Novelist and short story writer T. C. Boyle, whose archive resides at the Ransom Center, has a new novel out today.
San Miguel (Viking, 2012) is a historical novel about three women’s lives on a windswept island off the California coast. Boyle is the author of 23 books of fiction, and his short stories have appeared in The Atlantic, Esquire, Harper’s, McSweeney’s, and The New Yorker.
In February 2013, the Harry Ransom Center will host the first U.S. showing of the exhibition Arnold Newman: Masterclass, a posthumous retrospective of photographer Arnold Newman (1918–2006).
The exhibition was organized by the American nonprofit organization Foundation for the Exhibition of Photography (FEP) in collaboration with the Ransom Center. The show, curated by FEP’s William Ewing, highlights 200 framed vintage prints spanning Newman’s career, selected from the privately held Arnold Newman Archive and the collections of major American museums and private collectors. Twenty-eight photographs from the Ransom Center’s Newman archive are featured in the exhibition.
Newman’s subjects included world leaders, authors, artists, musicians, and scientists—Pablo Picasso in his studio; Igor Stravinsky sitting at the piano; Truman Capote lounging on his sofa; and Otto Frank, father of Anne Frank, in the attic where his family hid from the Nazis for more than two years.
Complementing the exhibition is Ewing’s Masterclass: Arnold Newman (Thames & Hudson Inc., New York), which pays homage to Newman and includes more than 200 photographs, four essays, and short biographies of Newman’s sitters. Essay contributors include Ewing; David Coleman, director of the Witliff Collections at Texas State University and former curator of photography at the Ransom Center; and Arthur Ollman, professor at San Diego State University and curator of many exhibitions produced in collaboration with Newman.
Recently, the Wall Street Journal’s “Photo-Op: Chair Man” highlighted the book with Newman’s photo of Charles Eames in his studio.
Ghost Milk: Recent Adventures Among the Future Ruins of London on the Eve of the Olympics (Farrar, Straus and Giroux, 2012), the latest work by British writer-filmmaker Iain Sinclair, explores the changes in East London as the city prepared for the 2012 Olympics and concludes with his visit to the United States, including his April 2010 trip to the Ransom Center.
Sinclair, whose archive resides at the Ransom Center, delivered a public talk, met with students, and worked with archivists cataloging his papers. Long walks in urban areas are a frequent topic of Sinclair’s writing, and Sinclair agreed to tour the campus, including the 307-foot-tall Tower, and offer his insights.
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According to popular mythology, the publisher Allen Lane, founder of Penguin Books, formulated his idea for a press dedicated exclusively to paperbacks while visiting a railway station. Having spent the weekend visiting his friend Agatha Christie, the famed author of Murder on the Orient Express, Lane arrived at the Exeter railway station and realized he had forgotten his book. Frustrated and facing the boredom of a long train trip, Lane tried to buy a novel at the station but found that there was nothing available that he felt worth reading. Bookless for the next few hours, he sat on the train and planned a new line of cheap, pocket-sized, and travel-worthy books, which could be sold at railway stations, grocers, and department stores. Penguin Books—and the paperback revolution—were born.
While this version of Allen Lane’s epiphany may be slightly romanticized, there is no doubt that Penguin Books, launched in 1935, sparked a new phase of publishing that would change the printing industry irrevocably. Mass marketing of paperbacks not only brought classics to a wider audience but also brought pulp fiction—previously published in magazines—to the forefront of the book trade.
The Ransom Center’s book collection is known for first editions, many of them lush volumes with elaborate bindings. Perhaps lesser known is the fact that the Ransom Center also houses multiple volumes that illuminate the development of the paperback book trade in both America and Britain. Alongside important editions of Lane’s Penguins, the Center also houses Tauchnitz editions of paperbacks that pre-date Penguin, as well as the “penny dreadfuls” and dime novels that slowly developed into modern pulp fiction. This slideshow exhibits numerous items from the library’s collections that represent landmarks in the history of the paperback book trade.
Because manuscript waste is particularly difficult to identify due to its fragmentary nature, I started early on to think of ways to harness the knowledge of other rare book and manuscript enthusiasts to help describe these objects. Inspired by individuals who had made extraordinary discoveries about historical photographs by sharing them on the popular image-hosting site Flickr, I hoped that something similar could be done with images of medieval manuscript waste. This served as the inspiration for posting quick, point-and-shoot digital camera images on Flickr and inviting members of the rare book community to examine and share insights they might have about the items.
