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 email@example.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.]
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.
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.
Charles Dickens was born in 1812—200 years ago today—and his works continue to be some of the most beloved and enduring stories in the English literary canon. The Ransom Center has strong holdings of Charles Dickens materials, many of which were donated to the Center in the 1970s by Halstead B. Vanderpoel.
Dickens started his career as a journalist when he was 19, though he kept trying his hand at fiction on the side. He published his first story in the Monthly Magazine in December 1833 at age 21, and three years later he published his first novel, The Pickwick Papers. The book, which was published in serial form, was an enormous success in England, and Dickens went on to become the most popular writer of his time. With the serial format, Dickens could offer his novel at a low cost and enjoy a wide circulation among readers. The formula was so successful that many of Dickens’s subsequent novels were also published in serial form.
Dickens followed up success of The Pickwick Papers with Oliver Twist (1838), Nicolas Nickleby (1839), David Copperfield (1849), Bleak House (1853), Little Dorrit (1857), A Tale of Two Cities (1859), Great Expectations (1860), and other classic titles.
A forerunner to modern-day publishing marketers, Dickens knew how to make his works appeal to the widest possible audience. A Christmas Carol, for example, was published just in time for Christmas in 1843. Dickens wrote with humor, but he also wrote to shed light on the dark side of poverty in England at the time.
In a posthumous biography, it was revealed that Dickens came from humble beginnings. His own father was imprisoned for debt when Dickens was a child, forcing the boy and his siblings to work in a factory in terrible conditions to support the family. His experiences in the factory were later immortalized in David Copperfield and Great Expectations.
Our Mutual Friend was Dickens’s last complete novel before his death in 1870, following a 36-year career as a writer. He was working on The Mystery of Edwin Drood when he died, but he completed only six of the planned 12 installments. Dickens is buried in Westminster Abbey.
The Ransom Center’s Dickens holdings are extensive and include 168 letters, a virtually complete run of his published works, 14 books from the author’s library, and Dickens ephemera. The Charles Dickens literary file includes 39 photographs, many of which are portraits of Dickens.
The Charles Dickens art collection contains more than 1,000 paintings, drawings, prints, postcards, plates, clippings, and portfolios relating to Dickens, including original illustrations for editions of his works, renderings of fictional characters, and images of settings of his novels.
In the above slideshow, view some of the materials from the Dickens collection at the Ransom Center. Dickens’s copy of The Life of Our Lord will be on display in the exhibition The King James Bible: Its History and Influence, which opens February 28.
Please click on thumbnails for larger images.
Image: Wax impression of Charles Dickens’s seal. Photo by Pete Smith.
The recent publication of The Letters of Ernest Hemingway: Volume I, 1907-1922 has re-ignited public interest in Hemingway’s personal life and documents. In the introduction to the book, editor Sandra Spanier writes: “Hemingway’s letters constitute this autobiography in the continuous present tense. They enrich our understanding of his creative processes, offer insider insights into the twentieth-century literary scene, and document the making and marketing of an American icon.” Four of the letters from the Ransom Center’s Hemingway collection can be found in the book.
Liesl Olson, a 2011-12 National Endowment for the Humanities Fellow, visited the Ransom Center in October 2011 to study the letters of Hemingway. In January she will become Director of the Scholl Center for American History and Culture at the Newberry Library in Chicago. She shares some of her findings from the Hemingway collection here:
“In October I spent a few days working in the Hemingway collection at the Harry Ransom Center. I was looking to learn more about the relationship between Hemingway and his Oak Park roots—especially his fraught relationship with his artistic mother, Grace Hall Hemingway. I also mined the collection for materials relevant to Hemingway’s time in Chicago, particularly during 1920-21 when he lived with friends on the north side and wrote for a fraudulent periodical called the Cooperative Commonwealth. What I found at the Ransom Center will help to complete a story that I tell about Hemingway in my book-in-progress, which is about the literary and artistic centrality of Chicago in the first half of the twentieth century.
