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Meet the Staff: French Collections Research Associate Elizabeth Garver

By Sarah Strohl

Meet the Staff is a Q&A series on Cultural Compass that highlights the work, experience, and lives of people at the Ransom Center. Elizabeth Garver has held several positions at the Ransom Center since 2000, including graduate student intern, manuscript archivist, and in 20052006, she co-curated the Technologies of Writing exhibition. Currently, she works with the Ransom Center’s extensive French and Italian collections, and she is a co-curator of the current exhibition The World at War, 1914–1918. She speaks four languages—English, French, Italian, and Russian—and holds a variety of degrees, including a Master’s in Library and Information Science, a Diploma of Advanced Studies from the University of Paris, a Master of Arts in Nautical Archeology, and a Bachelor of Arts in Archeology. She is also a current Ph.D. candidate in Modern European History at The University of Texas at Austin.

 

Why do you enjoy working at the Ransom Center?

Well, this is my 14th year here, and almost every day I see something new that I’ve never seen before. I also like being able to do research, which is an opportunity you don’t get at a lot of jobs, and I like helping other people with their research and answering any questions they might have. The job is always changing and always interesting.

 

Can you tell me a little bit about curating the current World War I exhibition?

Jean Cannon and I were officially brought on board for the current exhibition about two years ago. She wrote her dissertation on the war poets, and I have an interest in the topic as a UT PhD student in Modern History, so we both had some expertise. There was a lot of reading on our own, but it was also looking into the collections in depth, and since there isn’t a single World War I collection to draw upon, it was basically like a treasure hunt. Then, when you find the treasures, there is a choice to make because the space is not infinite.

 

Is there a “one that got away” item that was cut from the current exhibition for space that you wish could have been included?

Yes, actually there are a couple, but there’s a really touching letter that holds an interest for me in the Édoard Dujardin collection. He was a French writer, and he had a mistress named Madeleine Boisguillaume who wrote him a letter toward the beginning of the war about the conditions in the West of France. All of the doctors were gone because they were at the front, and there was no one to help women to deliver babies and things like that. There were only old men left, old doctors who couldn’t travel, and no hospital in the town. Because of this, she said women and children were dying in childbirth. It’s really emotional and also gives an interesting perspective. People don’t usually think about the women’s experiences during the war.

 

What has visitor response been like for the exhibition?

I think visitor response has been very positive. It’s a response that I don’t think many exhibitions get, where people have their own stories to tell. Quite a few people have been sharing stories about their families and what their grandparents did in the war, and it’s just been wonderful.

 

I hear you speak French fluently. Do you have any chances to speak French around Austin?

Yes, we have a French lunch once a week where we speak only French, and there’s actually a large French community here at The University of Texas and around Austin. It’s pretty amazing how often I hear French, and there are a lot of opportunities to speak it. There are groups and of course the French department, and there are always French movies. Also, when I communicate with scholars, I’m able to use a lot of French. I think that’s why my Italian and Russian kind of fell by the wayside. I’m pretty devoted to this language.

 

What do you like to do in your free time?

I do a lot of gardening, and I love baseball. My family and I are pretty hardcore baseball fans—I grew up with it and I watched my brothers play. The season is over now, but I’ve had season tickets to the Longhorns for probably around 10 years. Otherwise, I do a lot of reading (although I feel like lately I’ve only been reading about the war for this exhibition), and I really enjoy cooking, especially French food.

 

Do you have a favorite piece or collection at the Ransom Center?

Obviously the French collections are amazing, but my favorite piece changes every once in awhile. Currently, I think my favorite item in the collections is the manuscript for The Little Prince by Antoine de Saint-Exupéry with his annotations and drawings. We also have some of his artwork, which is all amazing.

Summer by the Lake: Travel vicariously through letters and postcards from the Carlton Lake collection

By Edgar Walters

Looking for inspiration this summer, or maybe just some relief from the heat? Take a trip with these authors and artists from the Carlton Lake French manuscript collection.

Carlton Lake (1936–2006), a longtime curator at the Ransom Center, collected a wealth of modern French materials, including manuscripts, musical scores, and art by Paul Eluard, Antoine de Saint-Exupéry, Marcel Proust, Samuel Beckett, and Claude Debussy.  Below are selected items from his collection. Full-size versions of the thumbnail images can be viewed in the below images.

 

“Monarchia Solipsorum:” Rare Italian manuscript connected to Galileo’s trial of 1632

By Shaun Stalzer

 

Page from “Monarchia Solipsorum: ad virum clarissimum Leonum Allatium” in the Ranuzzi manuscript collection.
Page from “Monarchia Solipsorum: ad virum clarissimum Leonum Allatium” in the Ranuzzi manuscript collection.

