Franco-Mauritian author Jean-Marie Gustave Le Clézio wrote his first book at the age of eight, published an award-winning first novel at 23, has garnered comparisons to Albert Camus, and won the 2008 Nobel Prize in Literature. Decades prior, Le Clézio spent time as a scholar in residence at The University of Texas at Austin. Learn more about this lauded author and see his reading list for a 1976 University of Texas seminar on modern French literature in Jesse Cordes Selbin’s article “Existentialism for Beginners.”
Before the Atkins, South Beach, and Cabbage Soup diets was the Hollywood Eighteen Day Diet from the 1920s, which demanded fewer than 600 calories per day. One of its earliest practitioners was American novelist Fannie Hurst, who wrote extensively about her weight loss struggles in the early 20th century, when obesity began turning into a cultural stigma. As a Fellow at the Ransom Center last year, Dr. Julia Ehrhardt, Associate Professor of Honors and Women’s Studies at the University of Oklahoma, studied Hurst’s papers for her upcoming book about the literary history of dieting in the United States.Ehrhardt’s fellowship was funded by the Henriette F. and Clarence L. Cline Memorial Endowment Fund.
In 2007, I spent a fabulous two months in residence at the Ransom Center, thanks to the generous research fellowship program, which allowed me to travel and live in Austin in close proximity to the Center. My research project concerns the relationships among body weight, dieting, and American literature from the turn of the last century until 1939. The book that I hope will result from my research will discuss the emergence of dieting as a widespread cultural practice in the United States and the ways in which authorial concerns about excess weight manifested themselves in American drama, short stories, novels, and memoirs. I am also particularly interested in how the rise of mass-market fiction—a genre that many renowned American authors and critics believed was wreaking havoc on literary taste—Influenced cultural ideas about weight and writing.
I first became interested in these issues when I read Fannie Hurst’s dieting memoir, No Food With My Meals, published in 1935. Although Hurst is best known today as the author of the bestsellers Imitation of Life, Back Street, and Lummox, she was equally known in literary circles as an avid dieter. I applied for a Ransom Center fellowship knowing that the majority of Hurst’s personal papers and memoirs were housed there, and hoping that I might find materials relevant to my project in the archive.
On the very first day of my fellowship, I discovered a veritable treasure trove of weight-loss pamphlets, printed diets, and calorie charts that filled an entire box in the Hurst collection. As I continued my research in the vast collection, I found letters Hurst composed to friends, relatives, and editors about her struggles to lose weight and to maintain her svelte figure. I also learned from Hurst’s correspondence that several prominent members of the writer’s social circle—including Irvin Cobb, Blanche Knopf, and Helena Rubenstein—regularly commiserated with her about dieting and gave her their sympathy as well as their own weight-loss hints. My research in Hurst’s date books and diaries indicated that she was a diehard devotee of a popular 1920s fad diet known as the Hollywood Eighteen Day Diet, and I also found a fascinating folder of letters about Hurst’s concern about the cover image her publisher had selected for the hardcover version of No Food With My Meals.
The most important discovery I made at the Ransom Center were several draft versions of an autobiography Hurst composed in the early 1940s and intended to title Self-Portrait. In the approximately 350 pages of this manuscript, Hurst tells the painful story of growing up fat in the era when thinness emerged as an essential component of normative American identity, and describes the lack of self-confidence she felt as an overweight child and young woman. This manuscript and others attest that even when celebrating her many literary accomplishments, unless a coincident weight loss accompanied them, Hurst would berate herself for not achieving the artistic and personal goals she had set out to realize. Her personal papers thus demonstrate the immense power weight wielded over her self-perception and her identity as an author—a story that is sadly not a unique one during the era I am researching.
Thanks to the Ransom Center fellowship, as well as the staff members, archivists, librarians, and other fellows I met who shared my enthusiasm for the materials I found, my book manuscript now includes extensive discussions of materials I never imagined existed. I hope that my research will help scholars in a variety of disciplines re-think their ideas about weight, authorship, and citizenship during the Modernist period, and to appreciate the fascinating life and work of Fannie Hurst as well. I also look forward to making future visits to the Ransom Center, one of the best literary archives in the world.
What do Batman, Top Gun, and Beverly Hills Cop II have in common?All were rewritten by versatile screenwriter and “script doctor” Warren Skaaren. As a fellow at the Ransom Center last summer, Alison Macor, independent scholar and former film critic for The Austin Chronicle and the Austin American-Statesman, immersed herself in the Ransom Center’s Warren Skaaren collection. Macor shares her experiences working in the collection in preparation for her upcoming biography of Skaaren:
This summer I spent five weeks at the Ransom Center with the support of a Mayer Filmscript fellowship. I worked in the Warren Skaaren collection in preparation for my new book, In Batman’s Shadow: The Life and Career of Screenwriter Warren Skaaren.