Perhaps the most fantastic letter that Grace Hall Hemingway sent to her son is dated July 24, 1920, and it is contained in the Hemingway collection at the Ransom Center. The letter is an elaborate reprimand for Hemingway’s late-night lake escapade with friends up in Michigan. In Grace Hall Hemingway’s ten-page letter—for which she composed many drafts (also in the collection)—she conceives of the metaphor of a bank to describe their relationship, and she is quick to point out that he is “overdrawn.” Most Hemingway scholars know about this letter. But in looking at the letter in context of so many others at the Ransom Center, it is striking to learn that Hemingway’s father (who received a copy) called it a “masterpiece” and that the letter itself entered into family lore. Grace Hall Hemingway’s construction of motherhood—in a letter written in flourishing cursive script—is a striking analogue to Hemingway’s own construction of himself, much later in life, as a popular, bearded “Papa.”
I found many other collections at the Ransom Center that help to illuminate the literary and cultural life of Chicago—especially the Alice Corbin Henderson collection. Henderson was Harriet Monroe’s editorial assistant at Poetry magazine, published in Chicago, where Hemingway’s poems first appeared in 1923. Though Hemingway’s letters to Monroe have been published—and the spectacular multi-volume Hemingway letters project will complete what has been missed—the materials at the Ransom Center provide the other side of the correspondence, the incoming letters to Hemingway. Like the 1920 letter from Grace Hall Hemingway, these letters give voice to the people and places that shaped Hemingway’s life and work.”
When the page proofs for James Joyce’s novel Ulysses arrived in the Ransom Center’s conservation lab, the pages were torn, bound together with adhesive, and all but impossible to read. Conservators unbound the pages to reveal annotations by James Joyce, editor and publisher Sylvia Beach, and printer Maurice Darantiere. Learn about the steps taken to conserve and house the pieces of this historical book.
While visiting the Harry Ransom Center in September 2011, Elliott Erwitt noted that “a good photograph is pretty obvious. It tells you a story very quickly. When it works, that is a good photograph.”
The more than 280 photos of 90 sequences in Erwitt’s new book Sequentially Yours (teNeues, 2011) certainly meet that qualification.
Visit the Ransom Center’s Facebook page to pick your favorite Elliott Erwitt photo for the chance to win a copy of Sequentially Yours.
Publisher teNeues describes Sequentially Yours as Erwitt presenting “a sense of vignettes, each showing a sequence of photographs shot just moments apart. Gifted storyteller that he is, Erwitt gives you a sense of what happens next, the end point being sometimes comic, sometimes poignant, and often with a wink.”
In his more than 60 years as a working photographer, Erwitt has shot iconic images of historical figures and celebrities as well as photographs of ordinary people and everyday occurrences. Sequences in the book reveal a couple’s unsuccessful efforts to close their beach umbrella in windy weather, the interactions of the cast on the film set of The Misfits (1961), and other actions and events.
“In Sequentially Yours, Elliott has created a new form, somewhere between single exposures and film,” writes Marshall Brickman in the foreword. He describes Erwitt as having “… an affection for empty spaces, places where his subjects have been or will be in a moment, or for things or people who just disappear.”
Erwitt has remarked that taking good pictures requires visual sense, including a sense of composition and design. Erwitt’s other essential is curiosity, which is evident in these sequences.
Erwitt is the author of more than 20 photography books, including Photographs and Anti-photographs (Thames & Hudson Ltd, 1972), Personal Exposures (WW Norton & Company, 1989), Personal Best (teNeues, 2006), and Elliott Erwitt’s Paris (teNeues, 2010).
The archive of photographer Elliott Erwitt, which includes more than 50,000 signed photographic prints, is housed at the Ransom Center. The Erwitt materials are currently being prepared for public access.
Anita Desai, whose archive is housed at the Ransom Center, recently published The Artist of Disappearance, a collection of three novellas that ruminate on art and memory, illusion and disillusion, and the sharp divide between life’s expectations and its realities.
Born in India, Desai often explores themes related to her homeland in her work, and she has been short-listed for the Booker Prize three times for her novels Clear Light of Day (1980), In Custody (1984), and Fasting, Feasting (1999).
The Ransom Center acquired her papers in a series of purchases between 1989 and 2006. The collection contains manuscripts and typescript drafts for all of her novels, from her first book, Cry, the Peacock (1963), through Journey to Ithaca (1995); works for children; introductions, prefaces, reviews, essays, speeches, and lectures; and correspondence.
Desai visited the Ransom Center for the 1994 Fleur Cowles Flair Symposium, which explored “The State and Fate of Publishing.” Read the talk she gave at the symposium about her experiences with publishing.