Novelist Don DeLillo received the 2010 PEN/Saul Bellow Award for Achievement in American Fiction. He is the author of 15 novels, 4 plays, and a number of short stories and essays. The PEN/Saul Bellow Award for Achievement in American Fiction goes to a distinguished living American author of fiction whose body of work in English possesses qualities of excellence, ambition, and scale of achievement over a sustained career, which places him or her in the highest rank of American literature.
Author, essayist, playwright, screenwriter, and film director David Mamet received the 2010 PEN/Laura Pels Foundation Award for a Master American Dramatist. Mamet is the author of more than 50 plays and 25 screenplays that have earned him a Pulitzer Prize, Oscar nominations, and a Tony Award. The PEN/Laura Pels Foundation Award for Drama recognizes a master American dramatist whose literary achievements are vividly apparent in the rich and striking language of his or her work.
“The fact that the archives of Don DeLillo and David Mamet, two of PEN’s literary award winners this year, are at the Ransom Center is a reminder of the extraordinary collections at the Center,” said Steve Isenberg, executive director of the PEN American Center, a member of the Ransom Center’s Advisory Council, and a former visiting professor of humanities at The University of Texas at Austin. “It’s wonderful that these collections are readily available to scholars, students, faculty, and the public to see firsthand.”
With 2010 drawing to a close, Ransom Edition, the Center’s print newsletter, asked writers and scholars to share their picks for the best book of the past decade. See the recommendations of Booker Prize-winner Penelope Lively, writer and filmmaker Iain Sinclair, writer Stephen Harrigan, writer and journalist Selina Hastings, and associate professor Randolph Lewis.
Jacqueline Muñoz, librarian at the Ransom Center, cataloged more than 300 books from David Foster Wallace’s archive. Here, she writes about her experience working with the collection and her personal response to Wallace’s work.
I didn’t think much of Infinite Jest in the beginning. My impression of David Foster Wallace’s writing was that it was wordy and unfocused with some seriously flawed characters. Gradually I settled into his use of language, which is quite impressive, and finally at the Boston AA section, I was hooked—certainly on the plot, but even more so on the man behind the prose. All at once, it was clear the length of the story and ambiguity of the characters was Wallace’s vehicle for articulating how unforgiving it is to be human, and how, though various generations may seem vastly different on the surface, they struggle internally with the same issues. I thought, this man is a genius; I want to know him better. So, I was thrilled to find out the Ransom Center would be acquiring his archive, especially given the description about the extensive annotations to his books.
Even then, I was not prepared for what we received. Of the more than 300 titles in his collection, there are maybe 10 or 15 that are not annotated—not simply with underlined passages but ample and personally revealing margin notes. The library basically falls into two categories: novels/stories he taught in his literature classes and books for use in research and self-analysis. Finishing Infinite Jest, I came away with a lot of questions about the origin of some of the characters, as well as theories about the story itself. I think the items in his library, which feel very much like journal entries the way he marked them up, provide some answers.
Looking at his collection, one can see that Wallace was undoubtedly a highly intelligent man: a philosopher, mathophile, physics buff, grammarian, pop-fiction reader, lit professor, creative writer, and spiritual seeker. He didn’t merely own these books; he digested them. Cover to cover there are handwritten notes and vocabulary words; he dog-eared pages, annotated the most pertinent passages, and even used the tomes as coffee mug coasters and phone conversation doodle pads. Through his books, one gains a sense of him on a personal, human level—his struggles, unpretentiousness, sense of humor, diligent research skills, and devotion to masterful writing. It’s almost as if he’s still teaching and sharing.
The archive of David Foster Wallace (1962-2008), author of Infinite Jest (1996), The Broom of the System (1987), Girl with Curious Hair (1989) and numerous collections of stories and essays, is now open at the Harry Ransom Center. A finding aid for the collection and an inventory of Wallace’s library can be accessed online.
The Ransom Center acquired Wallace’s archive last year. The collection is made up of 42 boxes and is divided into three main sections: works, personal and career-related materials and copies of works by Don DeLillo. The works section covers the period between 1984 and 2006 and includes material related to Wallace’s novels, short stories, essays and magazine articles. The personal and career materials section covers 1971 through 2008 and includes juvenilia, teaching materials and business correspondence. Most of the correspondence in the collection is between Wallace and his editors and is related to his work. The third, and smallest, section includes photocopy typescripts of three works by Don DeLillo, one of which, Underworld, contains extensive handwritten annotations by Wallace.
