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75 Years, 75 Days: Donate now to support the fall 2014 “Gone With The Wind” exhibition

By Alicia Dietrich

The Ransom Center is raising $50,000 in the next 75 days to support the upcoming exhibition “The Making of Gone With The Wind.”
The Ransom Center is raising $50,000 in the next 75 days to support the upcoming exhibition “The Making of Gone With The Wind.”

The Harry Ransom Center is raising $50,000 in 75 days for the Center’s 2014 exhibition The Making of Gone With The Wind. This Hollywood classic premiered in 1939 and will mark its 75th anniversary in 2014.

Film producer David O. Selznick’s 1939 epic film Gone With The Wind was embroiled in controversy before a single frame was shot. Based on the 1936 novel by Margaret Mitchell, the film’s depictions of race, violence, and cultural identity in the South during the U.S. Civil War and Reconstruction continue to both compel and trouble audiences around the world.

The exhibition will reveal surprising new stories about the making of this quintessential film from Hollywood’s Golden Age and illustrate why it remains influential and controversial 75 years after it was released.

The exhibition will include over 300 original items from the Selznick archive housed at the Ransom Center, including behind-the-scenes photographs, storyboards, correspondence, production records, audition footage, and fan mail. The exhibition will also feature gowns worn by Vivien Leigh as the beautiful and ambitious Scarlett O’Hara. These recently conserved costumes will be displayed together for the first time in more than 25 years.

Your support will provide funds for outreach, additional docent-led tours, a published exhibition catalog, and complementary programming and presentations. Donors will be acknowledged on the Ransom Center’s website and receive the following:

$10-$499: Commemorative save-the-date postcard with an image from the Ransom Center’s collection.

$500-$999: Complimentary Ransom Center membership for one year, at the dual level, which includes two tickets to the exhibition opening party.

$1,000-$4,999: Complimentary copy of the exhibition catalog.

$5,000+: Special curators’ tour for up to six people.

Magnum Photos collection donated to the Ransom Center

By Alicia Dietrich

George Rodger, Sahara Desert, 1957, verso. With permission of Magnum Photos.
George Rodger, Sahara Desert, 1957, verso. With permission of Magnum Photos.

The Magnum Photos collection, which contains nearly 200,000 press prints of images taken by world-renowned Magnum photographers, has been donated to the Ransom Center. The gift was made by Michael and Susan Dell, Glenn and Amanda Fuhrman, and John and Amy Phelan.

Mr. Dell is Founder, Chairman and CEO of Dell Inc. Messrs. Fuhrman and Phelan are Co-Managing Partners and Co-Founders of MSD Capital, L.P., the private investment firm for Mr. Dell and his family.

In 2009, the Dells, Fuhrmans and Phelans purchased the collection from Magnum Photos. Since late 2009, the collection has resided at the Ransom Center, where it is being preserved and made accessible for research.

The collection, more than 1,300 boxes of photographic materials, has been integrated into the university’s curriculum, accessed by students and scholars, and promoted through a variety of lectures, seminars, and fellowships.

“The establishment of the Magnum Photos collection at the Ransom Center gives the work of these photographers new life,” said Stephen Enniss, director of the Ransom Center. “This photographic collection will be an invaluable resource, for decades to come, for students and scholars and all who wish to understand the cultural and historical moment through which we have recently come.”

The Ransom Center’s current exhibition, Radical Transformation: Magnum Photos into the Digital Age, draws from the vast collection of prints, exploring the evolution of the photo agency from the post-war golden era of the picture magazine to the digital age. Organized by Ransom Center photography curators Jessica S. McDonald and Roy Flukinger, the exhibition includes more than 300 photographs, plus a selection of contact sheets, documents, tear sheets, magazines, books, films, videos, and other multimedia. It is on view through January 5.

Complementing the exhibition is the Ransom Center’s symposium “Magnum Photos into the Digital Age.” The October 25–27 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 participants include Magnum photographers Christopher Anderson, Bruno Barbey, Michael Christopher Brown, Eli Reed, Jim Goldberg, Josef Koudelka, Susan Meiselas, Mark Power, Moises Saman, Alessandra Sanguinetti, Alec Soth, and Chris Steele-Perkins.

