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Gabriel García Márquez symposium marks opening of author’s archive

By Jennifer Tisdale

The University of Texas at Austin’s LLILAS Benson Latin American Studies and Collections and Ransom Center will host the symposium “Gabriel García Márquez: His Life and Legacy” on October 28–30 in Austin. In advance of the symposium, the García Márquez archive will open for research in the Ransom Center’s Reading and Viewing Room on October 21.

This news is available in Spanish.

The symposium will explore the life and legacy of the beloved author and public intellectual. International scholars, journalists, filmmakers, and former colleagues of García Márquez’s will speak about his global influence in the fields of journalism, filmmaking, and literature. Panel topics include “Gabo: The Storyteller,” “Global Gabo,” “Gabo the Journalist,” and “Gabriel García Márquez: Cinematic Scribe and Muse.” Panelists hail from Colombia, Mexico, and the United States.

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Inside the Gabriel García Márquez Archive

By Marlene Renz

Gabriel García Márquez was a perfectionist when creating his masterpieces, and that quality is demonstrated in his manuscripts. With the Ransom Center’s recent acquisition of the late author’s archive, scholars will be able to see the author’s edits and discuss García Márquez’s writing process. José Montelongo, the interim Latin American bibliographer at the university’s Nettie Lee Benson Latin American Collection, writes about the thrill of delving into García Márquez’s manuscripts and exploring the pentimenti—repentances, compunctions, remorses—in the archive. This piece originally appeared in the Spring 2015 Ransom Edition newsletter.

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“My Alices”: Writer John Crowley shares his connection to “Alice’s Adventures in Wonderland”

By Harry Ransom Center

John Crowley, whose archive resides at the Ransom Center, is an American author of fantasy, science fiction, and mainstream fiction. He published his first novel, The Deep, in 1975, and his 14th volume of fiction, Lord Byron’s Novel: The Evening Land, in 2005. He has taught creative writing at Yale University since 1993. A special 25th-anniversary edition of his novel Little, Big will be published this spring. Below, he shares how Lewis Carroll’s classic Alice’s Adventures in Wonderland influenced his own work.

 

A critical (best sense) reader of my work once wrote an entire essay about allusions to and quotes from Lewis Carroll’s Alice’s Adventures in Wonderland books in a novel of mine called Little, Big—a very Alice sort of title in the first place. Some of the quotes and allusions, while certainly there, were unconscious; the turns of phrase and paradoxes and names in those books are so ingrained in me that they simply form part of my vocabulary. I first heard them read aloud: my older sister read them to me when I was about eight years old. I don’t remember my reaction to Alice in Wonderland—except for absorbing it wholly—because for certain books read or heard at certain moments in childhood, there is no first reading: such books enter the mind and soul as though they had always been there. I do remember my reaction to Through the Looking Glass: I found it unsettlingly weird, dark, dreamlike (it is in fact the greatest dream-book ever written). The shop where the shopkeeper becomes a sheep, then dissolves into a pond with Alice rowing and the sheep in the stern knitting (!)—it wasn’t scary, but it was eerie because it so exactly replicated the movements of places and things and people in my own dreams, of which I was then becoming a connoisseur. How did this book know about such things?

 

Another profound connection I have with Alice I only discovered—in delight—some years ago in (of all places) the Wall Street Journal. In an article about odd cognitive and sensory disorders, it described “Alice in Wonderland syndrome:” “Named after Lewis Carroll’s famous novel, this neurological condition makes objects (including one’s own body parts) seem smaller, larger, closer or more distant than they really are. It’s more common in childhood, often at the onset of sleep, and may disappear by adulthood…”

 

I have tried to describe this syndrome to people for years, and never once met anyone who recognized it from my descriptions. In my experience it’s more odd a feeling than this, and more ambivalent: I feel (or felt, as a child, almost never any more) as though my hands and feet are billions of miles distant from my head and heart, but at the same time I am enormously, infinitely large, and so those parts are in the same spatial relation to myself as ever, or even monstrously closer. It was awesome in the strict sense, not scary or horrid, uncomfortable but also intriguing. I wonder if Carroll (Dodgson, rather) had this syndrome. I’ve thought of including it on my resume: “John Crowley was born in the appropriately liminal town of Presque Isle, Maine, and as a child suffered from or delighted in Alice in Wonderland syndrome.”

 

The Ransom Center’s current exhibition Alice’s Adventures in Wonderland is on view through July 6.

 

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Michael Ondaatje, author of “The English Patient,” discusses work with fellow writer

By Marlene Renz

Acclaimed novelist and poet Michael Ondaatje converses with writer Geoff Dyer in a Harry Ransom Lecture on Tuesday, March 31, at 7 p.m. The event takes place in the Jessen Auditorium, in Homer Rainey Hall, across the plaza from the Ransom Center.