In addition to writing original screenplays, the Austin-based Skaaren worked as a script doctor—rewriting screenplays by other writers—on many 1980s blockbusters, including Top Gun (1986), Beverly Hills Cop II (1987), and Batman (1989). By the time of his death in December 1990, he was one of the highest-paid screenwriters in Hollywood.
I approached the collection chronologically because I thought it was important to trace Skaaren’s development as a writer. In some cases he spent years nurturing projects like The Freddie Steinmark Story, a biopic about The University of Texas safety who lost a leg to cancer, only to see them never get made. But with each new project Skaaren perfected his writing process and style. He drafted finely detailed character sketches and elaborate “intensity” charts that measured a story’s dramatic highs and lows. Ultimately it was his ability to create multifaceted characters that caught Hollywood’s attention.
I spent most of my time reading multiple drafts of each screenplay. This can be an exciting but also painfully slow process, and the beauty of the Ransom Center fellowship is that it gave me the luxury of time in an environment conducive to such work. Because Skaaren was often hired as a script doctor and reworked screenplays initially created by others, the assignment of writing credit became a particularly delicate issue and influenced his future assignments, pay rate, and reputation. Every studio project that Skaaren worked on went to arbitration, and he kept voluminous notes and copies of all correspondence pertaining to each case. The arbitration of Beverly Hills Cop II, for instance, was especially heated because, as a sequel with a built-in audience, the film was expected to do very well, and literally millions of dollars were at stake for the writers. Indeed, the writer who worked on the screenplay prior to Skaaren (and who received a shared credit with Skaaren) sued the Writers Guild over its decision to split the writing credit. The case was still being appealed at the time of Skaaren’s death—three and a half years after the film’s initial release.
Thanks to the Ransom Center’s Steve Wilson and Katie Risseeuw, who oversaw the digitization of some of the collection’s sound recordings, I was able to hear Skaaren on tape interviewing retired British and Nepalese soldiers and even a witch doctor in preparation for his original screenplay Of East and West, a sweeping coming-of-age story set in England and Nepal. Not only did this provide the opportunity to “hear” Skaaren for the first time, but it also gave me a sense of the intense preparation that he cultivated throughout his writing career. These recordings offered a glimpse of the charm and confidence that so many of his friends and colleagues have mentioned when describing his personality and, ultimately, his success.
Watch this video as Macor further discusses her work in the Skaaren collection:
2009 marks the bicentennial of Charles Darwin’s birth and the 150th anniversary of the publication of his most famous work, On the Origin of Species. The Ransom Center owns several copies of the first edition, the most interesting being the one sent by Darwin to Sir John Herschel, a famous English scientist of his day, inscribed simply “From the author.”
Darwin identified Herschel in the second sentence of the Origin as “one of our greatest philosophers.” Early in his career, Darwin knew that the elder scientist had defined “the species question”—or in Herschel’s words, “that mystery of mysteries” —as being the central one for the new science of biology (the term wasn’t widely used until mid-century). In 1836, the young scientist, then only 25, was returning from his famous voyage to the Galapagos Islands on board the Beagle.
From June 8 to 15, 1836, the Beagle was in port at Cape Town, and during this time Darwin visited Herschel, who had established an observatory in South Africa in order to expand the star catalogs made by his father, William Herschel.
We don’t know what was said, but very likely geology and volcanology were involved. Herschel inspired Darwin to apply the critical analysis of data associated with the physical sciences to the emerging life sciences. As University of Texas at Austin Professor Steven Weinberg recently noted in a talk at the Ransom Center, astronomy has historically led the way in the development of scientific methodology, later applied to other disciplines.
The Darwin-Herschel copy of the Origin, along with the letter of transmittal, stands behind as the “fossil record” of this remarkable meeting. The text of Darwin’s letter follows:
Down Bromley Kent
Nov. 11th. 
My dear Sir John Herschel
I have taken the liberty of directing Murray [John Murray, his publisher] to send you a copy of my book on the Origin of species, with the hope that you may still retain some interest on this question.— I know that I ought to apologise for troubling you with the volume & with this note (which requires no acknowledgment) but I cannot resist the temptation of showing in this feeble manner my respect, & the deep obligation, which I owe to your Introduction to Natural Philosophy. Scarcely anything in my life made so deep an impression on me: it made me wish to try to add my mite to the accumulated store of natural knowledge
With much respect | I beg leave to remain | Yours sincerely | Charles Darwin
The copy of the Origin volume mentioned in this blog is on display in the Ransom Center Reading Room lobby from November 19 through January 15, 2010, during Reading Room hours.
