This past summer, the Harry Ransom Center underwent a sustainable landscape makeover, replacing two plots of Asian jasmine, holly, and nandina bushes in front of the building with handsome rock gardens filled with plants especially suited for the Austin climate. The project is part of campus-wide efforts to promote xeriscaping, or landscaping that saves water by reducing the need for irrigation.
Two seniors working on their Bachelor of Science in Environmental Science, Tim Eischen and Hank Star, spearheaded the project by submitting a proposal to the University’s Green Fee Committee, which agreed to fund the project. The new gardens feature drought-resistant plant species and are expected to conserve 72,000 gallons of water a year.
To maximize water conservation, the landscape features a new irrigation system specifically designed to meet sustainable watering requirements. In addition to facilitating dramatic reductions in irrigation, the landscape is also contoured to maintain its role as a local drainage basin. Central to the goal of xeriscaping is using native plant life, which drains far less water than the invasive Asian jasmine that previously filled the planters. The new drought-resistant plant species featured include rosemary, Mexican heather, soft leaf yucca, barrel cactus, cholla, red yucca, sedum, Easter cactus, Texas mountain laurel, prickly pear, Mexican bush sage, pride of Barbados, purple fountain grass, agave, and Texas sotol. Eischen’s father also donated an olive tree.
More than being aesthetically attractive, the new landscape will reduce another of the Asian jasmine’s undesirable qualities: bugs. Crickets and other insects laid eggs in the jasmine beds, posing a concern for Ransom Center collections. The rock gardens are also cleaner and more resilient, which diminishes the risk that the new plots will succumb to diseases that afflict Asian jasmine.
The final plot on the plaza has yet to be renovated, but plans for upgrades are in the works. The Ransom Center is exploring the possibility of a more interactive space, where events could take place and visitors could enjoy the beautiful landscape.
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Materials related to David Foster Wallace’s posthumous novel The Pale King (April 2011) are now open for research at the Ransom Center. The materials related to The Pale King were acquired as part of the Wallace (1962–2008) archive in 2010 but were retained by publisher Little, Brown and Co. until after the book’s publication and the subsequent publication of the paperback edition.
The Pale King materials fill six boxes and include handwritten and typescript drafts, outlines, characters lists, research materials, and a set of notebooks containing reading notes, names, snippets of dialog, definitions, quotations, and clippings.
The materials have been organized according to a spreadsheet developed by Wallace’s editor, Michael Pietsch. Pietsch, then-executive vice president and publisher of Little, Brown and Co., spent months reading through and organizing the material and found what he called “an astonishingly full novel, created with the superabundant originality and humor that were uniquely David’s.”
In conjunction with the publication of The Pale King, the Ransom Center partnered with publisher Little, Brown and Co. to offer an online preview of materials from the archive in April 2011.
Alison Clemens is a graduate student in the School of Information at The University of Texas at Austin. She processed the Daniel Stern papers as part of her capstone project for her program, and she shares her experiences working in the collection, which is now open for research.
The Harry Ransom Center acquired the papers of Daniel Stern (1928–2007), novelist and short story writer, in 2009. In doing so, the Center gained an illuminating piece of New York and American literary culture. The collection is filled with Stern’s numerous manuscripts, material related to his careers in writing, advertising, media, and academia, and correspondence with major literary figures, including Bernard Malamud and Anaïs Nin. The material provides a fascinating glimpse of how Stern produced stories as a working writer.
Born in New York City, Stern was raised in Manhattan’s Lower East Side and in the Bronx. He displayed considerable musical talent from an early age. He attended The High School of Art and Music and, upon graduation, played the cello with the Indianapolis Symphony and with Charlie Parker’s band. Stern disliked life in Indianapolis and returned to New York, where he took courses in creative writing and wrote jingles and copy for McCann Erickson advertising agency. Stern rose through the ranks and eventually began working in television at Warner Brothers, where he served on the board of directors in the 1970s.
