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In the galleries: Jacob Lawrence’s "Eight Studies for The Book of Genesis"

By Io Montecillo

"Eight Studies for the Book of Genesis, No. 4" by Jacob Lawrence, 1989. © 2011 The Jacob and Gwendolyn Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York.
"Eight Studies for the Book of Genesis, No. 4" by Jacob Lawrence, 1989. © 2011 The Jacob and Gwendolyn Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York.

Jacob Lawrence (1917–2000) received his early education as an artist in Harlem. By the time he was in his twenties, he had received national recognition for his work, notably “The Migration Series,” about the African-American migration from the South to the North following World War I. Lawrence spent most of the rest of his life in the Pacific Northwest, and at the time of his death, he was generally recognized as one of the most important African-American artists.

All eight of Lawrence’s large silkscreen prints for the Book of Genesis are on display in sequence in The King James Bible: Its History and Influence exhibition. They show the artist’s strongly colorful and mildly abstract style at its best. The words of the preacher invoke the simplicity and force of the King James Version.

Lawrence’s works and those of other artists who were inspired by the King James Bible are on view in the exhibition The King James Bible: Its History and Influence through July 29.

Ur-Knopf: An early Knopf book is reunited with larger Knopf library

By Richard Oram

June 1915. Gene Stratton-Porter and Pollyanna held their dull sway over the American best-seller lists. A young publisher on the make, who had been fired by his house for planning to poach one of its authors, had just decided to go into business for himself. With seed money from his father, Alfred A. Knopf set up shop in one cramped room at 220 West 42nd Street in Manhattan. The other partner in the firm was Blanche Wolf, well-to-do, cultured, fluent in French, and already engaged to Alfred. The first book published by the firm that fall was the French dramatist Émile Augier’s Four Plays. The Ransom Center owns the entire limited edition (two copies, bound in different shades of morocco leather) bound for Alfred, which he gave to his father (“Pater”) and Blanche (“V.V.”) in September 1915 (the trade edition went on sale the next month). Other than that, the firm’s very earliest productions are not represented in the couple’s huge personal library, now at the Ransom Center. Apparently the Knopfs were not sentimental about their roots.

So it came as a surprise when the Ransom Center was recently offered a copy of one of the very earliest Knopf imprints, Nicolai Gogol’s Taras Bulba, with the bookplate of Blanche Wolf, soon to be Blanche Knopf, and bearing an early bookplate from the firm’s library. Taras Bulba headed the first Knopf advertisement in Publisher’s Weekly of September 25, 1915, along with other Russian books. At the outset, the Knopf list included a large proportion of foreign authors, especially French and Russian ones, mainly because it was relatively easy to obtain their American rights. Within a few years, Knopf, Inc.’s Borzoi Books, as they were named because of Blanche’s short-lived attachment to the famously stupid dog breed, would catch the attention of the publishing world because of its superb literary taste and striking book designs.

When the book arrived, I held in my hand a bit of the Ur-Knopf, from the days before Alfred and Blanche were married, before the hallowed Borzoi Books name was on a book (though the dog himself had already made his first appearance as a logo), and before Alfred implemented his notion that a trade book could be beautifully designed (Taras Bulba is in truth a rather plain book). How or why the volume was removed from the Knopfs’ library remains a mystery. The book economy works in strange and mysterious ways, and we can only marvel that Blanche’s book has now been reunited with the rest of the library.

 

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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.

 

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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.

 

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Special offer celebrates recognition of "The Gernsheim Collection"

By Jennifer Tisdale

Just last week, The Gernsheim Collection, co-published by the Harry Ransom Center and the University of Texas Press, received an Alfred H. Barr Jr. Award, which honors a distinguished catalog in the history of art published during the past year.

To celebrate this recognition, the Ransom Center is offering editor-signed copies of The Gernsheim Collection at a reduced price of $60 through March 15. Orders placed by this date will also include a set of five notecards featuring images from the Gernsheim collection.

Edited by Ransom Center Senior Research Curator Roy Flukinger, The Gernsheim Collection coincided with the Ransom Center’s 2010 exhibition Discovering the Language of Photography: The Gernsheim Collection, which explored the history of photography through the Center’s foundational photography collection. The Gernsheim collection is widely considered one of the most important collections of photography in the world. Amassed by the renowned husband-and-wife team of Helmut and Alison Gernsheim between 1945 and 1963, it contains an unparalleled range of images, beginning with the world’s earliest-known photograph from nature, made by Joseph Nicéphore Niépce in 1826.

The book includes more than 125 full-page plates of images from the collection accompanied by descriptions of each image’s place in the evolution of photography and within the collection.

The Wall Street Journal included the publication in “Timeless Snapshots of Past and Present.”

The offer is available online and in person at the visitor’s desk in the Ransom Center’s lobby through Thursday, March 15.

The publication of The Gernsheim Collection was made possible by the generous support of Janet and Jack Roberts, Jeanne and Van Hoisington, Margaret Hight, William Russell Young III, and the Hite Foundation in memory of Sybil E. Hite.

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

"The Gernsheim Collection" Earns Recognition

By Alicia Dietrich

"The Gernsheim Collection" (UT Press, 2010).
"The Gernsheim Collection" (UT Press, 2010).

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The Gernsheim Collection, co-published by the Harry Ransom Center and the University of Texas Press, has been awarded an Alfred H. Barr Jr. Award, which honors a distinguished catalog in the history of art published during the past year.

Edited by Ransom Center Senior Research Curator Roy Flukinger, The Gernsheim Collection coincided with the Ransom Center’s 2010 exhibition Discovering the Language of Photography: The Gernsheim Collection, which explored the history of photography through the Center’s foundational photography collection.

The Gernsheim collection is one of the most important collections of photography in the world. Amassed by the renowned husband-and-wife team of Helmut and Alison Gernsheim between 1945 and 1963, it contains an unparalleled range of images, beginning with the world’s earliest-known photograph from nature, made by Joseph Nicéphore Niépce in 1826.

The book includes more than 125 full-page plates from the collection accompanied by extensive annotations in which Flukinger describes each image’s place in the evolution of photography and within the collection.