Thomas Smith (b. 1938), visual effect producer for such films as Star Wars: Empire Strikes Back (1980) and E.T.: The Extra Terrestrial (1982), has donated his archive to the Ransom Center. Smith was hired by George Lucas as the first head of Industrial Light & Magic (ILM) and worked on the special effects for such films as Raiders of the Lost Ark (1981), Star Trek III: The Search for Spock (1984), Star Wars: Return of the Jedi (1983), Indiana Jones and the Temple of Doom (1984), and Honey, I Shrunk the Kids (1989).
The Smith collection comprises 22 boxes and documents Smith’s professional work through the 1980s and 1990s. Spanning from 1979 to 2003, the collection contains special effects storyboards, screenplay drafts, scripts, pre-production research, production materials, newspaper clippings, photographs, and published materials such as fan magazines and cinematography periodicals. The papers also contain material relating to Smith’s time at ILM and Lucasfilm.
The collection will be made accessible once it is processed and cataloged.
Smith will visit The University of Texas at Austin to speak publicly on Thursday, April 19, at 7 p.m. in KLRU’s Studio 6A in the Communications Center Building B. As part of the Harry Ransom Lecture series, Smith will discuss his life and career. While on campus, Smith will also meet with students in the College of Communication’s Department of Radio-Television-Film.
On Thursday, April 5, the Ransom Center kicks off The David Foster Wallace Symposium with a public event featuring Wallace’s literary agent, Bonnie Nadell, and his editor, Michael Pietsch, in conversation with Los Angeles Times book critic David Ulin. The free, public event will take place at 7 p.m. (C.S.T.) at Jessen Auditorium, across the plaza from the Ransom Center on The University of Texas at Austin campus. Please note that seating will be limited. Registrants of the symposium will have reserved seating, and Ransom Center members will receive priority entry at 6:20 p.m. Doors will open to the general public at 6:30 p.m. Those unable to attend the event or the symposium can enjoy a live webcast.
Throughout the day on Friday, April 6, the symposium will continue with a series of panel discussions featuring esteemed writers, editors, critics, and journalists who will consider Wallace’s work, his life, and his contribution to contemporary literature. Registration is limited, and only a few spaces remain.
The Ransom Center acquired the David Foster Wallace papers and Wallace’s personal library in late 2009. Since that time, the Center has acquired several smaller collections related to Wallace, including:
Photocopies of Wallace’s completed “usage ballots” for the American Heritage Dictionary. Wallace was a member of the company’s board that governs decisions on usage, spelling, and pronunciation.
Items related to “Democracy and Commerce at the U. S. Open,” an article Wallace wrote for Tennis magazine in 1995, including correspondence with Jay Jennings, senior editor at Tennis.
A photocopy of a typed letter from Wallace to Brandon Hobson in which Wallace gives writing advice to the then-22-year-old Hobson.
Nine annotated drafts of “Host,” an essay Wallace published in The Atlantic Monthly in 2005, together with correspondence related to the essay between Wallace and Martha Spaulding of TheAtlantic.
A small collection of correspondence, primarily from Wallace to recipients including collector Bernard Peyton Watson, who donated the materials.
An unpublished typescript essay titled Pearls & Swine by Wallace, written at the request of James Harmon, who wrote to well-known individuals requesting that they respond to the question, “If you could offer the young people of today one piece of advice, what would it be?”
A collection of correspondence and manuscripts Wallace sent to editor and literary critic Steven Moore between 1987 and 2004, together with photocopies of correspondence from Wallace to writer David Markson.
A two-case display of select items from these various collections will be on view in the Ransom Center’s lobby April 3–8.
Because of anticipated high demand for the use of the Wallace papers and associated collections during the symposium, all researchers intending to request access to these materials must inform curatorial staff of their research plans in advance of their visit, no later than March 30, 2012. To protect the materials, space and access will be limited. Walk-ins will not have access to the materials during this time.
We look forward to welcoming symposium participants, registrants, and other guests to the Ransom Center during the symposium to celebrate the life and work of one of the most creative and influential writers of our time.
