Meet the Staff is a Q&A series on Cultural Compass that highlights the work, experience, and lives of people at the Harry Ransom Center.
Joan Sibley has filled a variety of roles during her 25 years at the Ransom Center. Now, as Senior Archivist, she is responsible for the completion of retrospective conversion cataloging of manuscript collections, grant writing, and management of grant projects. Read more
The Ransom Center’s recently-processed archival collection titled “1932 German Elections Ephemera Collection” was assembled in the 1930s by the German-American book seller Paul Gottschalk. The sequence of events that the collection documents—that is, the rise of Adolf Hitler to Read more
Among the papers of Mary Mowbray Clarke included in the Sunwise Turn archive is Ms. Mowbray Clarke’s personal correspondence. The major portion of these letters span the years 1905–1917, from about the time she married John Mowbray Clarke up to the opening of the Sunwise Turn bookshop in partnership with Madge Jenison. A large portion of this correspondence was with her friends in the artistic and cultural community of New York in those early years of the twentieth century. A good number of these correspondents were public figures whose names are still recognized—Vachel Lindsay, Jerome Myers, Ezra Pound, Beatrice Wood—but others are essentially forgotten. One such person was the artist Howard Kretz Coluzzi.
Kretz Coluzzi was born in New York in 1876 or 1877 to Dr. F. Henry and Thekla Kretz. He was brought up in a cultured household in comfortable circumstances and first came to public attention in May 1899 when he jumped off the Brooklyn Bridge into the East River. Fished from the water by the crew of a passing boat, the 22- year-old National Academy of Design student told the magistrate at his hearing the following day that he couldn’t explain his jump but that he “felt sure I would not be injured and that I would come out all right.” He added that he’d previously made high jumps into Schroon Lake in the Adirondacks that had seemed more dangerous to him than this leap.
While Kretz Coluzzi continued to display eccentricities, along with, apparently, considerable artistic ability and a fair measure of ordinary human sociability, he never again attempted a feat of such bravado. Howard Kretz’s acquaintance with Mary Mowbray Clarke was probably a result of her husband’s role in presenting the 1913 Armory Show, at which Kretz Coluzzi exhibited. With the Mowbray Clarkes and Madge Jenison hard at work readying their shop for its late 1915 opening, Kretz Coluzzi pitched in with freely offered decorating ideas and practical woodworking skills.
The Sunwise Turn quickly became a springboard for another creative venture for the artist: the Lewisohn sisters’ Neighborhood Playhouse. Alice and Irene Lewisohn had been pupils, and eventually good friends, of Mary Mowbray Clarke, so Howard Kretz’s artistic association with the playhouse was, if not inevitable, at least not surprising. Kretz Coluzzi produced ideas for set designs for several productions at the playhouse between 1915 and 1919.
His theatrical work was significant and appreciated, notwithstanding his notable absence at a critical juncture during the preproduction of Lord Dunsany’s The Queen’s Enemies in 1916. When he finally showed up just before dress rehearsals, he explained his absence as having been provoked by the cutting down of his favorite tree on his mother’s estate. Years later Alice Lewisohn Crowley wrote, “This was the way Howard functioned. Still, this uncertain source contributed a spark to the family spirit and was as indefatigable in work as in mourning.”
At some point in the 1920s Kretz Coluzzi forsook New York, where he’d spent years commuting between Manhattan, with its cultural excitement, and the Adirondacks’ green solitude, for northern New Mexico. In Santa Fe he spent his last years drawing and painting, teaching (at least some of the time at the Santa Fe Art School), and engaging in various hijinks. He died on March 27, 1942 from an infected cat scratch.
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The papers of American author James Purdy (1914–2009) at the Ransom Center include a missive written to Purdy in the spring of 1971 by the actress Margaret Hamilton (1902–1985). Hamilton is, of course, best known for her role as the Wicked Witch of the West in the 1939 film version of L. Frank Baum’s The Wizard of Oz.
The communication fills three pages of a whimsical Rosalind Welcher greeting card and continues onto both sides of a sheet of the actress’s personalized note stationery. From internal evidence in Hamilton’s letter, as well as from an earlier one in the collection from playwright Neal Du Brock to Purdy, it’s evident she had starred in Du Brock’s dramatization of Purdy’s novel The Nephew. The production was presented by the Studio Arena Theatre in Buffalo, New York in early 1971.
