This large, oblong decoupage book contains more than 40 collages consisting of carefully assembled engravings from books. The decoupage has been embellished with hand-colored drops of “blood” and handwritten religious commentaries. The emphasis throughout is on images of the Crucifixion, birds, and snakes, all dripping with blood.
The album, familiarly known to us as the “Victorian Blood Book,” has been an object of fascination, horror, and mystery since it arrived with the rest of the Evelyn Waugh library in 1967.
Associate Director and Hobby Foundation Librarian Richard Oram wrote an article about the book for a prior issue of eNews. Since then, he has unearthed some new information about the book’s origins, which he discusses in a new audio slideshow, where you can see slides of each page of the book.
Artist José Guadalupe Posada’s graphic legacy is as recognizable today as it was in turn-of-the-century Mexico, and his distinctive skeleton print calaveras have become synonymous with the traditional Day of the Dead celebration, which is November 1.
Hector Dominguez-Ruvalcaba, Associate Professor in the Department of Spanish and Portugese at The University of Texas at Austin, gives an overview of the traditions behind the Day of the Dead:
There were nine levels in the Mesoamerican afterlife. Tlalocan was a paradise reserved for those who died of contagious diseases, while those who died in war walked with the sun to the zenith. The relatives of these dead would lay offerings near their bodies so they could accomplish this task. These offerings would be left for four years, until the dead transformed into hummingbirds and began to nourish themselves by drinking the nectar of local flowers. The final—and darkest—level was called Mictlan, the place of no return. To reach this place, the dead would have to journey for four years.
Relatives would place offerings of food and leave the tools for working in the same job the dead had used in their jobs in life. In this sense death was then an endless cycle of traversing, going through different dimensions of existence. Offerings were the main resource that allowed the dead to reach the next level in their journey beyond the grave. There were particular different dates in the year to honor one or another group of dead, a religious calendar that was completely altered after the Christianization of America.
These offerings survive as a result of the syncretic religions that were established during the Spanish Conquest. Today, offerings to the dead are made on All Saints’ Day (November 1) and All Souls’ Day (November 2) of the Christian calendar.
In rural areas of Mesoamerica, November 1 is dedicated to dead infants (which in pre-Columbian times was celebrated in August), while November 2 is dedicated to dead adults. In many areas leaving an offering for deceased loved ones is a dutifully fulfilled obligation. Family comes together, bringing the dead to the reunion through nostalgic conversations.
The Day of the Dead is the day of filial love, but it is also the day of celebrating the harvest in the agricultural calendar. November is the month of bountiful harvest, and generously sharing food is the most sincere expression of gratitude. The altar of the dead is then a cornucopia of fruits, flowers, candies, drinks, and the most precious objects of beloved family members. The colorful ornaments, the saints of family devotion, the elaborate cooking, and even the delicate sugar skulls make death not a terrible image, but the core of human communion.
Matt Morton, a senior in the English Honors Program, Humanities Honors Program, and Government, is working as an undergraduate intern with Ransom Center Curator of British and American Literature Molly Schwartzburg. Undergraduate interns at the Harry Ransom Center have the opportunity to gain valuable behind-the-scenes experience at a major research library and museum. Interns work in a variety of capacities, including developing exhibitions, assisting with collections cataloging, and creating unique multimedia.
Morton has been assembling materials from the Paul Bowles and other collections for an exhibition case that is now on display on the Ransom Center’s second floor through November 13. He shares his experience working on this project:
On my first day as an intern at the Ransom Center, I walked into the building feeling guilty. A lover of all things literary, I was entering my fourth year as an English and Humanities major. Nevertheless, I had ventured inside the Center only twice, both times during organized class visits.
I didn’t know quite what to expect. I had heard horror stories from fellow classmates about internships consisting of making copies and gazing out the window. I knew, of course, that an internship at the Ransom Center would provide the opportunity to do more than grunt work. Still, I was unsure of how I could make a substantial contribution.
I soon found out. I was met by my supervisor, Molly Schwartzburg, who immediately began outlining the projects we would be working on. The first of these was the creation of a single-case exhibition centered on a New York Times article commemorating the sixtieth anniversary of Paul Bowles’s novel, The Sheltering Sky.
Written by Dwight Garner, the article was notable for its references to Tennessee Williams’s review of The Sheltering Sky, and Norman Mailer’s discussion of Bowles in Advertisements for Myself, two works of which the Ransom Center holds original manuscripts. Garner also referred to Virginia Spencer Carr’s Paul Bowles: A Life. Carr did extensive research at the Center while working on the biography and even inscribed a copy of the biography to the Center’s staff.