While vacationing in Rome in 1907, composer Sergei Rachmaninoff received an anonymous letter from a cello student whom he had never met. An admirer of Rachmaninoff and of Edgar Allan Poe, the student urged Rachmaninoff to set Poe’s poem, “The Bells,” to music. Rachmaninoff read a Russian translation of “The Bells” and was won over. He completed his choral symphony (“The Bells”) in 1913 and later deemed it his personal favorite of all his compositions.
Rachmaninoff based his composition on a Russian translation of “The Bells” by Konstantin Balmont, which took several liberties with Poe’s poem. Most notable is Balmont’s additions to the “Silver Bells” stanza, in which he adds a meditation on death as a “universal slumber—deep and sweet beyond compare” (retranslation by Fanny S. Copeland). Basing his composition on Balmont’s translation, Rachmaninoff composed cheerful rather than solemn music for the “Silver Bells” stanza.
Rachmaninoff is not the only composer to find inspiration in Poe’s works. Claude Debussy began composing an opera, “La chute de la maison Usher,” based on Poe’s short story, “The Fall of the House of Usher.” A leaf from the libretto of this opera is on display in the Ransom Center’s current exhibition, From Out That Shadow: The Life and Legacy of Edgar Allan Poe. Debussy worked on the opera between 1908 and 1918 but never completed it. More recently, minimalist composer Philip Glass completed an opera based on “The Fall of the House of Usher” that premiered in 1989.
English composer Joseph Holbrooke also caught Poe fever. He set several of Poe’s poems to music, including “Annabel Lee,” “The Raven,” “The Bells,” and created a ballet based on “The Masque of the Red Death.”
ADDENDUM: The Ransom Center is pleased to share new information about the manuscript of Mozart’s “A Musical Joke.” During a recent visit to the Ransom Center, Neal Zaslaw, Herbert Gussman Professor of Music at Cornell University, examined the manuscript and has since been able to shed light on its origins.
Professor Zaslaw has established that the copyist who wrote out the score was Christian Traugott Brunner, born in 1793. He has also determined that the Stadler for whom the copy was made was not Abbé Maximilian Stadler, but probably Albert Stadler, 1794–1888, and that the date in which the copy was made is much later than previously thought. Finally, Dr. Zaslaw concluded that the copy was made not from Mozart’s original manuscript, but from the first German edition of 1803–04.
Professor Zaslaw is a world-renowned expert on Mozart’s music and the editor of the forthcoming Der neue Köchel, a revision of the complete catalog of Mozart’s works.
The Ransom Center thanks Professor Zaslaw for his valuable insights into the history of this item.
Original post: In 1787, more than a century before Weird Al Yankovic penned “Amish Paradise,” Mozart poked fun at the Coolios of the eighteenth century with his parody “A Musical Joke: Village Musicians.”
The Ransom Center houses one of the earliest surviving manuscripts of “A Musical Joke” and a copy of the 1856 edition, one of only two known copies in the world.
Ransom Center visitors can hear the piece performed in tonight’s Music from the Collections event, “Can You Tell a Joke with Music?” University of Texas Professor of Music Robert Freeman will tackle this question using “A Musical Joke,” among other illustrative and humorous compositions. This program will be webcast live.
“It’s a parody of what unskilled musicians and composers may do,” Freeman explains of Mozart’s piece. “There are a lot of untutored, rustic, untalented musicians who don’t know how decently to make music. They get all kinds of stuff wrong.”
Ransom Center librarian Richard Workman shares some examples of these musical jokes told at the expense of incompetent musicians and composers alike.
“Normally in the classical period, everything is in multiples of two and four. But Mozart will have a three-bar phrase, another three-bar phrase, then a four-bar phrase. It does kind of throw you off. At the very end of the piece, some instruments veer off into a different key and go crashing into dissonant chords. I think that joke is aimed at musicians who couldn’t read music very well,” Workman says.
According to Freeman, Mozart got the idea to tell this musical joke from his father, composer and violin pedagogue Leopold Mozart, who wrote a piece titled “Peasant Wedding.” Freeman guesses that “Peasant Wedding” might also have been intended as a parody.
“It’s a very primitive piece. It has a hurdy-gurdy in it, which makes it sound out of tune…[sometimes] cheering, whistling, and gunshots break out. Leopold was always mad at the Salzburg archbishop, so he may have written it to give his boss a hard time,” Freeman says.