Each academic year, the Ransom Center hosts undergraduate interns sponsored by various programs and departments at The University of Texas at Austin. For the 2012–2013 academic year, the Center is pleased to announce the addition of four Ransom Center–sponsored undergraduate intern positions. Students do not need to be affiliated with any particular program or department but must be full-time undergraduate students at The University of Texas at Austin. Application materials should be delivered to the Administrative Suite on the third floor of the Ransom Center by April 9, 2012. Below, current undergraduate intern Kelsey McKinney discusses her internship experience at the Ransom Center.
I fell in love with the Ransom Center at first sight. It was my freshman fall semester at The University of Texas at Austin, and my English class visited the Ransom Center to view Anne Sexton manuscripts in the reading room. In addition to the manuscripts, we saw Anne Sexton’s Royal Quiet De Luxe typewriter. That typewriter showed me that the Ransom Center is a diverse place with hidden gems to discover. As an undergraduate intern, that belief has only been confirmed.
I began working at the Ransom Center in August 2011. At the time, The Greenwich Village Bookshop Door: A Portal to Bohemia, 1920–1925 exhibition had recently opened, and I was offered the opportunity to work on a related project with the Ransom Center’s own authors’ door. The door, located deep within the fifth-floor stacks, began as a tribute to the Greenwich Village bookshop door. Since the 1970s, visiting artists and writers have been invited to sign the door. As of today, the door has 212 signatures. I began a project to document all of the signatures, many of which verged on being illegible. Having horrible handwriting myself, the match was ideal. I spent hours with the door, and it allowed me to interact with author archives and Ransom Center staff. The work was exciting and fulfilling. Each time I deciphered another signature was just as exciting as the first. Today, 206 of the 212 signatures are identified.
There are so many collections and so many incredible projects to take on that there is something for everyone here. More than any specific project I have worked on during my time as an intern, I value most the knowledge I have gained through interaction with Ransom Center staff and scholars. Each day here, I learn more. As an intern in the public affairs department, I have researched and written blog posts. For these, I have learned from the Ransom Center collections and holdings. That knowledge, though, is only the beginning. Ultimately, the benefit of working with intelligent, interesting, and passionate people is that they share those passions willingly. I have learned about the evolution to digital photography, how to conserve a decaying book, how exhibitions are formed, and how collections are organized. Every person at the Ransom Center is a person to learn from. The greatest testament to this, I believe, is how unmanageably tall my book stack has grown during my time here. The tasks and projects I have completed have improved my writing and research skills, but it is the level of intelligent, jovial, and interesting conversation that has taught me the most.
The University of Texas at Austin not only provides an excellent education for its undergraduate students, but also works to couple that education with compelling undergraduate experiences. Ideally, these experiences encompass the core values of the University: learning, freedom, discovery, leadership, individual opportunity, and responsibility. My time at the Ransom Center has developed within me every one of those values. I have learned more than I could ever describe, discovered dozens of new authors, encountered new ideas, and was granted the freedom to enjoy every step of the process. This undergraduate experience is one I would never trade.
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.
Playwright Tom Stoppard wanted to incorporate ideas of chaos theory and thermodynamics into the intricately structured plot of his play Arcadia. His archive shows how he consulted with his son, a physics graduate student at Oxford University, and with his son’s colleagues to get the details just right.
The play opened to acclaim at the National Theatre in London on April 13, 1993, and now Austinites can see an Austin Shakespeare performance of Arcadia, which opens Thursday and runs through February 19 at the Rollins Studio Theater at the Long Center for the Performing Arts.
The Stoppard archive, which was acquired in batches between 1991 and 2000, spans more than 60 years and includes materials related to Arcadia and other well-known works, such as Rosencrantz and Guildenstern are Dead (1968) and Shakespeare in Love (1998).
To celebrate the opening of Arcadia this week, the Ransom Center is giving away two tickets to the Sunday, February 5 performance at 3 p.m. Ransom Center Director Thomas F. Staley will speak about “The Real Tom Stoppard” before the performance at 2:15 p.m.
Email firstname.lastname@example.org with “Arcadia” in the subject line by midnight CST tonight to be entered in a drawing for the tickets. [Update: A winner has been chosen and notified for this drawing.]
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.