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.
This online exhibition of the American Writers Museum includes writer T. C. Boyle, whose archive was recently acquired by the Ransom Center. Boyle identifies the works world leaders could read to understand America, his favorite childhood books, and the international writers who have influenced him.
The mission of the American Writers Museum Foundation is to establish the first national museum in the United States dedicated to engaging the public in celebrating American writers and exploring their influence on history, identity, culture, and daily lives.
James Salter, whose archive is housed at the Ransom Center, will receive the 2012 PEN/Malamud Award, which honors excellence in the art of the short story.
Salter is the author of more than a dozen books, including novels Light Years (1975), A Sport and a Pastime (1967), The Arm of Flesh (1961), and The Hunters (1957); the memoirs Gods of Tin (2004)and Burning the Days (1997); and the short story collection Dusk and Other Stories (1988), which won the 1989 PEN/Faulkner Award.
His latest novel, All That Is, will be published in October.
Salter will be presented the award on December 7. The award was established by the family of Bernard Malamud, whose archive also resides at the Ransom Center.
To celebrate the news, the Ransom Center is giving away two signed copies of James Salter books. Email firstname.lastname@example.org with “Salter” in the subject line by midnight CST tonight to be entered in a drawing for the books. [Update: Winners have been drawn and notified by email.]
The archive of visual effects producer Thomas Smith has been donated to the Ransom Center. Smith worked on the special effects for such films as Raiders of the Lost Ark (1981), E.T. (1982), Star Trek: The Search for Spock (1983), Star Wars: Return of the Jedi (1983), Indiana Jones and the Temple of Doom (1984) and Honey, I Shrunk the Kids (1989). Below, he shares why he chose the Ransom Center as the repository for his papers and why it’s important to preserve these materials.
Why did you choose the Ransom Center as the home for your archive?
I began making 16 mm films right after I was discharged from the Air Force. I worked in this small screen format for 15 years. During the years when I was making documentary and academic films, I often used the good services of many archives, in search of photos or audio recordings for my films. About eight years ago, after working on my last feature film project, Gods and Generals (2003), I made one more small screen documentary. For this, I needed photos of American poet Edgar Lee Masters. I came to the Ransom Center since they were the largest depository I could find of Masters’s material. I was very impressed with the organization of the library, the courtesy of its staff, and the care they showed for the Masters collection. After I retired from working in feature films, I felt there would be no better place for my collection of motion picture scripts, photos, storyboards, and notes than the Ransom Center.
Why is it important to preserve the types of materials found in an archive such as yours?
Nothing is permanent, but a well-organized and well-housed archive is our best bet for preserving documents from the past and keeping them available to future generations. The material I have donated to the archive represents working papers from the motion picture industry from around 1980 to shortly after 2000. Most of it concerns the visual effects work I was involved with. Some of this will be interesting to students and film scholars immediately and some decades from now as it takes on a historical value and in some cases may attract artistic interest.
You’ll be meeting with students during your visit to campus. What can students learn from an archive such as yours?
The collection of my papers represents over 20 years of feature film scripts and story boards. By reading and studying these working documents, they will hopefully get some insight into the enormous amount of planning that goes into the making of a feature film, particularly the ones with visual effects. I was fortunate to have worked on many films students will have seen, films that are part of the American memory of popular movies. Some of these include two early Star Wars films, Steven Spielberg’s Raiders of the Lost Ark, E.T., and Poltergeist. I also produced films for Walt Disney such as Honey, I Shrunk the Kids and several 3-D theme park attractions, one with pop singer Michael Jackson and another with Jim Henson. This was Henson’s last film. Sadly he died just as we finished the work. For the Jim Henson Company, I produced not only the 3-D film currently running in all Disneyland parks, MuppetVision 3-D, I also produced the visual effects for three feature films. For the Ted Turner company, I produced the visual effects and directed battle scenes for the 2003 Civil War epic Gods and Generals. For the ABC Network, I directed a one-hour special for children, called Ralph S. Mouse. So this is a cross section of work from a variety of films that students may find informative, and there are documents associated with nearly all of them in the collection.
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.