Throughout Stern’s corporate employment in the 1960s and 1970s, he continued to work on his writing and published numerous novels. The Suicide Academy (1968), to which Anaïs Nin dedicated an essay in her collection InFavor of the Sensitive Man, was popularly successful. In the 1970s, however, Stern would experience two major shifts. First, he left Warner Brothers and moved to the promotions department of CBS in 1979. During this time, he also began writing short stories and sending them to literary reviews, including to Joyce Carol Oates at her magazine Ontario Review. After achieving success as a short story writer, Stern left CBS in 1986 and served as humanities director of the 92nd Street Y until 1988. He assumed teaching positions, including at Harvard and Wesleyan Universities, and joined the University of Houston as Cullen Distinguished Professor of English in 1992.
Stern’s short story collections—including Twice Told Tales and Twice Upon a Time—revisit, revise, and reinterpret literary classics by other authors. Malamud described Stern’s prose as filled with “poetry, inventiveness, verve of style, wisdom in paradox, the argument, [and] wit and comedy.” Stern’s creative process and output is well documented in the papers at the Ransom Center, as the collection contains drafts, correspondence pertaining to specific works, and even unpublished material.
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In 1973, visiting authors and authors began signing one of the Harry Ransom Center’s doors between two manuscript stack rooms on the fifth floor. At the suggestion of a staffer, the authors’ door was inspired by the signed Greenwich Village Bookshop door in the Center’s collection. When one side of the Ransom Center’s door filled up a few years ago, the other side was sanded down so that it could be used as well. To date, more than 150 visitors have signed the door, from American writer Alice Adams to Russian poet Yevgeny Yevtushenko.
ESPN’s Longhorn Network recently explored the history of the door with the Ransom Center’s Danielle Brune Sigler, assistant director and curator for academic programs.
The First Photograph will be loaned, along with 119 other images and photography-related items from the Harry Ransom Center’s Gernsheim collection, to the Reiss Englehorn Museum in Mannheim, Germany, for the exhibition “The Birth of Photography-Highlights of the Helmut Gernsheim Collection.” The exhibition runs from September 9 through January 6, 2013.
The First Photograph has been removed from display at the Ransom Center to be prepared for its departure in July. The First Photograph will be back on display at the Ransom Center in February 2013.
The First Photograph was acquired by the Ransom Center as part of the Gernsheim collection from Helmut and Alison Gernsheim in 1963. Taken in 1826 or 1827, Joseph Nicéphore Niépce’s View from the Window at Le Gras depicts the view from an upstairs window at Niépce’s estate, Le Gras, which is in the Burgundy region of France. Niépce’s photograph represents the foundation of today’s photography, film, and other media arts.
The First Photograph forms the cornerstone of Helmut Gernsheim’s photographic collection, which was the largest in the world when the Ransom Center acquired it in 1963. The Gernsheim collection is one of the seminal collections in the United States of the history of photography and contains an unparalleled range of more than 35,000 images. Its encyclopedic scope—as well as the expertise with which the Gernsheims assembled the collection — makes the Gernsheim collection one of the world’s premier sources for the study and appreciation of photography
In 2002, the Forum International Photographie at the Reiss Engelhorn Museum acquired Gernsheim’s later collection of contemporary photography, along with his own photographs and archive. For the first time in half a century, major portions of both Gernsheim collections are being reunited: the historical material housed in the Ransom Center and the contemporary collection in the Forum International Photographie at the Reiss Engelhorn Museum.
While the First Photograph is on loan, the photographic print View from the Window at Le Gras, 1826, 2009 by Adam Schreiber will occupy the display in the Ransom Center’s lobby. The photograph depicts the Niepce plate in situ in the museum display, as photographed by Schreiber in 2009. Schreiber is a member of the Lakes Were Rivers artist collective, a group of artists who work primarily in photography and video. In summer 2013, the Ransom Center will host an exhibition in which members of the collective will display their original works paired with Ransom Center collection material that inspired them.