Shaun Stalzer is a graduate student in the School of Information at The University of Texas at Austin specializing in special collections librarianship. He earned his master’s degree in American history from Texas State University in San Marcos, and his research interests include the history of American theater. Here, he discusses a manuscript he studied as part of a rare books class in the School of Information.

The Harry Ransom Center holds an extensive collection of rare Italian manuscripts, printed materials, engravings, etchings, woodcuts, watercolors, and papal bulls from the Ranuzzi family of Bologna, Italy. The collection spans some 400 years and provides insight into the social, political, and cultural history of Europe.

The Ranuzzi manuscript Monarchia Solipsorum:  ad virum clarissimum Leonum Allatium is a seventeenth-century manuscript written entirely in Latin under the pseudonym Luceus Cornelius Europeus. It details the adventures of a hero who becomes judge and advisor to the fictious monarch Vibosnatus, to satirize the Jesuit order. In the end, the hero becomes victim to a plot that costs him his position and forces him into exile.

The original manuscript was written in 1645 in Venice, Italy, and published in Latin in 1645 and 1648. The work was later translated into French and published in Amsterdam in 1722 and 1754 by Herman Uytwerf, and also published in Paris by the publishing house of Barrois and Delaunay in 1824.

Scholars debate whether the original manuscript was written by Giolio Clemente Scotti (1602–1669) or Melchior Inchofer (1585–1648). Little information exists on Giolio Clemente Scotti, but he is known for his later anti-Jesuit writings, including his 1646 work De Potestate Pontificia in Societatem.

Far more information is available on Melchior Inchofer, a Jesuit scholar who gained notoriety as one of three experts in the 1632 trial of Galileo and his controversial work “Dialogo sopra i due massimi sistemi del mundo” (Dialogue Concerning the Two Chief World Systems), a defense of the heliocentric model of the universe. Inchofer reported on the Dialogo prior to the trial and in 1633 also authored Tractatus Syllapticus, a scriptural defense of geocentrism. This is interesting because, according to one scholar, Inchofer later became the author of Monarchia Solipsorum, which is highly critical of the Jesuit order (and therefore of traditional church doctrine). Inchofer also underwent his own trial and condemnation in 1648 for his alleged authorship of Monarchia Solipsorum. Under interrogation, Inchofer broke down and confessed to writing the manuscript. He was stripped of his position in the Jesuit order, sent to Milan, and later died on September 28, 1648. This controversy is one of the main reasons for the book’s tremendous success and repeated publication over the years.

 

Monarchia Solipsorum is an interesting work for anyone studying Italian history, literature, or culture. The manuscript is particularly relevant for those seeking information on Catholic Church history, critical reactions to Catholic doctrine, or those interested in the trial of Galileo in 1632. Such a work can also appeal to those fascinated by rare books and manuscripts and the art of bibliography.

Page from “Monarchia Solipsorum: ad virum clarissimum Leonum Allatium” in the Ranuzzi manuscript collection.
Page from “Monarchia Solipsorum: ad virum clarissimum Leonum Allatium” in the Ranuzzi manuscript collection.

The Letters of Samuel Beckett

By Jennifer Tisdale

'The Letters of Samuel Beckett, 1941-1956'
'The Letters of Samuel Beckett, 1941-1956'

Last fall, Cambridge University Press published The Letters of Samuel Beckett, Volume 2: 1941–1956. Edited by George Craig, Martha Dow Fehsenfeld, Dan Gunn, and Lois More Overbeck, the volume is the second in a four-part series offering a comprehensive range of Samuel Beckett’s letters.

In compiling this edition, the editors consulted the Samuel Beckett papers at the Ransom Center, from which more than 15 percent of the letters in this volume were drawn.

The Letters of Samuel Beckett,” a project of the Emory Laney Graduate School, will result in the publication of two additional volumes that feature Beckett materials from around the world.

The Modern Language Association of America recently announced that the first book in the series, The Letters of Samuel Beckett, Volume 1: 1929–1940, will receive the eleventh Morton N. Cohen Award for a Distinguished Edition of Letters.

The Ransom Center acquired its first substantial group of Beckett books and manuscripts in 1958 and continues to add to its holdings.

Handwritten manuscripts and typescripts make up the bulk of the collection, supplemented by Beckett’s correspondence and a wide range of his writing, including poems, stories, and plays spanning most of his career.

Drafts of both the French En attendant Godot and the English Waiting for Godot are present, as are versions of All That Fall, Comment c’est, Krapp’s Last Tape, and Watt. A handwritten manuscript of Whoroscope, Beckett’s first published poem, is also in the collection.

The Ransom Center’s web exhibition “Fathoms from Anywhere” traces Beckett’s (1906–1989) career, drawing materials from the Ransom Center’s collection.