The Ransom Center holds Wallace’s archive, which was made accessible for research in September 2010. For the symposium, writers, editors, journalists, and critics gather to discuss Wallace’s life and work in panel discussions on such topics as “Editors on Wallace” and “A Life through the Archive.”
Symposium moderators and participants include Wallace’s literary agent Bonnie Nadell, editor Michael Pietsch of Little, Brown and Company, and Los Angeles Times book critic David Ulin.
Holiday hours for the Ransom Center are as follows:
Ransom Center Galleries
10 a.m.–5 p.m. Tuesday, Wednesday, and Friday
10 a.m.–7 p.m. Thursday
Noon–5 p.m. Saturday and Sunday
Please note that the Ransom Center Galleries are closed Mondays and the following holidays:
Christmas Eve Day (Saturday, December 24)
Christmas Day (Sunday, December 25)
New Year’s Day (Sunday, January 1)
Please also be aware that the Reading and Viewing Rooms and administrative office will be closed during the University holidays from Friday, December 23, through Monday, January 2.
In the late 1970s, screenwriter Paul Schrader began writing a script titled Born in the U.S.A., and he asked Bruce Springsteen to write a song for the film. The script sat on Springsteen’s table until one day, while working on a song called “Vietnam,” he noticed Schrader’s script, sang the title, and “Born in the U.S.A.” became the hit title song of one of Springsteen’s best-selling albums. Springsteen eventually wrote a new song for the script, which Schrader renamed Light of Day (1987).
Drafts of Schrader’s Born in the U.S.A. and Light of Day scripts and correspondence between Schrader and Springsteen are just a few of the many highlights found in Schrader’s archive, which opens for research today at the Ransom Center.
From drafts of the Taxi Driver (1976) screenplay to Schrader’s baby book, from an outline for Raging Bull (1980) to letters from Schrader’s parents, the archive encompasses Schrader’s career and personal life.
Photographs abound in the archive. Of particular note are film stills, on-set photos, and publicity shots for Taxi Driver, the film that launched Schrader’s career. One photo shows Schrader and a young Jodie Foster at the Cannes Film Festival, and another shows Schrader, Martin Scorsese, and Robert De Niro laughing on set. Invoking De Niro’s Taxi Driver character Travis Bickle, Scorsese inscribed a photo of him with Schrader: “From one Travis to another.” In an e-mail, Schrader wrote that he felt like a Travis Bickle “at one time.”
Immediately following Jaws’s blockbuster success, Steven Spielberg asked Schrader to write a screenplay for what would become Close Encounters of the Third Kind (1977). Spielberg read Schrader’s script, but they didn’t agree on how the story should progress. Spielberg ended up writing the script himself, but drafts and notes for Schrader’s version are included in his archive.
In the mid-1980s, Bob Dylan asked Schrader to direct a music video shot in Japan for his song “Tight Connection to My Heart.” Unhappy with the result, Schrader later called the video “a source of embarrassment.” In addition to scripts, photographs, and film documenting the video production, Schrader’s archive includes a 2002 letter to an executive at Sony in which Schrader looks back on the project 16 years later:
“It was a disaster. Bob had asked me to do it but I really didn’t ‘get’ the new music video language. He didn’t want to do it and by the middle of the shoot I didn’t want to do it. I remember saying to him at one point, ‘Bob, if you ever hear I’m making another music video, just take me out in the back yard and hose me down.’”
When asked how he felt about his archive opening to the public, Schrader responded, “I hope to be too busy to even give it a thought.”
Please click on the thumbnails below to view full-size images.
Writer and actor Spalding Gray (1941–2004), whose archive opens for research today, is best known for his highly personal monologues and for helping to define a new era in theater where public and private life became an indivisible part of each new performance. Gray’s archive was acquired by the Ransom Center in 2010.
Writer Nell Casey had access to the archive before it arrived at the Ransom Center, and her book The Journals of Spalding Gray has been released today. Cultural Compass interviewed Casey about her work in the archive and the surprises she found in Gray’s journals.
In honor of the book’s release, the Ransom Center is giving away two copies of the volume. Email firstname.lastname@example.org with “Spalding” in the subject line by midnight CST tonight to be entered in a drawing for the books.
The archive of film director Nicholas Ray (1911–1979), best known for his film, Rebel Without a Cause (1955), is now open for research. Spanning more than 35 years, materials in the collection include original treatments, annotated scripts, photographs, journals, notes, audio reels, video recordings and film that provide an account of Ray’s working methods and ideas. View the finding aid for the collection or read an article about the collection in the Chronicle of Higher Education.