 

Although he is best known as a novelist, Ondaatje’s work also encompasses poetry, memoir, and film. His Booker Prize–winning novel The English Patient was adapted into an Academy Award–winning film. His other works include his memoir Running in the Family, four collections of poetry, the non-fiction book The Conversations: Walter Murch and the Art of Editing Film, and his novels In the Skin of a Lion, Anil’s Ghost, Divisadero, and The Cat’s Table.

 

Ondaatje discusses his novels and poetry and his book on film editing, as well as research, editing, adapting books to film, and film as an art itself.

 

Audience members will be able to ask questions, and a reception and book signing follow at the Ransom Center.

 

The event is free and open to the public. Priority entry is available to Ransom Center members (one seat per membership card) who arrive by 6:20 p.m. Members arriving after 6:30 p.m. will join the general queue. Complimentary parking for Ransom Center members is available at the University Co-op garage at 23rd and San Antonio streets.

 

This program is presented by the University Co-op.

 

Attendees may enter to win Michael Ondaatje’s novel In the Skin of a Lion, as well as a copy of his book of poetry, Handwriting.

 

 

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Biographer Hermione Lee discovers author Penelope Fitzgerald’s “heart and meaning” in the archives

By Marlene Renz

Hermione Lee is a well-known biographer of literary figures, admired for scrupulously researching her subjects. Her recent book, Penelope Fitzgerald: A Life (2013), details the life of the late-blooming author as Lee discovered her in the archives.

 

Lee will speak at the Ransom Center about her experiences pursuing subjects through their archives on Wednesday, April 8 at 4 p.m. The lecture is free and open to the public, but seating is first-come first-served.

 

In anticipation of Lee’s visit, Cultural Compass reached out to her about her work and research.

 

 

How do you choose your subjects for a biography?

I choose my subjects out of a passionate admiration for their work, a desire to communicate that admiration and interest in their lives as broadly as possible, and a sense that I haven’t yet read the biography I want to read about them–so had better write it myself.

 

 

During her lifetime Penelope Fitzgerald wrote three biographies.  What was it like applying the same act of analysis to her?

I would have liked to take a leaf out of her book and write a very slim, cryptic, suggestive book about her, since she felt it “insulted the reader to explain too much.” But as I was writing the first biography of her and as she is not a mainstream, popular writer, I felt I needed to write at more length and with more detail than she would have done herself. However, my motives were the same as the motives which led her to write biography: a desire to communicate to as wide an audience as possible the heart and meaning of her life and work. Fitzgerald’s biography of Charlotte Mew, an unjustly neglected early-twentieth-century English woman poet, was particularly in my mind when I was writing my biography.

 

 

There are more than 800 footnotes in your book.  Is that average or unusual in a biography?

Some biographers put their footnotes on line, some don’t have many, some have many more. I like readers to know where the facts have come from.

 

 

Fitzgerald was a private person.  How does that make the work of a biographer more challenging?

There were times when I felt she would have resisted what I was doing, had she still been alive, but there were also times when I hoped that the attention I was drawing to her writing would have pleased her. Many of her secrets remain with her, and I admire and appreciate that, even though it can also be frustrating.

 

 

Can you talk about your research in the Ransom Center’s Penelope Fitzgerald archive? What insight did her personal papers provide?

My work in the archive was invaluable to me. It contains many of her manuscripts, letters to readers and publishers, notebooks, and first drafts. I understood her writing much better-particularly her brilliant use of sources for her novels–when I had worked in the archive.

 

 

Were you drawn to a particular item in the collection?

I was very moved by the last, unfinished story in her notebook, which ends, like so much of her life, with a mystery and a secret. I end my biography with it.

 

 

You are working on a biography of Tom Stoppard.  Have you worked with the Stoppard papers in the Ransom Center’s collections?

I am starting work in the archive now, with great excitement and anticipation.

 

 

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Remembering Penelope Fitzgerald: “We Can Only Hope It Keeps Going.”

 

 

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Museums and Libraries Celebrate the 150th Anniversary of Lewis Carroll’s Famed Work

By Marlene Renz

2015 marks the 150th anniversary of Lewis Carroll’s classic story Alice’s Adventures in Wonderland. Since its publication in 1865, the book has never been out of print. It has been translated into countless languages and has become a work that truly transcends the time and culture in which it was written.

 

In honor of the book’s legacy the Harry Ransom Center presents Alice’s Adventures in Wonderland. This exhibition follows the evolution of Carroll’s story through time, around the world, and across different types of media, from stage and screen to children’s toys. The exhibition offers something for everyone and provides interactive opportunities throughout. Highlights of the exhibition include a rare copy of the 1865 “suppressed” edition, Carroll’s own photograph of Alice, Edith, and Lorina Liddell, the sisters who inspired the story, and Salvador Dalí’s 1969 illustrations.

 

View the Ransom Center’s Alice’s Adventures in Wonderland video preview.

