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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.

Photo Friday

By Kelsey McKinney

Each Friday, the Ransom Center shares photos from throughout the week that highlight a range of activities and collection holdings. We hope you enjoy these photos that reveal some of the everyday happenings at the Center.

Undergraduate intern Michelle Bennight updates the inventory of paintings in the Ransom Center’s art collection, which included documenting works and confirming measurements and other information. Photo by Jennifer Tisdale.
Undergraduate intern Michelle Bennight updates the inventory of paintings in the Ransom Center’s art collection, which included documenting works and confirming measurements and other information. Photo by Jennifer Tisdale.
While visiting the Ransom Center on Tuesday, author T. C. Boyle signed the Center’s authors’ door. Photo by Pete Smith.
While visiting the Ransom Center on Tuesday, author T. C. Boyle signed the Center’s authors’ door. Photo by Pete Smith.
Visiting speaker, Shakespeare scholar, and Columbia University Professor James Shapiro views materials from the Ransom Center’s performing arts collection with Associate Curator for Performing Arts Helen Baer. Photo by Alicia Dietrich.
Visiting speaker, Shakespeare scholar, and Columbia University Professor James Shapiro views materials from the Ransom Center’s performing arts collection with Associate Curator for Performing Arts Helen Baer. Photo by Alicia Dietrich.

T. C. Boyle visits Ransom Center before tonight's event at BookPeople

By Alicia Dietrich

T. C. Boyle tours the Ransom Center with Megan Barnard, Assistant Director for Acquisitions and Administration. Photo by Alicia Dietrich.
T. C. Boyle tours the Ransom Center with Megan Barnard, Assistant Director for Acquisitions and Administration. Photo by Alicia Dietrich.

Writer T. C. Boyle, whose archive was recently acquired by the Ransom Center, visited today while in Austin for a book tour stop promoting the paperback edition of his novel When the Killing’s Done.

Boyle speaks at BookPeople tonight at 7 p.m. Read BookPeople’s Q&A with Boyle in advance of the event.

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.

 

Please click the thumbnails to view full-size images.

 

There really is “Something About Arthur”: A peek into Charlotte Brontë’s childhood

By Kelsey McKinney

The daughters of Patrick Brontë built a literary empire. Combined, the three women published seven novels and two books of poetry. In 1847 alone, Charlotte published Jane Eyre, Emily published Wuthering Heights, and Anne published Agnes Grey. For the Brontës, literature was a way of life that started young. Charlotte’s unpublished juvenilia book “Something About Arthur,”—housed at the Ransom Center—provides an active look into the childhood imagination of a woman who would become a major part of the Western literary canon.

Charlotte Brontë wrote “Something About Arthur” at the age of 17 shortly after returning from boarding school. The text is 25 pages long and includes a 42-line poem. It is the story of a struggling artist who battles an arrogant aristocrat for the heart of the heroine, Lady Emily Chalwort. Like many of Charlotte’s juvenilia books, “Something About Arthur” is small enough to fit in one hand, measuring only 5.7 cm by 9.5 cm (2.5 inches by 3 5/8 inches). Charlotte’s handwriting is microscopic and barely legible.

Charlotte’s motivation for creating such small books is debated. Patrick Brontë was by no means a poor man, though it is suspected that he may not have wanted to fund the paper cost of his children’s fantasies. The distance from the Brontë house to the nearest store to buy paper could be a reason. Some suspect that the small words kept the stories secret from adult eyes or that Charlotte was merely trying to imitate newspaper print. The most common theory, however, is that the books were originally created for a group of toy soldiers. In 1826, the year the first small manuscript was created, Patrick Brontë returned from a conference toting a set of 12 wooden soldiers for Branwell, the second eldest and only male child. Eventually, each child chose his or her favorite soldier. The stories in these juvenilia manuscripts, it is speculated, were not about the soldiers, but created for them. Thus, the size of the book would need to be in direct proportion to the size of the soldier.

When creating the worlds for their toy soldiers, the Brontë children were divided. Charlotte played primarily with the next eldest, Branwell, leaving Emily to play with Anne. Charlotte and Branwell created an imaginary kingdom and filled it with the characters of their imagination. They named the imaginary world Verdopolis. They created characters with names, occupations, and motivations. Charlotte transcribed their fantasies in her tiny, illegible hand. These fantasies became “Something About Arthur” and what is known as the “Glass Town” series. The majority of Charlotte’s juvenilia novellas are set in Verdopolis, the earliest written at the age of 14. “Something About Arthur” was written three years later, and Charlotte stopped writing about the characters of Verdopolis by her mid-20s.

The Brontë sisters’ fiction has long been the subject of biographical interpretation. The Brontë children were known to be social recluses. Charlotte especially was timid and often struggled to cope with her surroundings. Some scholars claim that because the Brontës spent the majority of their lives secluded, the fiction they produced must be the product of their own circumstances. Yet others dispute this claim. We may not see Charlotte herself in the characters of “Something About Arthur,” but we do see Charlotte’s evolution as a writer. This tiny book shows her love for strong heroines, current events, and Robert Louis Stevenson. Her writing mimics gothic literature and the adventure novel, two devices she would discard in her later works. “Something About Arthur” is the beginning of a craft that would be skillfully and carefully honed.

