Author Jim Crace, whose archive resides at the Ransom Center, has been shortlisted for the 2013 Man Booker Prize for Fiction for his novel Harvest (Nan A. Talese/Picador).
Crace was previously shortlisted for the Booker Prize for his 1997 novel Quarantine. The winner of the Booker will be announced at a ceremony in London on Ocober 15.
To celebrate this news, Cultural Compass will be giving away a signed copy of Crace’s novel The Pesthouse. To be eligible to win, tweet a link to this blog post and mention @ransomcenter. If you’re not on Twitter, send an email to email@example.com with “Booker Prize” in the subject line. All tweets and emails must be sent by midnight CST tonight, and winners will be drawn and notified tomorrow, September 12. [Update: The giveaway is now closed. A winner has been selected and notified.]
Magnum Photos photographers have produced some of the most memorable images of the last century, shaping history and revolutionizing photography’s influence on modern culture. Founded in 1947, it was the first cooperative agency to be established and operated by photographers, thus ensuring unprecedented creative, editorial, and economic independence.
Its founders, including renowned photographers Robert Capa, Henri Cartier-Bresson, David “Chim” Seymour, and George Rodger, united in their pursuit of creative freedom and their commitment to sharing their images with the world. Membership in this collective empowered photographers to document conflict and liberation, revolution and reform, while preserving their own powerfully distinct points of view.
Established during the post-war golden age of the picture magazine, Magnum has flourished despite the impact of radical technological, economic, and cultural transformations on publishing and media. When television began to take over as the dominant form of mass communication in the 1950s, Magnum photographers explored motion picture and book formats. As the editorial market continued to shrink, photographers found new audiences in museums and galleries. Over the last decade, new technologies have dramatically changed the way photographic imagery is captured, distributed, and consumed. In this new environment, Magnum photographers have kept pace, experimenting with a variety of multimedia platforms to publish their work.
Organized by Jessica S. McDonald and Roy L. Flukinger, this exhibition of approximately 300 works investigates the evolution of Magnum Photos from print photojournalism to the digital age, revealing a global cooperative in continual flux, persistently exploring new relationships between photographers, their subjects, and their viewers.
The Ransom Center presents the symposium “Magnum Photos into the Digital Age” on October 25–27. This symposium brings together photographers, curators, and historians to discuss the ways in which Magnum Photos has continually reinvented itself from the moment of its founding. Twelve Magnum photographers, as well as Magnum CEO Giorgio Psacharopulo, are scheduled to appear on panels with a focus on the cooperative’s evolution and future.
When University of Texas at Austin Professor of Philosophy Daniel Bonevac and Ransom Center Senior Research Curator of Photography Roy Flukinger taught the course “Ideas of the Twentieth Century” last fall, they had 100 students.
This fall, they will teach over 20,000.
“Ideas of the Twentieth Century” is one of the courses offered by The University of Texas at Austin as part of the UT System’s partnership with edX, a nonprofit online learning initiative. Launched by Harvard University and the Massachusetts Institute of Technology in 2012, edX collaborates with universities across the country to offer massive open online courses (MOOCs). MOOCs boast unlimited enrollment and are free for all participants.
Of the classes submitted by The University of Texas at Austin for the upcoming school year, four are currently open for registration and will begin September 15. Besides “Ideas of the Twentieth Century,” those interested can also take “Energy 101,” “Age of Globalization,” and “Take Your Medicine: The Impact of Drug Development.”
Bonevac and Flukinger’s course explores the changing mindsets and morals of the past century through the lenses of philosophy, literature, art, and history. Although they have taught this course five times before as one of the University’s Signature Courses for incoming freshmen, the class had to be adapted for an online audience.
“Our time is much more limited in teaching the online course, so each session had to be reduced down to the more basic concepts, trends, and ideas,” Flukinger said. “And, obviously, the other fact that you miss immediately is the interchange of ideas and discussion with your students. The production studio tends to be a much more detached environment than the customary give-and-take of the classroom. But such are always the tradeoffs with any mass media. And, at the same time, I do find it very invigorating to attempt to expand our teaching to a much larger and more diverse global community.”
The Harry Ransom Center invites applications for its 2014–2015 research fellowships in the humanities.
Information about the fellowships and the application process is available online. The deadline for applications, which must be submitted through the Ransom Center’s website, is January 31, 2014, at 5 p.m. CST.
More than 50 fellowships are awarded annually by the Ransom Center to support projects that require substantial on-site use of its collections. The fellowships support research in all areas of the humanities, including literature, photography, film, art, the performing arts, music, and cultural history.
All applicants, with the exception of those applying for dissertation fellowships, must have a Ph.D. or be independent scholars with a substantial record of achievement.
The fellowships range from one to three months, with stipends of $3,000 per month. Also available are $1,200 or $1,700 travel stipends and dissertation fellowships with a $1,500 stipend.