The response has been promising. Out of the 65 images (from about 40 items) posted thus far, we’ve had a total of 2,422 views, 26 comments and–thanks to the work of some very diligent people–more than 16 partial or full identifications of the fragmentary texts. This page is a great example of how users have offered up expertise on transcribing and dating one fragment. It’s likely that a majority of all known fragments in our collections will have been identified by Flickr members by the time this project is complete. Notifications about new images are posted on a related Facebook page. But plenty of work remains, and there are many fragments to be commented on.
Crowdsourcing is a popular buzzword these days and for good reason. By placing images of these rather obscure, archaic objects on a popular image hosting site, a twenty-first-century technology brings together the skills of a highly specialized and niche community and opens up these medieval objects to interpretation by potentially anyone.
* The author would like to add that although digitization and image sharing has many benefits, nothing compares with up close physical examination of medieval manuscripts. It should also be noted that the images we are posting are primarily for identification and rapid dissemination and are not publication-quality, high-resolution photos. Researchers may request high-resolution images through the Ransom Center’s website.
The definition of what constitutes an artist’s book varies significantly depending on the social or critical circle observing the book. Is it an artist’s book, a livre d’artiste, an artist’s illustrated book, bookart, pop art, or a fine press book? If one were to look up the term and read any of the numerous essays about it, there would certainly be canonical titles offered and artists’ names as well—Henri Matisse, Ed Ruscha, and even William Blake, to name a few. Seeing these three artists of vastly different periods, styles, and mediums is proof that a single definition would not suit all audiences. In the preface in Artists’ Books: a Critical Anthology and Sourcebook, Dick Higgins writes, “There is a myriad of possibilities concerning what the artist’s book can be; the danger is that we will think of it as just this and not that. A firm definition will, by its nature, serve only to exclude many artists’ books which one would want to include.”
Although the history of artists’ books is as vigorously debated as the definition, artists’ books truly began to proliferate in the 1960s and 1970s, in particular with the idea of the “democratic multiple”—well suited to the social and political climate of the times. Ed Ruscha’s Twentysix Gasoline Stations and George Brecht’s An Anthology of Chance Operations are just a couple of examples from this period housed at the Ransom Center. Though it may be difficult to define artists’ books, often times you will know one when you see it because they can be quite unique—like a work of art. Johanna Drucker in The Century of Artists’ Books offers one distinction as “books made as direct expressions of an artist’s point of view, with the artist involved in the conception, production, and execution of the work.” A few of the more “artful” examples in the Ransom Center collection include Clair Van Vliet’s Aura and Countercode archeo-logic by Timothy Ely. Some of the characteristics present can include plates or illustrations cut from wood, linoleum, stone, or even metal; the bindings can be made of leather, wood, metal, etc.; the paper can be handmade, stitched, rolled, cut, or folded; and there is no limit to shape, size, and sometimes even sequence. Some artists’ books are even designed to be shuffled like a deck of cards and read in any order.
Art, like beauty, is in the eye of the beholder. At the Ransom Center there are numerous examples of artists’ books, ranging from Henri Matisse’s famous Jazzto Henry Miller’s heartfelt Insomnia or the Devil at Largeto smaller press items like the collaboration of artist Steven Sorman with poet Lee Blessing in Lessons from the Russian. There are even a few gems in the collection that have until now escaped categorization as artists’ books. We are reviewing seminal bibliographies that address the evolving definitions of the genre and plan to revise and expand available resources to make the books in the collection more accessible. To search for artists’ books in the Ransom Center’s collections, access the UT Library Catalog: type in “artists’ books” (in quotation marks) and limit the results to the Harry Ransom Center. There is also a checklist of artists’ books available in the Ransom Center’s Reading and Viewing Rooms.
Lynne Maphies also contributed to this blog post.
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Historian John Speed (1542–1629) worked with Hebrew scholar Hugh Broughton to create a 36-page genealogy to accompany the first printing of the King James Bible. The genealogy traced “euery family and tribe with the line of Our Sauior Jesus Christ obserued from Adam to the Blessed Virgin Mary.” Speed’s genealogy (1611) portrays the then-popular view that Noah’s sons went on to populate specific regions of the world: Shem to Asia, Japheth to Europe, and Ham to Africa. In the Americas, pro-slavery advocates used the “curse of Ham” to justify the enslavement of Africans and their descendants.