The Ransom Center acquired “Something About Arthur” in 1952 through the Nelda C. and H. J. Lutcher Stark Foundation. Fannie Ratchford, esteemed figure in the Ransom Center’s history, orchestrated the entire affair.  Miriam Lutcher Stark pledged her entire library to the university in 1925. Knowing that his library contained a similar Brontë juvenilia piece titled “The Green Dwarf,” Miss Ratchford prompted him to acquire “Something About Arthur” in 1952 when she found it on the market. He did just that. Today both juvenile manuscripts, and Miss Ratchford’s correspondence with Lutcher Stark, can be found in the Ransom Center’s collections.

Last December, another of Charlotte’s juvenilia books sold at auction to Le Musee des Lettres et Manuscrits in Paris. This book was the first in the “Glass Town” series, penned in 1826 when Charlotte was 14. It too is believed to have been written for the wooden soldiers.

 

Click on thumbnails below for larger images.

 

Three Ransom Center authors announced as finalists for the 2012 PEN/Faulkner Award

By Kelsey McKinney

Russell Banks, Don DeLillo, and Anita Desai were selected as finalists for the 2012 PEN/Faulkner Award for Fiction.
Russell Banks, Don DeLillo, and Anita Desai were selected as finalists for the 2012 PEN/Faulkner Award for Fiction.

Authors Russell Banks, Don DeLillo, and Anita Desai were selected as finalists for the 2012 PEN/Faulkner Award for Fiction.  The Ransom Center holds the archives of Banks, Delillo, and Desai.

Banks was nominated for his twelfth novel Lost Memory of Skin, DeLillo was nominated for his collection of short stories The Angel Esmeralda: Nine Stories, and Desai was nominated for The Artist of Disappearance, a collection of three novellas.

DeLillo was awarded the PEN/Faulkner award in 1991 for his novel Mao II (1991). Banks was previously nominated for Affliction (1990) and Cloudsplitter (1999). This is the first nomination for Desai.

The winner of the 2012 PEN/Faulkner award will be announced on May 5, 2012.

To celebrate this news, the Ransom Center will give away a signed copy of a Russell Banks book. Email hrcgiveaway@gmail.com with “Banks” in the subject line by midnight CST tonight to be entered in a drawing for the book. [UPDATE: The contest has closed, and the winner has been notified. Congratulations to David J., winner of a signed copy of Affliction by Russell Banks.]

Related content:

Anita Desai’s latest book now on shelves

Don DeLillo and David Mamet honored by PEN

Notes from the Undergrad: Signature Course delves into works, life of Russell Banks

In the galleries: Russell Banks adapts to a word processor

Charles Dickens turns 200 today

By Alicia Dietrich

Charles Dickens was born in 1812—200 years ago today—and his works continue to be some of the most beloved and enduring stories in the English literary canon. The Ransom Center has strong holdings of Charles Dickens materials, many of which were donated to the Center in the 1970s by Halstead B. Vanderpoel.

Dickens started his career as a journalist when he was 19, though he kept trying his hand at fiction on the side. He published his first story in the Monthly Magazine in December 1833 at age 21, and three years later he published his first novel, The Pickwick Papers. The book, which was published in serial form, was an enormous success in England, and Dickens went on to become the most popular writer of his time. With the serial format, Dickens could offer his novel at a low cost and enjoy a wide circulation among readers. The formula was so successful that many of Dickens’s subsequent novels were also published in serial form.

Dickens followed up success of The Pickwick Papers with Oliver Twist (1838), Nicolas Nickleby (1839), David Copperfield (1849), Bleak House (1853), Little Dorrit (1857), A Tale of Two Cities (1859), Great Expectations (1860), and other classic titles.

A forerunner to modern-day publishing marketers, Dickens knew how to make his works appeal to the widest possible audience. A Christmas Carol, for example, was published just in time for Christmas in 1843. Dickens wrote with humor, but he also wrote to shed light on the dark side of poverty in England at the time.

In a posthumous biography, it was revealed that Dickens came from humble beginnings. His own father was imprisoned for debt when Dickens was a child, forcing the boy and his siblings to work in a factory in terrible conditions to support the family. His experiences in the factory were later immortalized in David Copperfield and Great Expectations.

Our Mutual Friend was Dickens’s last complete novel before his death in 1870, following a 36-year career as a writer. He was working on The Mystery of Edwin Drood when he died, but he completed only six of the planned 12 installments. Dickens is buried in Westminster Abbey.

The Ransom Center’s Dickens holdings are extensive and include 168 letters, a virtually complete run of his published works, 14 books from the author’s library, and Dickens ephemera. The Charles Dickens literary file includes 39 photographs, many of which are portraits of Dickens.

The Charles Dickens art collection contains more than 1,000 paintings, drawings, prints, postcards, plates, clippings, and portfolios relating to Dickens, including original illustrations for editions of his works, renderings of fictional characters, and images of settings of his novels.

In the above slideshow, view some of the materials from the Dickens collection at the Ransom Center. Dickens’s copy of The Life of Our Lord will be on display in the exhibition The King James Bible: Its History and Influence, which opens February 28.

Please click on thumbnails for larger images.

 

Image: Wax impression of Charles Dickens’s seal. Photo by Pete Smith.