Reading Magnum: A Visual Archive of the Modern World is the first publication to examine the Magnum Photos collection itself. Published by University of Texas Press in September and edited by Steven Hoelscher, academic curator of photography at the Ransom Center, the book explores prominent themes in the collection—war and conflict, portraiture, geography, cultural life, social relations, and globalization—and includes evocative portfolios of images.

Jim Crace shortlisted for Booker Prize

By Alicia Dietrich

Cover of Jim Crace's novel "Harvest."
Cover of Jim Crace's novel "Harvest."

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 hrcgiveaway@gmail.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.]

Related content:

Writer Jim Crace gives writing advice and discusses why T. H. White’s archive at the Ransom Center brought tears to his eyes

Writer Jim Crace discusses his creative process in two videos

Driftwood in an archive

View Recommended Reading from Jim Crace

Opening today: "Radical Transformation: Magnum Photos into the Digital Age"

By Alicia Dietrich

"Russia. Altai Territory. Villagers collecting scrap from a crashed spacecraft, surrounded by thousands of white butterflies. Environmentalists fear for the region's future due to the toxic rocket fuel." 2000. © Jonas Bendiksen/Magnum Photos.
"Russia. Altai Territory. Villagers collecting scrap from a crashed spacecraft, surrounded by thousands of white butterflies. Environmentalists fear for the region's future due to the toxic rocket fuel." 2000. © Jonas Bendiksen/Magnum Photos.

The exhibition Radical Transformation: Magnum Photos into the Digital Age opens today and will be on view through January 5.

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.

Coinciding with the exhibition is the publication of Reading Magnum: A Visual Archive of the Modern World (UT Press), edited by Steven Hoelscher, Academic Curator of Photography at the Ransom Center.

The Magnum Photos Collection resides at the Harry Ransom Center courtesy of MSD Capital, Michael and Susan Dell, Glenn and Amanda Fuhrman, and John and Amy Phelan.

Beginning September 17, free docent tours will be offered Tuesdays at noon, Thursdays at 6 p.m., and Saturdays and Sundays at 2 p.m.

For groups larger than 10 people, please contact the Ransom Center to make arrangements for a private group tour.

The fall calendar includes many Magnum Photos-related programs, including “Boundless,” the opening celebration for the exhibition on Friday, September 20.

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.

University of Texas at Austin partners with online learning initiative

By Abigail Cain

Ransom Center Senior Research Curator of Photography Roy Flukinger and University of Texas at Austin Professor of Philosophy Daniel Bonevac will be teaching an online course this fall on “Ideas of the Twentieth Century.”
Ransom Center Senior Research Curator of Photography Roy Flukinger and University of Texas at Austin Professor of Philosophy Daniel Bonevac will be teaching an online course this fall on “Ideas of the Twentieth Century.”

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.”

Application process open for Ransom Center’s fellowships

By Jennifer Tisdale

Cover of Eric Gill's
Cover of Eric Gill's

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.

Information about the Ransom Center collections can be found online and in the Guide to the Collections.

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.

Novelist, poet, and essayist Julia Alvarez’s archive acquired

By Jennifer Tisdale

Sketch of "The Tavárez-Mirabal 'Residence'" from Julia Alvarez's novel "In the Time of the Butterflies."
Sketch of "The Tavárez-Mirabal 'Residence'" from Julia Alvarez's novel "In the Time of the Butterflies."

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.

Unpacking the McSweeney’s archive

By Megan Barnard

The McSweeney’s archive, like all collections, went through an inspection upon its arrival at the Ransom Center. Photo by Pete Smith.
The McSweeney’s archive, like all collections, went through an inspection upon its arrival at the Ransom Center. Photo by Pete Smith.

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.

I can’t wait to see what they come up with next.

Ransom Center staff member unpack and inspect materials in the McSweeney’s archive. Photo by Pete Smith.
Ransom Center staff member unpack and inspect materials in the McSweeney’s archive. Photo by Pete Smith.

McSweeney’s archive acquired

By Jennifer Tisdale

Cover dummy of "McSweeney's Quarterly" Issue 38.
Cover dummy of "McSweeney's Quarterly" Issue 38.

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.

Read more about the arrival of the McSweeney’s archive at the Ransom Center.

Ransom Center acquires papers of writer Barbara Probst Solomon

By Alicia Dietrich

Barbara Probst Solomon's press pass for "The New York Review."
Barbara Probst Solomon's press pass for "The New York Review."

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.