to experience a “vision of human liberation” in a utopian entertainment experience. Wallace has penned “ENTERTAINMENT” at the top of the page and circled the page number (107). This word is central to the project of Infinite Jest, and it is enlightening to read one of the sources from which its meanings in the novel likely derive.
Unpacking Wallace’s library was a once-in-a-lifetime experience for this reader; once this and his other books have been cataloged, I look forward to seeing what insights scholars will derive from the hundreds of books and thousands of annotations beyond the few I have noted here.
The journey an archive takes from an author’s desk to the Ransom Center is often long and circuitous. The archive of David Foster Wallace arrived at the Ransom Center in the last days of 2009, but the earliest seeds of the acquisition were sown years before.
Because of the Ransom Center’s strong collections in contemporary literature, our curators and staff keep careful watch on promising, young writers. Over the past 20 years, we have built a list of hundreds of contemporary writers we follow, and we collect first editions of all their books. David Foster Wallace was added to this list early in his career. As we watched his career progress, it became apparent that he was one of the great talents of his generation.
We had our first glimpse into Wallace’s creative process in 2005 with our acquisition of the papers of Don DeLillo. Unexpectedly, the archive included a small cache of letters between Wallace and DeLillo, a correspondence initiated by Wallace when he was struggling through his colossal novel, Infinite Jest. Wallace’s letters show a writer who was deliberate, funny, and often uncertain, but most clearly, they show a writer who took painstaking care with his art.
In 2006, after reading Wallace’s essay on tennis player Roger Federer in The New York Times, Thomas F. Staley, the Director of the Ransom Center and an avid tennis player, wrote to Wallace to inquire about his archive, invite him to visit the Center, and challenge him to a friendly match of tennis. For years Wallace had been among the top names on our wish list of potential speakers—a long-shot, of course, for a writer who made few public appearances. The letter went unanswered.
Several weeks after the shocking news of Wallace’s death, we wrote to his literary agent, Bonnie Nadell, to express how saddened we were at the Ransom Center by this tragic loss. We also expressed our hope that Wallace’s papers would be preserved somewhere—anywhere—so that his remarkable contributions to our culture could be studied for generations to come.
Several months later, we were contacted by a bookseller representing Wallace’s literary estate, and we began the negotiations that led to the eventual arrival of Wallace’s archive at the Ransom Center. This long journey, however, has not quite come to an end. Wallace’s papers related to his final book, The Pale King, though part of the archive acquired by the Ransom Center, will remain with publisher Little, Brown until the book’s release, which is scheduled for April 2011. After the book’s release, the papers, notes, and computer disks related to this novel Wallace never fully completed will be reunited with his archive at the Ransom Center. If these materials are anything like the papers already here, they will be a fascinating and rich resource for students and scholars.
Ransom Center Curator of Photography David Coleman shares his thoughts on the Magnum Archive Collection coming to the Center. At that same link, view a video of Magnum Director Mark Lubell discussing the significance of the Magnum Archive Collection.
The roster includes more than 95 photographers who would, on their own, make up a definitive who’s who list of photography for the past six decades. More significantly, however, they compose what is perhaps the most recognizable single organization in 20th-century photography: Magnum. Magnum has never been the largest photo agency, but for more than 60 years the cooperative’s notoriously exclusive process of membership has forged an ever-changing band of photographers who are dedicated to communicating through images taken with a unique eye.
Magnum was established to afford some independence for its member photographers from the most controlling and limiting aspects of the media industry, and this freedom and flexibility has allowed the photographers to remain with a particular story, rather than having to fly from hot spot to hot spot like many magazine photographers. Indeed, Magnum’s hallmark has always been the depth with which its photographers have captured their subjects—operating as much or more in what might be termed a “documentary” sphere than one of pure photojournalism. In recent decades, that sphere has further broadened to include elements of art and a self-conscious personal expression. Yet Magnum’s overall purpose of revealing the complex world to itself has remained unchanged.
The nearly 200,000 images now housed at the Ransom Center include iconic as well as lesser-known images by these masters of photography, covering historic events and celebrations, political figures and movie stars, intense studies of urbanism and humanity, and documents of war, terror, murder, and atrocity. The depth of coverage by individual photographers is often multiplied by the number of photographers that cover a particular event or figure. For example, looking through the Martin Luther King, Jr. box, we find images taken by Bob Adelman, René Burri, Henri Cartier-Bresson, Bruce Davidson, Leonard Freed, Burt Glinn, Erich Hartmann, Bob Henriques, Hiroji Kubota, Danny Lyon, and Costa Manos.
The Ransom Center is delighted to have been chosen by MSD Capital to safeguard a substantial and unique piece of history. We look forward to joining in partnership to further Magnum’s future by protecting and promoting the study of its history.
In talking with Mark Lubell, Director of Magnum Photos, about the many photographers who have been part of the cooperative, I was struck by his description of them as “visual authors.” Given the Ransom Center’s broad range of holdings of the greatest writers, poets, and playwrights, as well as photographers and other visual artists, we expect that our newest “authors” will find a nurturing home here. If we consider the humanities to be the serious contemplation of the human condition, we could certainly not find a more appropriate collection to welcome than the Magnum archive.
The Harry Ransom Center has acquired the papers of American writer Andre Dubus (1936-1999). Dubus was widely considered a master of the short story. His story collections include Separate Flights (1975), Adultry and Other Choices (1977), Finding a Girl in America (1980), We Don’t Live Here Anymore (1984), and Dancing After Hours: Stories (1996), among others.
The Ransom Center has acquired the papers of American novelist Jayne Anne Phillips. Phillips has published six novels and story collections over the last three decades. Her most recent work is Lark and Termite (2009).
Phillips visited the Ransom Center recently and recorded a reading of Lark and Termite, which you can listen to here.
Known for her poetic prose and her in-depth study of family dynamics, Phillips has received critical acclaim and major literary prizes, including a Guggenheim fellowship and two National Endowment for the Arts fellowships. A member of the American Academy of Arts and Letters, Phillips is professor of English and director of the Master of Fine Arts program in Creative Writing at Rutgers University, Newark.
The acquisition contains manuscripts in multiple states for Black Tickets (1979), Machine Dreams (1984), Shelter (1995), Motherkind (2000), and Lark and Termite, as well as dozens of individual short stories and essays, some never published. Phillips’s school records, early writings, family photographs, notebooks, business documents, fan mail, and related ephemera provide insight into the writer’s life, writing process, family relationships, and publishing history.
Last year the Ransom Center received as a gift a bible printed in 1481, in Basel by Johan de Amerbach, that was adorned with a 19th century fore-edge painting by bibliophile John T. Beer. The scene is described in a checklist of Beer’s fore-edge paintings simply as “A scene on the Nile,” and the image is sufficiently vague to merit such a title.
What biblical paintings might have inspired the painting? Some have suggested Shadrach, Meshach, and Abednego; Joseph and his brothers; and the Holy Family leaving Egypt. Can any of these suggestions be substantiated based on the details present in the painting? Take a close look and leave a comment with your thoughts.