Garner’s article was the initiation of my relationship with The Sheltering Sky, which would progress over a few short weeks. While I was thrilled to be given responsibility for an exhibition, however small, I was simultaneously apprehensive. During my three years at UT, I somehow had never heard of Bowles. How could I create an exhibition focusing on one of his novels?
I soon found that the task was not as daunting as I imagined. Molly and I began by repeatedly touring the mazes of the Center’s collections. Soon I found myself sorting through the Bowles and Williams collections and Mailer’s papers, eventually having to decide which of the enticing collection materials should be included in the exhibition’s limited space. Finally, all that remained was creating the layout, an act that allowed me even more creative freedom.
After only four weeks of work, the exhibition is finished. I hope that it will introduce viewers unfamiliar with Bowles to The Sheltering Sky, as the process of its creation similarly educated me.
The Cultural Compass recently spoke with historical spy novelist Alan Furst, who is reading tonight at the Ransom Center. The program will be webcast live. Here is how Furst has been occupying his time lately:
“I’m hard at work in two ways: maybe the more interesting has to do with promotion. I’ve been a writer for 25 years, 15 books, and now I’ve been led to discover, by Random House marketing people, the literary chat room. On reflection, since printing was invented, no other system of communication like this has ever existed. Short paragraphs, query and response, a kind of intellectual tennis, in minutes not days, achieved by the internet. And the protocols of e-communication seem to enhance, not limit, the discourse. In other words, you point to trails, you don’t go down them, but the person you address may, and the witnesses—audience?—because it’s an open forum—may do so as well.
“Also, not an anti-climax to me, I’m writing the hell out of a new book, about southern Europe in 1940/41, excited to confront new politics, new history, new ethnographies—the anthropological espionage novel!! You heard it first here.”
Learn more about Furst by viewing his reading recommendations, the inventory of his archive, and a profile that explores his writing process using Furst’s archival materials at the Ransom Center.
Fred Kaplan worked in the Ransom Center’s Reading and Viewing Rooms while researching his book 1959: The Year Everything Changed, which was released last month. He describes his work at the Center:
I came down to the Harry Ransom Center for a few days in the summer of 2008 as part of my research for a book that wound up being titled 1959: The Year Everything Changed (Wiley, 2009). I focused mainly on the papers of Norman Mailer and Allen Ginsberg. Without the materials that I found there, my book would have been less rich and complete than it is. Certain letters and diary entries in the Mailer papers forced me to revise my concept and chronology of where and when Mailer acquired or devised some of his most original and influential ideas. Poring through the Ginsberg papers, I was hoping to find connections between his poetry and two excitements of the era: jazz and space exploration. I found both.
“If Edgar Allan Poe had never written a poem, he would still have been one of America’s greatest writers, thanks to his wonderful short stories, and the invention of the murder mystery genre in particular. If he had never written any of his colorful and often scary short stories, he would still have been one of America’s very greatest poets. In our program at the Harry Ransom Center we’re going to try to demonstrate both sides of this unique literary artist.”
Tonight’s program also features actors René Auberjonois and Fionnula Flanagan. They will read works by Poe, including “The Raven,” “Annabel Lee,” “The Black Cat,” “Alone,” “To Helen,” “The Masque of the Red Death,” “The Sphinx,” and “The Bells.”
The Ransom Center has acquired the papers of American novelist Jayne Anne Phillips. Phillips has published six novels and story collections over the last three decades. Her most recent work is Lark and Termite (2009).
Phillips visited the Ransom Center recently and recorded a reading of Lark and Termite, which you can listen to here.
Known for her poetic prose and her in-depth study of family dynamics, Phillips has received critical acclaim and 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.
The acquisition contains manuscripts in multiple states for Black Tickets (1979), Machine Dreams (1984), Shelter (1995), Motherkind (2000), and Lark and Termite, as well as dozens of individual short stories and essays, some never published. Phillips’s school records, early writings, family photographs, notebooks, business documents, fan mail, and related ephemera provide insight into the writer’s life, writing process, family relationships, and publishing history.
Last year the Ransom Center received as a gift a bible printed in 1481, in Basel by Johan de Amerbach, that was adorned with a 19th century fore-edge painting by bibliophile John T. Beer. The scene is described in a checklist of Beer’s fore-edge paintings simply as “A scene on the Nile,” and the image is sufficiently vague to merit such a title.
What biblical paintings might have inspired the painting? Some have suggested Shadrach, Meshach, and Abednego; Joseph and his brothers; and the Holy Family leaving Egypt. Can any of these suggestions be substantiated based on the details present in the painting? Take a close look and leave a comment with your thoughts.