Du Brock’s adaptation wasn’t particularly well received and closed with considerable gloom among the play’s company. Purdy evidently wrote a consoling note to Du Brock, which led Du Brock to suggest that Miss Hamilton, who had clearly felt stung by the reviews, might be cheered by a positive word from the original author.
Purdy’s ensuing note to Hamilton seemingly helped lift the actress’s spirits, and she responded in her letter of April 23, 1971, “how very dear of you to write me…and perk up such a dismal Easter.” She went on to say she was then in Boston at her alma mater, Wheelock College, recovering from the flu and looking forward, upon her recovery, to appearing in a play with the school’s drama department.
After recounting the hectic events surrounding the production of The Nephew and its treatment in the press, the scarcely wicked witch continued with the observation that “it is amazing how vulnerable we all are—to negative criticism—we remember each phrase—do we remember the kind or approving phrases? No! It really boils down to one man’s opinion. And we do ask for it!” Hamilton closed with an invitation to Purdy to “come & have tea or a drink… sometime this summer if you are in New York.”
The James Purdy papers are currently being processed and will be available to scholars once cataloging is complete.
The collection includes more than 15,000 “comedias sueltas,” a generic term for plays published in small pamphlet format in Spain from the early seventeenth century through the early twentieth century. The materials at the Ransom Center have been described as one of the major collections of Spanish dramatic literature in suelta form in North America.
Within the collection, more than 2,500 authors were identified of sueltas and related works published between 1603 and late 1930s. Nearly 600 sueltas at the Cushing Library at Texas A&M University were also cataloged as part of the project.
The Council on Library and Information Resources (CLIR) funded the cataloging project “Revealing Texas Collections of Comedias Sueltas” under its “Cataloging Hidden Special Collections and Archives” initiative. CLIR is a nonprofit organization that works with libraries, cultural institutions, and communities of higher learning to enhance research and teaching.
On September 29-30, the Department of Spanish and Portuguese at The University of Texas at Austin, the Department of Hispanic Studies at Texas A&M University and the Ransom Center will host the conference “The State of the Comedia Suelta: Celebrating the Texas Collections.” Held at the Ransom Center, the conference will highlight writers and/or works represented in the collection. Researchers from a variety of fields — including Hispanic literature and culture, history of the book, music, theater, bibliography, conservation, and library science — are expected to attend.
The cataloging of the Texas collection of comedias sueltas at the Harry Ransom Center—funded by the Council on Library and Information Resources, Cataloguing Hidden Special Collections and Archives program—has proven to be a great success in revealing unknown jewels of early printed theater in Spain. One such jewel is Juan de la Cueva’s Comedia de la muerte del rey don Sancho y reto de Zamora, printed in Barcelona by Sebastian Cormellas in 1603.
This recently discovered suelta, not included in Mildred Boyer’s Texas Collection of Comedias Suelta: a Descriptive Bibliography (1978), broadens the date range of the collection and provides a unique example of the earliest suelta format. Although a suelta with the same title and imprint had been recorded by Spanish bibliographers, Golden Age theater researchers had considered it a lost edition. Before this find, the only Juan de la Cueva play confirmed to have been printed as a suelta was the Comedia del saco de Roma y muerte de Borbón. It was also published by Cormellas in 1603, and the only known surviving copy is held at the Hispanic Society of America in New York.
The Comedia de la muerte del rey don Sancho was performed for the first time in 1579 at the Corral de Comedias de doña Elvira, sixteenth-century Seville’s most popular theater. It adapted a medieval ballad, introducing for the first time on stage one of Spain’s most beloved national heroes, El Cid. With this Comedia, Juan de la Cueva (1543–1612) pioneered the merging of popular legendary themes with the Spanish classicist theater in an attempt to promote national patriotism.
Between 1579 and 1581, Cueva staged 14 plays in Seville that he eventually published as a compilation in 1583. A second edition appeared in 1588. His plays showed signs of some of the key characteristics that Lope de Vega later introduced, and Golden Age scholars consider him a forerunner in the renewal of Spanish theater. Current researchers agree, however, that his major accomplishment lies in the fact that he had the vision to publish his work at a time when it was uncommon for dramatists to do so.
