Anita Desai, whose archive is housed at the Ransom Center, recently published The Artist of Disappearance, a collection of three novellas that ruminate on art and memory, illusion and disillusion, and the sharp divide between life’s expectations and its realities.
Born in India, Desai often explores themes related to her homeland in her work, and she has been short-listed for the Booker Prize three times for her novels Clear Light of Day (1980), In Custody (1984), and Fasting, Feasting (1999).
The Ransom Center acquired her papers in a series of purchases between 1989 and 2006. The collection contains manuscripts and typescript drafts for all of her novels, from her first book, Cry, the Peacock (1963), through Journey to Ithaca (1995); works for children; introductions, prefaces, reviews, essays, speeches, and lectures; and correspondence.
Desai visited the Ransom Center for the 1994 Fleur Cowles Flair Symposium, which explored “The State and Fate of Publishing.” Read the talk she gave at the symposium about her experiences with publishing.
The Ransom Center holds Wallace’s archive, which was made accessible for research in September 2010. For the symposium, writers, editors, journalists, and critics gather to discuss Wallace’s life and work in panel discussions on such topics as “Editors on Wallace” and “A Life through the Archive.”
Symposium moderators and participants include Wallace’s literary agent Bonnie Nadell, editor Michael Pietsch of Little, Brown and Company, and Los Angeles Times book critic David Ulin.
“All of these books are worse than opium… I would rather have a child of mine use opium than read these books,” declared Senator Reed Smoot of Utah in March 1930, speaking from behind a desk towering with “smutty” books like Lady Chatterley’s Lover and Robert Burns’s poetry.
In 1929, Senator Smoot and Representative Willis Hawley of Oregon introduced a tariff bill to Congress that included a section restricting the importation of obscene materials, which inspired the widely repeated news headline “Smoot Smites Smut.” Senator Bronson Cutting of New Mexico led a protest against the proposed ban on obscene literature, and the House approved an amendment that removed books from the list of obscene materials.
But the battle wasn’t over. When the full bill reached the Senate in March 1930, Smoot brought book censorship back into the spotlight. After much debate, the Senate returned books to the list of obscene materials with the exception of “classics” and works of “established literary and scientific merit.” The Smoot-Hawley Tariff became law on June 17, 1930.
In response to the controversy, poet Ogden Nash penned “Invocation” and submitted it to The New Yorker, his first published contribution to the magazine, in January 1930.
The first verse reads:
Senator Smoot (Republican, Ut.)
Is planning a ban on smut.
Oh rooti-ti-toot for Smoot of Ut.
And his reverend occiput.
Smite, Smoot, smite for Ut.,
Grit your molars and do your dut.,
Gird up your l__ns,
Smite h_p and th_gh,
We’ll all be Kansas
By and by.
“Invocation” appeared in Nash’s collection Hard Lines. As a publicity stunt, Simon and Schuster sent out advance copies with a chain, padlock, and key attached.
One of Nash’s copies of Hard Lines appears in the Ransom Center’s current exhibition Banned, Burned, Seized, and Censored, on display through January 22. Nash intended to send this copy to book critic Alexander Woollcott. The inside front cover of the book includes the beginning of an inscription to Woollcott, but Nash misspelled Woollcott’s name (he forgot the second “l”) and inscribed the book to himself instead:
“For Ogden Nash with the very best wishes of the author. This is one of several advance copies equipped with lock and chain for attention-catching which were sent to current celebrities in hope of eliciting favorable comment. I started to mis-spell Alexander Woollcott’s name in this one, so kept it for myself. Woollcott didn’t like the one he got, even though I spelled his name right.*
The New York Times released its list of “100 Notable Books of 2011″ this week, and the Ransom Center holds the archives of five writers on the list.
To celebrate this news, the Ransom Center will give away a signed copy of a book by one of these writers to the first three people to email email@example.com with the names of all five writers on the list.
Update: Congratulations to Lev L., Robert P., and Ry P. for their correct responses of Russell Banks, Julian Barnes, Don DeLillo, Denis Johnson, and David Foster Wallace. They will all receive a signed copy of Denis Johnson’s novel Already Dead.
Author Don DeLillo, whose archive resides at the Ransom Center, has released his first collection of short stories today. The Angel Esmeralda: Nine Stories, published by Scribner, includes pieces written between 1979 and 2011.
To celebrate the publication of the book, the Ransom Center will give away 2 signed copies of DeLillo’s novel White Noise (1985). Email firstname.lastname@example.org with “DeLillo” in the subject line by midnight CST tonight to be entered in a drawing for the book. [Update: Winners have been chosen and notified. Congrats to Angela A and Annie S!]
Tim O’Brien’s The Things They Carried is an account of soldiers’ experiences during and after the Vietnam War. Like his other National Book Award-winning work, Going After Cacciato, The Things They Carried offers readers a glimpse of war that neither glorifies nor camouflages its realities. O’Brien himself has said he is only attempting to tell a “true war story.” Because of O’Brien’s frank depiction of war and strong use of language, The Things They Carried has been challenged and banned by some counties and schools. In connection with the Ransom Center’s exhibition Burned, Banned, Seized, and Censored, visitors are invited to see the exhibition during Veteran’s Day weekend, Friday, November 11 through Sunday, November 13, and receive a free copy of The Things They Carried while supplies last. Tim O’Brien’s archive resides at the Ransom Center.
In 1923, Edna St. Vincent Millay was awarded the Pulitzer Prize for Poetry for The Ballad of the Harp-Weaver (1921). That prize-winning book was an expanded commercial edition of the poems in this volume. The longer book was published by Harper and Brothers and contained these poems, another poem published first by Frank Shay, The Ballad of the Harp-Weaver (1921), and a handful of additional new verses.
Millay’s The Ballad of the Harp-Weaver was one of four volumes that came to represent the chapbook series Salvo that Shay published from the shop. A “salvo” is a burst of gunfire, and these little volumes were likewise meant as small but powerful bursts of energy. Millay’s volume was the most influential of the series.
Shay, the owner of the Greenwich Village bookshop, was a natural salesman. Actor and playwright Holland Hudson wrote that Shay used his windows wisely to draw customers into his shop. Millay’s bibliographer Karl Yost noted that for the total edition of 500 copies, Shay printed most of the copies in orange, but he also printed a small number of each in “red, dark green, apple green, yellow, and blue.” Yost explains Shay did this so that he could create striking window displays. Shay’s wife, the artist Fern Forrester Shay, created the cover art and interior illustrations for this volume. The Ransom Center only owns covers in green, blue, and red. The imprint inside the volume reads, “printed for Frank Shay and sold by him at 4 Christopher St., in the shadow of old Jefferson Market, 1922.”
The Ballad of the Harp Weaver includes some of Millay’s most famous poems and may be read in full in the online exhibition.