The stipends are funded by Ransom Center endowments and annual sponsors , including the Andrew W. Mellon Foundation Research Fellowship Endowment, the Dorot Foundation Postdoctoral Research Fellowships in Jewish Studies, the Robert De Niro Endowed Fund, the Carl H. Pforzheimer Endowment, the Woodward and Bernstein Endowment, the Frederic D. Weinstein Memorial Fellowship in Twentieth-Century American Literature, the American Society for Eighteenth-Century Studies, the South Central Modern Language Association, the Schusterman Center for Jewish Studies at The University of Texas at Austin, and The University of Texas at Austin Office of Graduate Studies.
Applicants will be notified of decisions on April 1, 2014.
The 2014–2015 academic cycle will mark the 25th anniversary of the Ransom Center’s fellowship program. Since the program’s inauguration in 1990, the Center has supported the research of more than 800 scholars through fellowships.
The Harry Ransom Center has acquired the archive of acclaimed novelist, poet, and essayist Julia Alvarez (b. 1950).
Alvarez’s extensive archive consists of manuscripts, correspondence, journals, and professional files. The manuscripts span her writing career and include fiction, nonfiction, poetry, essays, and unpublished works, often in multiple drafts. Alvarez regularly sent drafts of her work to friends and colleagues, and these copies usually bear handwritten comments from the reader alongside Alvarez’s revisions.
Alvarez’s correspondence includes poems and letters from fellow writers such as Sandra Cisneros, Edwidge Danticat, Dana Gioia, and Marilyn Hacker.
Alvarez was born in New York City but raised in the Dominican Republic until she was 10. In 1960 her family was forced to flee the Dominican Republic when it was discovered that her father was involved in a plot to overthrow dictator Rafael Trujillo.
Much of Alvarez’s work is considered semi-autobiographical, drawing on her experiences as an immigrant and her bicultural identity. Alvarez’s unique experiences have shaped and infused her writing—from such award-winning novels as How the Garcia Girls Lost Their Accents and In the Time of the Butterflies to her poetry.
Alvarez’s archive will complement the university’s internationally respected resources in Latin American studies, providing a unique and enriching resource not only for literary study, but also for the study of Latin American history and government and other prominent social and cultural issues of our time.
The Alvarez materials will be accessible once processed and cataloged.
When a new archive arrives at the Ransom Center, it is quickly whisked away to a designated quarantine area in our basement. The first order of business is for staff to inspect the collection carefully—under the diligent leadership of one of our conservators—for signs of bugs or mold, or any other damage that could jeopardize our collections. These inspections are serious affairs, for it’s critical that we not introduce pests or mold into our stacks. But they’re also exciting. They are our first opportunity to dig into a new collection, and they’re often filled with unexpected discoveries.
The McSweeney’s archive arrived at the Ransom Center in excellent condition, and sorting through the contents of nearly 60 bankers-sized boxes elicited curiosity and delight among our staff. I wasn’t entirely surprised by the rich material that filled the boxes. I had my first glimpse of the archive in September 2007 in the crowded basement of the publishing house’s headquarters in the Mission District of San Francisco. The Ransom Center had first inquired about the McSweeney’s archive in late 2006. Several conversations followed, but the publishing house wasn’t ready to part with its files at the time. I had been an enthusiastic fan of the publishing house for years. I believed then, and still do, that McSweeney’s—with its taste for experimental and new talents, its innovative approach to design, and its willingness to take risks with each volume—brought a new vision to publishing and introduced something different and significant to twenty-first-century literature. The publications coming out of McSweeney’s are unlike anything you’ll find elsewhere. We were thrilled to hear from the publishers at McSweeney’s years later, when their files had grown to overtake their basement, and they wanted to find their archive a home where it would be cataloged, preserved, and made available for study.
The archive is filled with manuscript submissions, letters from authors, illuminating editorial notes, and design renderings that trace the 15-year history of this publishing house. These materials will ignite the interest of students and scholars who will study this archive in the years to come. Equally fascinating are the published volumes themselves. Each book, each issue of the Quarterly and The Believer is utterly unique. Taking them out of boxes, one by one, and seeing them all together, one is immediately struck by the legacy McSweeney’s has already left on the world of publishing.
The Harry Ransom Center has acquired the archive of the McSweeney’s publishing company. Founded in 1998 by Dave Eggers, McSweeney’s is considered one of the most influential literary journals and publishing houses of its time. McSweeney’s publishes books, Timothy McSweeney’s Quarterly Concern, The Believer magazine, the food journal Lucky Peach, and the DVD-journal Wholphin.
The bulk of the archive is composed of manuscripts of books, essays, and short stories; correspondence drawn from the publishing house’s work with hundreds of writers; and award-winning design materials. A current digital copy of all files relating to McSweeney’s work will be included, as well as first editions of all its publications.
“We’re very happy to have the McSweeney’s archive at the Ransom Center,” said Eggers. “The Ransom Center is a world-class institution, and we’re honored to be included among their holdings. McSweeney’s is celebrating our 15th anniversary this year, and we’ve had the honor and pleasure of publishing hundreds of authors, established and upcoming, while navigating the choppy seas of independent publishing. We thank the Ransom Center for taking on our archive and for cleaning out our basement.”