Legendary science fiction writer Ray Bradbury, author of the classics Fahrenheit 451 and The Martian Chronicles, died last Wednesday at the age of 91. In his long writing career, Bradbury published hundreds of novels and short stories, becoming an icon in the world of literature that describes aliens, space ships, faraway planets—and the future of books.
Like the 13-year-old characters in his Something Wicked This Way Comes, Bradbury spent much of his boyhood visiting the public libraries of his Midwest hometown, where he was inspired by the works of such writes as Aldous Huxley, Jules Verne, and H. G. Wells. Throughout his life he was an enormous supporter of libraries, advocating them as some of the most important institutions in American life and culture. The son of an electrician father and a Swedish immigrant mother, Bradbury lacked the means for a formal college education and prided himself on being largely self-taught. In 1971, in aid of a fundraising effort for public libraries in southern California, he published the essay “How Instead of Being Educated in College, I Was Graduated From Libraries.” Like the characters in his most famous novel, Fahrenheit 451, Bradbury feared a future wherein books would become obsolete.
Bradbury faced an arduous challenge in making his own futuristic novels part of the libraries he so dearly loved. Early in his career, he had difficulty garnering interest for his science fiction stories from mainstream publishing houses. He was famously “discovered” by a young Truman Capote, then a staff member at Mademoiselle, who picked Bradbury’s 1947 short story “Homecoming” out of the slush pile of submissions to the magazine and encouraged its publication. The Alfred A. Knopf archive at the Harry Ransom Center, however, reveals that despite Capote’s early advocacy, Bradbury continued to meet with difficulties when seeking a home for his work. In a rejection letter from 1948, a reader at the publishing house professes hesitation toward Bradbury’s first novel, Dark Carnival. The evaluator states that though there is “much talk about town” of Bradbury’s “weird, unusual, and tricky” stories, “the style, while adequate, lacks distinction.”
Three decades later Bradbury, by then a seasoned author with dozens of publications to his credit, became a highly valued writer at the Knopf firm. During the 1970s he worked closely with editors Robert Gottlieb and Nancy Nicholas, who published his Where Robot Mice and Robot Men Run Round in Robot Towns, Dandelion Wine, and When Elephants Last in the Dooryard Bloomed, among others. In a letter to Nicholas (shown in the slideshow above), Bradbury, who often wrote nostalgically of childhood, included a picture of himself at the age of three. He jocularly describes the photograph as “beautifully serious, as if the young writer had just been disturbed in the midst of some creative activity.”
The Ransom Center also houses manuscripts and letters related to Ray Bradbury in its Lloyd W. Currey, Sanora Babb, Eliot Elisofon, Lillian Hellman, B. J. Simmons, and Tim O’Brien archives. Additionally, the Ransom Center’s Lewis Allen collection contains screenplay drafts, correspondence, casting notes, call sheets, and promotional materials for François Truffaut’s 1966 film adaptation of Fahrenheit 451.
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British author Barry Unworth, whose archive resides at the Ransom Center, died earlier this week at the age of 81.
Unsworth, who is known for such acclaimed novels as Sacred Hunger (1992), Pascali’s Island (1980), and The Ruby in Her Navel (2006), handwrites all of his novels, and the archive contains manuscripts of all but one of the 16 novels he wrote before 2007.
In this age of computers and word processing, Unsworth’s handwritten drafts reveal much about his creative process. The above page is from a draft from his Booker Prize–winning novel, Sacred Hunger (1992). This draft fills five notebooks. The novel centers on an eighteenth-century slave ship, which Unsworth describes on this page as: “a particle in a bloodstream constantly circulating negro slaves, and a minute, discrete element in a gigantic commercial enterprise that was to change the world forever, cost forty million lives, bring to Africa misery on a scale hardly conceivable, to Europe enormous infusions of capital, to France the Industrial Revolution, to America the plantation system, the Civil War and the shape of the nation.”
Unworth visited the Ransom Center in spring 2009 to read from his novel Land of Marvels (2009). His last novel, The Quality of Mercy, was published in 2011.