With his publishing endeavor, Cueva aspired to reach a wider audience than the one attending the performances and ultimately preserved his work for the present day. The lack of stage directions within the text and the inclusion of a plot abstract for each of the acts reveal an underlying motive of addressing his work to the private reader. By the beginning of the seventeenth century, printed dramatic works had achieved considerable popularity, and printers soon realized the consequent benefits. The suelta format is clearly product of this demand.
Sebastian Cormellas’s print shop, located at Carrer del Cal, was one of the most productive in seventeenth-century Barcelona. Cervantes himself visited the shop in the summer of 1610, making it famous when it was later described in the second part of his immortal novel Don Quixote as one of the few nonfictional locations of the book. Cormellas was known to be a savvy businessman who printed on demand, many times without the author’s consent. Whether Cueva was an author ahead of his time or just one of the many writing in Seville in that period, the publication of at least two of his titles in the suelta format and in Barcelona is a reflection of the greater acceptance that Cueva’s theater may have had with its contemporary audience.
Little is known about the history of this copy held in the Ransom Center’s sueltas collection. Ownership marks include illegible marginalia and a Latin inscription of the opening verse from the Lamentations of Jeremiah (1:12). This biblical sentence was widely quoted in the late Middle Ages, especially in Gregorian liturgical psalms. No exlibris, stamps, or signatures are provided. The fact that it was not mentioned by Boyer in her bibliography could be a clue to date its acquisition sometime after 1978. Even so, no record has been found relating to the acquisition or the provenance of this suelta. Most likely, it was acquired as part of a bulk purchase of Spanish theater materials and joined the rest of the sueltas collection in the Ransom Center stacks until it was cataloged.
Image: Cover of Juan de la Cueva’s Comedia de la muerte del rey don Sancho y reto de Zamora.
Meet the Staff is a new Q&A series on Cultural Compass that highlight the work, experience, and lives of staff at the Harry Ransom Center. The series kicks off with a Q&A with Amy Armstrong, who has been an archivist at the Ransom Center since January 2009 and is head of the Archives Cataloging Unit in the Archives and Visual Materials Cataloging Department. She holds a Master of Liberal Arts degree from St. Edward’s University and a Master of Science in Information Studies degree from The University of Texas at Austin. Armstrong has processed many collections at the Ransom Center, including the papers of Sanora Babb, William Faulkner, Paul Schrader, Denis Johnson, and the McSweeney’s publishing archive. She also catalogs non-commercial sound recordings in the Ransom Center’s holdings.
Tell us about any current archives you’re working with.
I’m currently processing the records of McSweeney’s publishing house, which is a dream come true. I also catalog non-commercial sound recordings, which are sort of a “hidden collection.” We have almost 14,000 recordings, [including] some amazing recordings from Erle Stanley Gardner, Norman Mailer, and Denis Johnson. I’m committed to making them easier for patrons to find and use, and if they aren’t preserved, they’ll deteriorate.
What is your favorite collection that you have processed?
I actually love all of them, but one of my favorite collections is the Sanora Babb papers. Babb was an amazing woman who had big aspirations beyond the plains of Oklahoma and Kansas, where she lived in the early 1920s. After immigrating to California, she wrote a novel about Dust Bowl migrants. However, the contract for her book was cancelled, because John Steinbeck’s The Grapes of Wrath was simultaneously being published. Babb was also married to cinematographer James Wong Howe, who was Japanese, at a time when interracial marriage was illegal. She loved life and didn’t take it for granted.
What is your favorite thing about your work?
My responsibility as an archivist is to ensure that the materials we’ve been entrusted to preserve are made available as widely as possible for anyone to use. I get such a thrill when I know someone has come into the Reading and Viewing Room and used a collection I have processed. After all, that’s why the Ransom Center exists and why are all so committed to the work we do here.
Have you had a favorite experience processing archives?
Denis Johnson autographed a book for my husband, who is a big fan. I was so touched by his kindness and generosity. It really made my year.
What is your favorite book?
The Hummingbird’s Daughter, by Mexican-American writer Luis Alberto Urrea.
What is one of your primary interests?
Have you lived anywhere unusual?
I grew up in San Antonio and lived for three years in England when my mom worked at RAF Alconbury, an American Air Force Base.