Walter Wetzels, an emeritus professor in the Department of Germanic Studies at The University of Texas at Austin, recently donated a German translation of James Joyce’s Finnegans Wake to the Ransom Center. He shares a bit of his history with the text.
It must be more than 50 years ago after reading my first novel in English (that was Thomas Wolfe’s Look Homeward, Angel) that I very ambitiously tried the famous and feared James Joyce. And, of all things, I chose Finnegans Wake. Little did I know what to expect, and—predictably—it turned out to be a disaster. I felt completely defeated and asked myself whether the English that I had learned in school and Joyce’s version were the same language. I gave up. Much later, in the mid 1990s, I heard that some audacious person had translated the work into German. I bought the tome hoping to finally understand it in my native tongue. Of course, the “translation” turned out to be just as impenetrable to me as the original had been. Defeated again— and for good this time—the book ended up on one of my shelves where it has rested, untouched, ever since.
It was not until 2010, when I started to tackle the problem of thinning my library, that the only sensible solution for my ancient struggles occurred to me: the Harry Ransom Center.
I am gladly passing the work on to more competent and determined minds.
Pestilence, famine, war, and death: The Four Horsemen of the Apocalypse were close companions to life in the fourteenth century. The Church was compromised by political corruption and worldliness, and the pope resided not in Rome but at Avignon, where he remained a virtual pawn to the king of France. During this calamitous phase of European history, a devotional text called the Book of Hours emerged as a medieval bestseller. Ten of these volumes reside in the Harry Ransom Center collections. Learn more about Books of Hours in the first of a three-part series on Books of Hours.
2010 marks the twentieth anniversary of the publication of Tim O’Brien’s The Things They Carried, a ground-breaking meditation on war, memory, imagination, and the redemptive power of storytelling. The book depicts the men of Alpha Company: Jimmy Cross, Henry Dobbins, Rat Kiley, Mitchell Sanders, Norman Bowker, Kiowa, and the character Tim O’Brien, who has survived his tour in Vietnam to become a father and writer at the age of 43.
The Ransom Center acquired the archive of the National Book Award–winning writer in 2007, and a finding aid for the collection is available online. Also, read what O’Brien has to say about his papers residing at the Ransom Center.
Please click the thumbnails below to view full-size images.
The papers of British writer Jim Crace, author of acclaimed works Continent (1986), Arcadia (1992), Quarantine (1997), Being Dead (1999), and The Pesthouse (2007), are now open at the Ransom Center. A finding aid of the collection can be accessed online.
The Center acquired Crace’s archive in 2008. The collection is made up of more than 45 boxes of materials, including the research notes, early drafts and edited page proofs of All That Follows (2010), Crace’s novel that is being released next Tuesday.
Below you can view a video of Crace reading from All That Follows. Also, listen to audio of Crace reading from his other works and view a list of his recommended reading.
The Ransom Center notes with great sorrow the death of Anthony Bertram Rota on December 13, 2009. As managing director and chairman of Bertram Rota Ltd, the London-based antiquarian bookseller was greatly influential in shaping the Center’s renowned holdings of the papers of numerous nineteenth, twentieth, and twenty-first–century British writers. Over a succession of five Ransom Center directors, the firm sold more than 500 collections to the Center, including the personal papers of several writing dynasties, notably those of Edith, Osbert, and Sacheverell Sitwell, and Theodore Francis, Llewellyn, and John Cowper Powys.
In his memoir, Books in the Blood (Oak Knoll Press, 2002), Anthony Rota recalled his annual travels to the United States: “In a two or three-week trip I would visit between seven and ten university libraries, sometimes speaking to gatherings of professional staff and sometimes talking to students who were English majors. . . I went to New York and to Austin each year. I always arranged for my time in Texas to fall so that it covered a weekend, for I soon had many friends in town and I liked the outdoor lifestyle that they followed.” His annual visits were as eagerly anticipated by Ransom Center staff; occasions for barbeque and margaritas as much as for books and manuscripts.
Generous with his time and expertise, Anthony Rota taught generations of rare book librarian professionals the craft of modern collecting through courses at the Rare Book School, presentations at professional conferences, and by example. The firm’s collection descriptions are models of clarity and precision; miniature literary histories tracking the creative process. His legacy of enriched research collections benefits scholarship and ensures a greater understanding of a shared culture.
Facebook. No doubt you’ve heard of it. But did you know that the origin of Facebook really comes from the concept of a “freshman facebook”? Many universities publish and distribute a yearbook of sorts to its incoming freshman students that includes registrants’ photos and a few biographical details about them. The idea is that this book will be a tool to help students get to know one another in the incoming class.