According to Workman, the manuscript housed at the Ransom Center was penned by Mozart’s friend and admirer Abbe M. Stadler. Stadler most likely based his copy on Mozart’s original autograph manuscript, which was owned by composer Franz Schubert at one point, but is now lost.
The edition (published in 1856 in honor of the centenary of Mozart’s birth) was most likely based on the manuscript housed at the Ransom Center, according to Workman.
The Ransom Center acquired the manuscript and second edition in 1958, when the Center acquired the library of violinist and bibliophile Edwin Bachmann. During his travels as a violinist, Bachmann collected manuscripts and early editions of music by such composers as Mozart, Ludwig van Beethoven, and Frédéric Chopin, among others.
As a fellow at the Ransom Center last year, independent scholar Mary V. Dearborn uncovered new information about the Hemingway family while studying the Ernest Hemingway collection and Leicester Hemingway’s New Atlantis collection. She’s currently working on a book based on her findings: The Hemingway Family: The Human Cost, which is scheduled for publication in 2011. Her research at the Ransom Center was funded by the Andrew W. Mellon Foundation.
Dearborn says her book will “tell for the first time the hundred-year story of a tragic American family,” and shares some highlights from her research at the Ransom Center:
I was working in the Hemingway family papers, and I was astounded by what I found there. The papers were mostly Ernest’s mother’s, containing all her correspondence, records, and photographs. None of Hemingway’s previous biographers seem to have really looked at this material, perhaps dismissing it as “domestic” and thus trivial.
Grace Hemingway is usually written off as a cold, castrating shrew—the picture of her that her son wholesaled, blaming her for his father’s suicide. She was definitely difficult, but she was a fascinating woman, and her marriage was a complicated and nuanced relationship of power that Ernest learned a great deal from, for good and ill.
The added bonus is that in these papers there are numerous anecdotes and descriptions of Ernest’s upbringing, contributing to a far more well-rounded picture of the boy and young man than we have previously been given. Ernest once confided to Max Perkins, his editor at Scribner, that he couldn’t write freely while his mother was still alive—not at all the impression he commonly gave out! Their relationship was, until her death in 1951, fraught and intense—and heretofore unexplored.
The poems published just after Edgar Allan Poe’s death are among his most popular: “Annabelle Lee” and “The Bells.”
“The Bells” was written with the assistance of Poe’s good friend Loui Shew, whom he visited one evening in 1848, complaining that he lacked inspiration to write a poem. According to one version of the story, she offered the opening line and he completed the first stanza, she offered an opening line for the second stanza, and so on. “The Bells” is a masterpiece of onomatopoeia: the sounds of the words directly reflect the mood evoked by each bell described. This manuscript, which is featured in the Ransom Center’s current exhibition on Poe, shows the poem’s earliest form, which Poe eventually expanded to four stanzas.
You can listen to Charles Keating doing a reading here from The Big Read audio guide CD:
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.
Four-time Tony Award-winning playwright Terrence McNally is a frequent focus of theater news these days. This summer he completed a workshop production of his new drama, Unusual Acts of Devotion, at the La Jolla Playhouse, that starred Richard Thomas and Doris Roberts. His latest musical—a stage version of Catch Me If You Can, originally a film starring Leonardo DiCaprio—just closed in a workshop production in Seattle and will move to Broadway sometime in 2010. McNally will also be represented on Broadway this season by revivals of his musical Ragtime and his dramedy Lips Together, Teeth Apart. In March, the Kennedy Center for the Performing Arts in Washington, D.C., is mounting a mini-festival of his work titled “Three Nights at the Opera with Terrence McNally” that will include productions of his The Lisbon Traviata and Master Class, and will feature a newly commissioned play focused on the opening night performance of Bellini’s I Puritani that will be titled The Golden Age.
McNally has thus far made three gifts of his papers to the Ransom Center, and researcher Raymond-Jean Frontain recently wrote an article about his work with the Ransom Center’s McNally papers. Frontain is a professor of English at the University of Central Arkansas, where he focuses on seventeenth-century literature.
So how does a specialist in seventeenth-century devotional literature find his way from the religious lyrics of John Donne to the work of contemporary playwright McNally?
“In 1993, I caught the Broadway production of A Perfect Ganesh with Frances Sternhagen, which was one of the most luminous performances that I had experienced in a long while,” Frontain explains. “The actor led me to the play. I’ve been exploring the religious bases of McNally’s drama ever since.”
Read Frontain’s article “Terrence McNally’s Connections,” in which he explores McNally’s relationship with John Steinbeck, Angela Lansbury, and others.