The Ransom Center holds several publishers’ archives, including the records of Alfred A. Knopf, P.E.N. International, Nancy Cunard’s Hours Press, Anvil Press Poetry, Commentary magazine, the London Review of Books, and Little Magazine.
The McSweeney’s archive will be accessible once processed and cataloged.
The Ransom Center has acquired the archive of Barbara Probst Solomon, a prolific writer and chronicler of twentieth- and twenty-first-century culture. The collection includes manuscripts, correspondence, published books, first drafts, interviews, documentaries, and photographs.
Solomon’s career as a writer began shortly after her graduation from Dalton High School in New York City. Bypassing college, Solomon moved to postwar Paris, where she met Spanish students who would later form the resistance movement to Francisco Franco’s dictatorial rule of Spain, which began during the Spanish Civil War. In 1948, she met Barbara Mailer, Norman Mailer’s sister, and they helped activist Paco Benet rescue two Spanish students who had been enslaved in Cuelgamuros, Franco’s labor camp.
Solomon became a notable voice of the 20th-century New York intellectual scene at a time when few women were featured in prominent literary and news publications. Her manuscripts form an integral part of her archive. Her books, including the novel The Beat of Life (1969) and her memoir Arriving Where We Started (1972), have received critical praise, and her memoir was heralded as “the best, most literary account of the intellectual resistance to Franco” when it won the Pablo Antonio de Olavide prize in Barcelona.
Solomon’s archive offers an important snapshot of twentieth-century history and culture. Solomon corresponded extensively in English, French, and Spanish with close friends, and the archive reflects her strong connections with other intellectuals and writers of her time. Solomon had a lifelong friendship with Norman Mailer, and letters and other materials relating to Mailer’s life and works are present. She had a long affair and close friendship with American novelist and screenwriter Clancy Sigal, and her collection contains extensive correspondence about their writings and lives. Mailer’s and Sigal’s archives both reside at the Ransom Center.
Solomon’s archive will be available for research once processed and cataloged.
The symposium brings together photographers, curators, and historians to discuss the ways in which Magnum Photos has continually reinvented itself from the moment of its founding.
Symposium registration information, including registration, is available online.
Twelve Magnum photographers — Christopher Anderson, Bruno Barbey, Thomas Dworzak, Eli Reed, Jim Goldberg, Josef Koudelka, Susan Meiselas, Mark Power, Moises Saman, Alec Soth, Chris Steele-Perkins, and Donovan Wylie — as well as Magnum CEO Giorgio Psacharopulo, are scheduled to appear in panel discussions with a focus on the cooperative’s evolution and future.
Panel moderators will be Kristen Lubben, associate curator at the International Center of Photography, New York; Anne Wilkes Tucker, Gus and Lyndall Wortham Curator of Photography at the Museum of Fine Arts, Houston; David Little, curator of photography and new media at the Minneapolis Institute of Arts; Stuart Alexander, independent curator and international specialist, photographs, Christie’s, New York; and Jessica S. McDonald, Nancy Inman and Marlene Nathan Meyerson Curator of Photography at the Ransom Center. They will be joined by keynote speaker Fred Ritchin, a professor of photography and imaging at New York University’s (NYU) Tisch School of the Arts and co-director of the NYU/Magnum Foundation Photography and Human Rights educational program.
The Magnum Photos Inc. photography collection resides at the Ransom Center courtesy of MSD Capital, Michael and Susan Dell, Glenn and Amanda Fuhrman, and John and Amy Phelan.
Known for the family dynamics she enmeshes in her work, Jayne Anne Phillips uses her own family history as a source for character and plot development in her debut novel Machine Dreams (1984). Phillips chronicles one family, the Hampsons, to explore narratives that span from the years leading up to World War II through the Vietnam War.
Phillips’s papers, which are now accessible at the Ransom Center, include letters, travel ephemera, army pamphlets, and public service announcements. Drawing on wartime and post-war letters written by her father, and addressed to his aunt, Phillips captures the distress of mid-twentieth-century America. The letters also inform character development in Machine Dreams.
Phillips incorporates specific language and usage from the letters throughout the novel. Her father continually sends love to “the kids,” but seldom makes specific mention of the names of his young cousins. Borrowing this language in a chapter titled “The House at Night,” Phillips writes:
“She heard faintly her brother breathe and whimper; in these summer days the artificial disruption of school was forgotten and the fifteen months of age separating them disappeared; they existed between their parents as one shadow, the kids, and they fought and conspired with no recognition of separation.”
Seeing Phillips’s papers is like gaining access to an era of American life. Family photographs in the archive supplement the early drafts of Machine Dreams, which Phillips scribbled in spiral notebooks. Annotations on photographs give meaning to otherwise nameless faces, revealing the ways Phillips develops her characters and narratives. It appears that personal relics guide Phillips’s process in the most intimate of ways—through family memories.
Phillips was a finalist for the 2009 National Book Award for her novelLark & Termiteandis the author of MotherKind (2000), Shelter (1994), Black Tickets (1979), and Fast Lanes (1984).