The Ransom Center commemorates the opening of the archive with public readings of Wallace’s work by writers and actors tonight at 7 p.m. (C.S.T.) in the university’s Jessen Auditorium in Homer Rainey Hall. The event, which is co-sponsored by “American Short Fiction” and Salvage Vanguard Theater, will be webcast live.
United Kingdom–based Guyanese writer Wilson Harris, whose papers reside at the Ransom Center, has been knighted by Queen Elizabeth II. He is the author of the works Fetish (1951), Eternity to Season (1954), Palace of the Peacock (1969), and The Ghost of Memory (2006).
Harris, born in 1921, was influenced in his writing by his personal experiences with the complex Guyanese landscape and multi-racial culture. His novels, known for their abstract and experimental nature, are full of metaphors and complex symbolism, with an intermingling of time, reality, imagination, memory, and dreams; they have been called “psychical expeditions.” Harris won the Guyana National Prize for Literature in 1987 and 2002.
The Wilson Harris collection, which was acquired by the Ransom Center in batches between 1970 and 2007, includes handwritten manuscripts, typescripts, page proofs, and reviews for several of his books, as well as correspondence, primarily letters written by Harris to poet and literary critic Michael Thorpe.
Christopher Bigsby, a professor of American Studies and the Director of the Arthur Miller Centre at the University of East Anglia, has written extensively about Arthur Miller. He recently published a biography on the playwright, Arthur Miller (Harvard University Press, 2009), and he writes here about working at the Ransom Center.
I have been visiting the Harry Ransom Center for more than 30 years, most recently working on Arthur Miller’s papers, though the staff there must have been somewhat irritated when Miller held back boxes of materials so that I could work through them to write his biography. It delayed their arrival in Austin by nearly two years. You will even find among them a page bearing a lipstick kiss from Marilyn Monroe, a touch distracting to the serious scholar.
I once made a BBC television film about the Ransom Center during which I learned that in the event of fire, the area floods with inert gas. It is designed to preserve the collection though, alas, not the researchers. I am told that more recently they have exchanged this for a sprinkler system. As an academic I think that shows a failure of nerve. I approved of the earlier priority.
In England there is an excellent fish and chip chain called Harry Ramsden’s. I’ve been known to confuse the two, not least because both offer immediate satisfaction wrapped up in yesterday’s papers. For academics the Center is a kind of limbo. When you go there, you don’t know whether you will discover a path to heaven or hell. Will the hidden be revealed, theories proved, or will the notebooks of writers contradict everything you wish to say? Does tenure await or a life in advertising?
The Ransom Center is what the House of the Medicis once was to 14th century Florence. Admittedly it hasn’t as yet produced many Popes, but it has had a hand in a new Renaissance. In the past, its money, admittedly, came from oil and not banking (hard to know which it is harder to love right now) but its role in preserving our cultural heritage (the UK’s no less than the US) has been central. Where else but Texas, after all, should we look to research Winnie the Pooh?
As an avid reader of Denis Johnson’s work (I bought my first Playboy magazine to read Nobody Move in serial form), I was thrilled to have the opportunity to go through his papers. Seeing Johnson speak at the 2008 Flair Symposium, “Creating a Usable Past: Writers, Archives, & Institutions,” had amplified, for me at least, the desire to know as much as one can about a favorite author. Flair’s intimate venue and Johnson’s candidness about his own archive gave mystique to his lost work and to what he has decided to save—for with Johnson, this decision is both deliberate and thoughtful. For those who weren’t there, here is a video of Johnson discussing his past habit of throwing away drafts and one of his more recent decisions to destroy a notebook, essentially censoring his own archive.
Two years after Flair, among the most exciting finds in Johnson’s papers were two pages of a draft of “Emergency,” a story from Jesus’ Son, which had been severely crumpled and then smoothed out to fit in a folder with other drafts of the story. One can only speculate as to why these pages were crumpled, but perhaps they are a testament to Johnson’s statement that, after hearing that poet Donald Justice received $17,000 for the drafts of one of his books, Johnson “went upstairs and emptied his wastebasket.” Scholars and fans alike will be grateful that he did.
There are treasures relating to his early life and even some drafts dated before 1992 (Johnson included a note with several stacks of floppy discs stating “These discs are the only copies of any drafts from before 1992″). There is a binder of press clippings housed with a mother’s devotion in neat, plastic sleeves; letters, report cards, and other mementos of Johnson’s youth; a draft of the story “Happy Hour,” from Jesus’ Son, dated 9-26-1991, and another draft bearing the alternate title “Electric Child on Bad Fun”—a draft that proved to be quite different from its published form.