At Harvard University, this directory is known as the Harvard Freshman Red Book Register, and this practice had been in place for three years (started by the class of 1940) by the time Norman Mailer matriculated in 1939. Mailer would graduate in the class of 1943. His Harvard Freshman Red Book Register, published in December of 1939, has a companion Harvard Freshman Red Book, which was published in May and is a summary of the first year in college. In his Register you can see the equivalent of “posting on his wall” in comments he literally penciled in about himself next to his photo on page 93 (“Beautiful, alluring, gorgeous”), as well as those scrawled in by his friends and initialed in good fun—we assume (“We all don’t like him”).
These books are two of the numerous holdings from Mailer’s personal library, which numbers around 900 volumes in the Ransom Center book collection. His library was acquired with his papers, comprising more than 1,000 boxes of materials, by the Ransom Center in 2005 along with another sizeable collection of more than 150 books, the Thomas Fiske collection of Norman Mailer. Within these collections, it is interesting and fun to recreate how Mailer grew from a high school student with a penchant for math, to a college Red Book editorial board staffer and engineering major, and finally evolved into a boisterous and prolific writer who published novels, articles, and poetry on everything from literature to race, feminism, sexuality, politics, art, culture, and society. Among his papers, there are high school and college journals, scrapbooks, grade reports, and even sweet and creative letters written home to his parents. Later materials consist of unpublished stories, handwritten notes, typed drafts, galley proofs, screenplays, and first editions of all his published books.
Please click the thumbnails below to view full-size images.
Approximately 200 books from David Foster Wallace’s library arrived at the Ransom Center with his papers. When the staff unpacked the collection to check its condition, we could see immediately that the library was not simply a supplement to the archive but an essential part of it. Wallace annotated many of the books heavily: he underlined passages, made extensive comments in the margins, and utilized the front and back inside covers for notes, vocabulary lists, brainstorms, and more. As a reader of Infinite Jest, one book in particular caught my eye: a battered paperback copy of Pam Cook’s edited volume The Cinema Book (New York: Pantheon, 1985). This reference work is heavily used: it lacks both its front and back cover, its spine is held on with two pieces of tape, and the exposed inside cover is inscribed “D. Wallace ’92,” four years before the publication of Infinite Jest.
Infinite Jest is a book about many things, and the mesmerizing power of movies is one of its most dominant themes. One of the book’s central figures is the late James O. Incandenza, an auteurwhose filmography has left an indelible mark upon all of the novel’s characters in one way or another. Early in the novel, the reader learns of the extent of his importance in endnote 24. Endnote 24 comprises Incandenza’s entire filmography, which fills eight pages in tiny print. The reader discovers here that it is essential to actually read Wallace’s footnotes (spoiler alert), because only in this endnote do we learn that Infinite Jest is the title of an Incandenza film.
Traces of The Cinema Book may be found throughout Wallace’s novel, beginning with the basic format of the filmography itself: notably, Wallace penned a bracket around the “Special Note” at the front of The Cinema Book, in which Cook outlines the format her citations will take, and Wallace’s citations of Incandenza’s films resemble these closely. Wallace may also have gathered much film knowledge from this volume. The Incandenza filmography is a virtuosic pastiche of film history, technology, and vocabulary. We are told that Incandenza made every kind of film: “industrial, documentary, conceptual, advertorial, technical, parodic, dramatic noncommercial, nondramatic (‘anti-confluential’) noncommercial, nondramatic commercial, and dramatic commercial works” (985). Wallace annotated passages throughout The Cinema Book, with the exception of two theoretical chapters. He noted concrete information such as the names of actors, directors, production companies, film journals, and significant events in film history. His annotations show his interest in a wide range of terms and themes covered in the volume, with particular interest in sections on the idea of the auteur, the technology of deep focus cinematography, new wave cinema, the Hollywood star system, and most film genres (with the notable exception of the “the gangster/crime film,” the only genre lacking any Wallace annotations).
At two points in the volume he explicitly mentions Infinite Jest. In the section on “National cinema and film movements,” he underlines much of the section on Roberto Rossellini’s place in the neo-realist Italian tradition, writing in the bottom margin “Rossellini + ‘ad-hoc’ structure—Infinite Jest” (39). More dramatically, he writes the letters “IJ” no less than four times in the three-page section on “The Hollywood Star Machine.” He underlines several passages with particular attention to the following, which will not come as a surprise to readers of Infinite Jest:
It has been argued that the erotic play of the “look” around the female star figure in classic Hollywood cinema is an integral part of the narrative drive towards closure and the reinstatement of equilibrium (Mulvey, “Visual pleasure and narrative cinema,” 1975). This argument uses psychoanalytical concepts to address the question of the fantasy relationship between spectators and film and the role of the star in that relationship (see also Cook, “Stars and politics,” 1982; Friedberg, “Identification and the star,” 1982). 
Finally, my favorite set of annotations surround the section on the genre of the musical, written by Andy Medhurst. Medhurst spends a considerable amount of time discussing this genre’s dominant theme: entertainment. Wallace has underlined passages discussing the ways in which this genre taps into viewers’ nostalgia and their desire to experience a “vision of human liberation” in a utopian entertainment experience. Wallace has penned “ENTERTAINMENT” at the top of the page and circled the page number (107). This word is central to the project of Infinite Jest, and it is enlightening to read one of the sources from which its meanings in the novel likely derive.