 

Museums and libraries around the world are joining in the observance of Alice’s sesquicentennial. In New York City, the Morgan Library & Museum will display Dodgson’s original manuscript (on loan from the British Library) in its upcoming exhibition Alice: 150 Years of Wonderland, while Vassar College Archives and Special Collections Library will exhibit an early printing of Alice’s Adventures in Wonderland alongside other works of fantasy from the period. John Tenniel’s original drawings will be shown at Harvard’s Houghton Library, and Philadelphia’s Rosenbach Museum & Library will exhibit Carroll’s letters to publisher Alexander MacMillan and a first edition of the book from his library.

 

Browse upcoming Alice-related events on this list, compiled by The Lewis Carroll Society and the Lewis Carroll Society of North America.

 

Share your exhibition experience with #aliceinaustin.

Q&A: Film critic Molly Haskell discusses “Gone With The Wind”

By Sarah Strohl

Molly Haskell, film critic and author of Frankly, My Dear: Gone with the Wind Revisited, explores the popularity and influence of both the book and film, from their first appearance to the present on Wednesday, November 19, at 7 p.m. The program, which is held in conjunction with the exhibition The Making of Gone With The Wind, will be webcast live.

 

In her book Frankly, My Dear, Haskell explores how and why the saga of Scarlett O’Hara has kept such a tenacious hold on the national imagination for almost 75 years. In the first book ever to deal simultaneously with Margaret Mitchell’s novel and David O. Selznick’s film version of Gone with the Wind, Haskell seeks the answers. By all industry predictions, the film should never have worked, but Haskell argues that what makes it work so amazingly well are the fascinating and uncompromising personalities involved of Mitchell, Selznick, and Vivien Leigh.

 

Below, Haskell answers questions about her own experiences with Gone With The Wind, her take on Scarlett O’Hara’s legacy, and more.

 

You talk about how the popularity of Gone With The Wind might have diminished its reputation in the eyes of critics: “According to the stern moral axiom that a film can’t be both great and popular, our affection for it is almost a mark in its disfavor.” (pg. 34) Why do you think this is, and do you think this rings true for films today?

​I think it’s still true. Gone With The Wind was, in a way, the first blockbuster, though Jaws is the one with which we associate the current use of the term, and it was followed by Close Encounters of the Third Kind and Star Wars—the latter almost in a class by itself. Then there are more Spielberg and Lucas mega-hits—the Indiana Jones films and Jurassic Park cum sequels. None of these is taken seriously, though I think standards have shifted somewhat, and the distinction between high culture and popular culture is far less rigid than it once was.

 

You describe reading or seeing Gone With The Wind for the first time as a “formative experience.” Do you remember where you first experienced Gone With The Wind?

​If you mean the movie, I can’t pinpoint the date. I read the book when I was about 12 or 13, swallowing it whole overnight. By the time I saw the film, I was a little more ambivalent about Scarlett: she was gutsy, courageous, ambitious, indecorous (all pluses to my way of thinking), but she was also a Southern belle, something I very much didn’t want to be. Except just a little!​

 

You noted certain parallels between Margaret Mitchell and Scarlett O’Hara. To what extent do you think Mitchell wrote herself into the role of the protagonist?

​I think she thought she was creating Scarlett in the image of her grandmother, a powerhouse of a lady (as were the war widows and survivors of her generation, in Mitchell’s eyes). But so much of the flapper-micshief-maker-tomboy Peggy Mitchell went into the role, and with such ​galvanic force, that she became the heroine almost in spite of her author.​

 

 

When Gone With The Wind emerged, girls and young women everywhere fell in love with Scarlett as a role model for passion and independence. Do you think Scarlett is relevant to young women today?

​Definitely if viewers are able to see beyond the Southern manners, the period trappings, and the always troubling treatment of slavery and the blacks. Scarlett has so many modern offspring, women who have been liberated by feminism (and women’s suffrage, for which Mitchell’s mother fought), without necessarily acknowledging it: Madonna, Lady Gaga, even the Sex and the City babes and Girls!.​

 

 

When casting Scarlett, Selznick reviewed more than 1,400 candidates over two years and spent $92,000 before settling on Vivien Leigh for the role. Can you describe the level of desire and competition for girls who were dying to be Scarlett?

​It was not just the great role of 1939, it was the role of a lifetime. Actresses who were completely wrong for it, like Katharine Hepburn, campaigned. Stars who hadn’t auditioned in years auditioned for it, while others covertly let it be known that they ​were available. Selznick scoured the South. Women wrote to Mitchell begging her to intercede for them. The “quest” stoked stories and filled fan magazines, until it seemed as if everyone in the country had weighed in one way or another. And not just as to the role of Scarlett, but Rhett Butler, too. Though that was practically unanimous: Clark Gable.

 

Do you think there are any actresses today who could come close to Leigh’s performance?

​It’s hard to say, since we no longer have the studio system grooming stars, and no longer want or expect the particular kind of glamor that those stars radiated. It’s such a different game, and each era’s definition of what’s convincing and “real” in acting changes radically. This is a good thing, I think. Who would want to recreate that unique experience? When people try, as in remakes, it usually fails.

 

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Image: Cover of Molly Haskell’s Frankly My Dear: Gone With The Wind Revisited.