Johnson said that it was “liberating” to throw away drafts because they “were like skins [he] was shedding and leaving behind.” He adds that this process of shedding skins did more for him as an artist than his drafts could for a researcher. But after Johnson decided to save his skins, his awareness of his papers’ archival destination raises an issue new to the modern area: censorship. It’s hard to imagine Evelyn Waugh or Charlotte Bronte experiencing self-consciousness about writing in a journal because a scholar might someday read it and scoff, but many of today’s top authors are aware that placing their papers at libraries engages part of an important branch of scholarship (and occasionally comes with a pay-off). What does this self-awareness mean for them as artists and archivists, and what does it mean for the future of archives? I’m not one to speculate, but I expect that as more living writers place their archives at libraries, the nature of the archive will evolve, for better or worse.
The Ransom Center has acquired the papers of National Book Award winner Denis Johnson, author of Jesus’ Son and Tree of Smoke.
The collection includes manuscripts, typescripts, research materials, journals, correspondence, family photos and juvenilia, press clippings, books, and other items. Many of Johnson’s pre-1992 works exist only in digital form, and bundles of floppy disks with manuscript drafts are part of the archive. An early scrapbook includes baby footprints, Johnson’s birth certificate, family photos and correspondence between Johnson and his family.
We have read thousands of letters to and from Knopf authors, editorial reports, publicity materials, and sales accounts. Despite having lived in their “house,” read their personal letters, and viewed Alfred’s photographs, I don’t feel that I understand either of the Knopfs particularly well. Both were temperamental and rife with contradictions. This may explain why despite their importance in the history of publishing, the Knopfs have yet to be the subjects of a book-length biography, although there have been attempts, and several projects are currently underway.
Alfred and Blanche Knopf were both notoriously demanding of themselves, their editorial staff, and their authors. When Knopf, Inc. burst onto the American publishing scene in 1915, the couple were among the few Jewish publishers. Alfred was famously denied admittance to a lunchtime circle of publishers, whereupon he formed his own. Their status as outsiders may have something to do with their aggressive, take-no-prisoners business style. Or to put it another way, the Knopfs had ‘tude. And they had style. In a button-down world of publishing, Alfred stood out with his lavender shirts and strident ties; a London tailor once refused to make a shirt out of some brightly hued cloth the publisher had chosen. Blanche, attired in Parisian haute couture, lived near the edge, subsisting largely on salads and martinis. As a female publishing executive, she too was a pioneer with something to prove.
Yet the Knopfs had a softer, gentler side. By the 1920s, they had decided to live independent lives in separate apartments, but on weekends they generally retired to “The Hovel” up the Hudson, in Purchase, New York, to live an apparently tranquil country life. There they frequently entertained their friends and authors, who were often the same people. The Knopfs had a knack for engaging their best authors on a personal level, wining and dining them (Alfred was a noted gourmet and oenophile) and exuding charm. Blanche bought a trenchcoat for Albert Camus and gloves for Elizabeth Bowen. Alfred took snapshots and made home movies of the guests. The devotion of these authors and others, such as Carl Van Vechten and H. L. Mencken, radiates from their letters. As Alfred Knopf maintained, “a publishing house is known by the company it keeps,” and by that measure both the Knopfs were the greatest publishers of their day.
[Also, see earlier blog post about the friendship between Blanche Knopf and Albert Camus.]
Please click the thumbnails below to view full-size images.
Writer Alan Furst, whose archive is housed at the Ransom Center, is known for his historical espionage novels set in pre-World War II Europe. His most recent novel, Spies of the Balkans, will be released today. Email firstname.lastname@example.org with “Furst” in the subject line by midnight CST tonight for a chance to win one of two copies of the book. [Update: This contest has ended, and winners have been notified.]
Furst visited the Ransom Center last fall and sat down for an interview to discuss his writing and his archive. Below are some excerpts from the interview.
Furst discusses why he writes spy novels.
Furst discusses how he develops atmosphere in his books.
Furst talks about what it means for him and his career to have his papers housed at the Ransom Center.
Fans of Furst can also check out his recommended reading, read his Writers Reflect interview, and listen to him read from his book Spies of Warsaw on the Ransom Center’s website.