Unpacking Wallace’s library was a once-in-a-lifetime experience for this reader; once this and his other books have been cataloged, I look forward to seeing what insights scholars will derive from the hundreds of books and thousands of annotations beyond the few I have noted here.
The Bieber collection’s copy of John Greenleaf Whittier’s Moll Pitcher, a poem, is an 1832 first edition. In the poem, Whittier presents an unflattering fictional account of the exploits of Moll Pitcher (1736–1813), who amassed both fame and income through her work as a fortune-teller in Lynn, Mass. (Moll Pitcher should not be confused with Molly Pitcher of Revolutionary War fame). Though her methods were not always scrupulous (for example, eavesdropping from a back room while her daughter chatted with clients before readings to obtain useful information), many followers put great stock in her clairvoyance and traveled from as far away as Europe for consultations.
As Bieber penciled on the title page of the poem, his copy is “illustrated curiously with pen + ink sketches of ‘Moll Pitcher’ and added verse.” Around the printed text, an unknown artist has filled the margins with depictions of the title character and other “curious” subjects. Commentary in verse at the beginning pokes fun at Whittier; in the margins the figure of Moll Pitcher adds her own cryptic remarks in conversation bubbles. Mysteriously, a Native American chief apparently unrelated to the text appears at the end of the first section.
Close examination of the drawings, executed in at least three different inks, make it possible to glean insight into the artist’s working process. In addition to the extensive annotations, this copy of the poem has seen trimming, mending and filling of the paper, binding and rebinding. It is currently housed in an acidic pamphlet binder likely dating from the days of Bieber, which itself has undergone repairs. All of these markings of the poem’s long life make it a promising object for future study, ripe with glimpses of its past and of the people with a hand in creating the object that exists today.
Please click the thumbnails below to view full-size images.
Tom Kemper, author of Hidden Talent: The Emergence of Hollywood Agents (University of California Press, 2009), did research for his book in the Ransom Center’s film collection with funding from the Warren Skaaren Film Research Endowment. He shares some of the surprising information he discovered while working with the Myron Selznick papers and the David O. Selznick collection at the Center.
The announcement of this year’s Academy Award nominations reminds me of the tried-and-true tradition of winners thanking their agents. It happened for the first time in 1962. And the press took notice. When Ed Begley won for Best Supporting Actor for his performance in Sweet Bird of Youth (1962), reports noted that he “surprised Hollywood by thanking his agent, George Morris, from the stage.” Another article called it a “Hollywood first.” Little did they realize it would become part of the standard Oscar script.
This “Hollywood first” coincides with a lot of standard beliefs about the emergence of Hollywood agents. In popular opinion—in journalism, fan culture, and places like classic movie channels—and even academic circles (in histories and textbooks), it has been assumed that agents first hit the scene around this time and then surged in the 1970s with Armani-clad power brokers like Mike Ovitz, the rise of Creative Artists Agency (CAA) and International Creative Management (ICM), and right on up to Ari Emmanuel (aka Ari Gold). I assumed much the same when I began my project. When I dug around in various historical sources and archives to see what agents were doing in the 1930s, the classic Hollywood studio era, I thought this material might serve as the preface to the book. What I found completely surprised me: agents were there at the start of the studio system and played a crucial role to its functioning as a big business. These discoveries became the entire book.
That digging led me to the Myron Selznick papers at the Harry Ransom Center, where I discovered incredible documents on the achievements of this leading agent in the 1930s. Selznick arranged packages of clients for productions (stars like Carole Lombard and William Powell and directors like Gregory La Cava or George Cukor), earned them shares in the film’s profits, and maneuvered short-term contracts for Hollywood artists—actions we tend to associate more with modern Hollywood than the classical period. Yet all are documented in the treasure trove of the Center’s archives.
One of the best moments for me as a researcher came when I discovered the files for the opening of Selznick’s London branch. There I discovered a long document in which he outlined, as a model, the operations of his Hollywood office. It gave me an invaluable historical perspective on the files as well as a blueprint for my research. I had a wonderful time at the Ransom Center and can’t wait to return (in Hollywood fashion, I’m writing a sequel to my book!).
Last September, the Ransom Center acquired the papers of writer Jayne Anne Phillips. Phillips, who was a finalist for the 2009 National Book Award for her novel Lark & Termite, shares her recommended reading in the latest issue of Ransom Edition.
Known for her poetic prose and her in-depth study of family dynamics, Phillips is the author of Black Tickets, Machine Dreams, Shelter, and Motherkind. The critically acclaimed writer has received a number of major literary prizes, including a Guggenheim fellowship and two National Endowment for the Arts fellowships. A member of the American Academy of Arts and Letters, Phillips is professor of English and director of the Master of Fine Arts program in Creative Writing at Rutgers University, Newark.