With over 7,300 square feet of exhibition space, an average of 300 items per exhibition, and tours lasting an hour or longer, it’s easy to see why you might like to take a seat in the Ransom Center galleries.
The Center is currently raising funds for 40 portable gallery seats that can be used while you enjoy our exhibitions. A gift of $50 will purchase one seat, but a donation of any size is welcome.
The day-to-day work of a special-collections curator does not leave much time for actually reading manuscripts, despite assumptions to the contrary on the part of outsiders. I sometimes look with envy at researchers who sit with one document for hours at a time. So it was with great anticipation that I set aside time to survey a shipping carton containing drafts of J. M. Coetzee’s 1983 novel Life & Times of Michael K. I chose it because I was halfway through my first reading of this, the writer’s fourth novel and the recipient of his first Booker Prize. After my brief encounter with this novel’s drafts, I could only imagine the rich research potential of the Coetzee archive as a whole.
The novel concerns Michael K, a gardener of unidentified race who may or may not be mentally challenged. When his mother, Anna, becomes ill, he leaves work to care for her. Anna works as a domestic servant for a wealthy couple and lives in a tiny room beneath their expensive apartment in Cape Town. When the city erupts into violent unrest, the wealthy couple flee, and Michael and Anna briefly inhabit their apartment and then begin a long trek to escape the war-ravaged city for the countryside where Anna once lived; I won’t give away the remainder of the story. The portion of the story described above is told in a flat third-person voice, the distanced narration contrasting dramatically with the appalling physical and emotional conditions of the two main characters.
Like the remainder of the Coetzee papers, the drafts of Michael K arrived at the Ransom Center in remarkably good order, carefully arranged by Coetzee (my pleasure in perusing these materials was enhanced by Coetzee’s elegant, eminently legible handwriting—a rare boon for archival researchers). The novel’s nine drafts are held in five hand-bound volumes, and all but the last are titled simply “#4.” Each draft is numbered and bound in sequence. All of the drafts are written (and in one case typed) in one or more yellow or blue University of Cape Town examination books; each of these is likewise carefully numbered and marked with the appropriate version number. Coetzee appears to have bound the volumes together himself, using whatever materials were near at hand: while some are anchored in large file folders using brads, others are bound in large sheets cut from heavy cardboard shipping boxes, held together by hand-cut pieces of thick metal wire bent and pushed through the hole-punched manuscripts. The resulting artifacts have a charm that belies the novelist’s very serious and explicit intent to preserve a linear record of the novel’s composition.
This compositional record is indeed replete with opportunities for scholars of Michael K. The earliest versions of the novel reveal that Coetzee settled upon several foundational elements of the finished novel early on: the characters are named Anna (or Annie) and Michael. They are related. Anna lives in a room on the ground floor of an expensive apartment complex, and her employers flee. She is ill, and Michael comes to help her. Even some wordings in the earliest drafts appear in the finished novel.
But these similarities are accompanied by profound differences. The first five versions are perhaps best described as windows into alternate realities for the characters of Michael and Anna K, who are reimagined anew by Coetzee as he seeks to determine the nature of the novel’s central relationship. In the first version, Michael is Anna’s son, but he is a brilliant poet, not a gardener who is perceived as dimwitted. In the second, Michael is again her son, but is married and has a child; his wife is killed, and his child taken away before he comes to stay with his mother. In the third, Michael is Anna’s young grandson and worships his absent father (notably, this draft is told entirely in the first person by the child). In the fourth, he is her adult grandson who works as a gardener. In the fifth version, he is Anna’s common-law husband.
Only in the sixth version does Coetzee settle upon the published relationship; this heavily annotated draft is much longer than the ones that precede it and appears to mark a major shift in the compositional process. I skimmed through the later drafts and found further interesting changes too numerous to mention here, but found myself repeatedly returning to the variant Michaels and Annas, wondering how many further variations Coetzee may have considered, and wondering, too, at the elements that he apparently never doubted. For instance, he knew from the beginning that Anna’s legs would be swollen—this detail is described in grim detail in the published novel and appears often in the early drafts—but did not know whether the woman’s son, grandson, or husband would cope with this ailment.
The Annas and Michaels have stayed with me, and I have already started reading the novel again from the first page, seeking traces of those lost characters and viewing the swollen legs, the room beneath the apartment, and the names “Anna” and “Michael” with fresh attention.
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