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Gerald W. Cloud named as Carl and Lily Pforzheimer Curator of Early Books and Manuscripts

By Jennifer Tisdale

Gerald Cloud. Photo by Alexis Catnooks.
Gerald Cloud. Photo by Alexis Catnooks.

The Harry Ransom Center announces the appointment of Gerald W. Cloud as its Carl and Lily Pforzheimer Curator of Early Books and Manuscripts.

Cloud will be responsible for overseeing the Ransom Center’s extensive holdings of early books and manuscripts, including promoting access to, and use of, the collections and interpreting them for varied audiences. The Ransom Center’s Pforzheimer Library of English Literature is one of the cornerstones of the Center’s early books and manuscripts collections.

Prior to joining the Ransom Center, Cloud served as head librarian at UCLA’s William Andrews Clark Memorial Library, curator of literature at Columbia University’s Rare Book & Manuscript Library, and most recently as an antiquarian bookseller at James Cummins Bookseller.

“Gerald’s professional experiences—academic teaching, collection development, knowledge of the antiquarian book trade, scholarship in bibliography and the history of the book—will be invaluable to the Ransom Center and its patrons,” said Steve Enniss, Director of the Harry Ransom Center.

Cloud will support researchers working with the Ransom Center’s early book and manuscripts collections and collaborate with colleagues to promote enhanced access to collections, including digital initiatives and exhibitions. He’ll also work closely with the Center’s conservation department on setting treatment priorities for collection materials as well as expanding and strengthening the Pforzheimer Library.

“I look forward to raising the profile of the Ransom Center’s collections and invigorating use for original research with scholars, students, faculty and others,” said Cloud.

Holdings within the Pforzheimer Library include the plays, poems, novels, essays, polemical writings, and translations of some of the most important English writers from 1475 to 1700. All major writers (William Caxton, Edmund Spenser, Christopher Marlowe, William Shakespeare, John Donne, Francis Bacon, John Milton, Andrew Marvell, John Dryden, and William Congreve, among many others) are represented by first and important editions. The Pforzheimer books are supplemented by 2,000 manuscript items.

Cloud begins his position on January 12, 2015.

Holiday hours at the Ransom Center

By Marlene Renz

The Ransom Center will be closed on Christmas Eve Day (Wednesday, December 24) and Christmas Day (Thursday, December 25). However, the Ransom Center Galleries will be open the rest of winter break on Mondays, Tuesdays, Wednesdays, and Fridays from 10 a.m. to 5 p.m., Thursdays from 10 a.m. to 7 p.m., and on Saturdays and Sundays from noon to 5 p.m. Additional member-only hours will be available from 10 a.m. to noon on Saturday and Sunday.

 

Visitors can view the current exhibitions The Making of Gone With The Wind as well as Frida Kahlo’s Self-portrait with Thorn Necklace and HummingbirdThe Making of Gone With The Wind will be open through January 4. The First Photograph and the Gutenberg Bible remain on permanent display.

 

Please also be aware that the Reading and Viewing Rooms and administrative office will be closed during the University holidays from Saturday, December 20, through Thursday, January 1.

 

Free docent-led gallery tours occur daily at noon, Thursdays at 6 p.m., and Saturdays and Sundays at 2 p.m. (There will be no public tour on the closed days of Wednesday, December 24 or Thursday, December 25.) The public tours meet in the south atrium, and no reservations are required. On weekends, a selection of screentests from Gone With The Wind will be shown in the Ransom Center’s first-floor theater at 1:30 p.m. and 3:30 p.m.

 

Admission is free. Your donation will support the Ransom Center’s exhibitions and public programs. Parking information and a map are available online.

 

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Image: Scene concept for “Christmas at Aunt Pittypat’s in Atlanta” in Gone With The Wind.

Thanksgiving weekend hours at the Ransom Center

By Marlene Renz

Please be aware that the Ransom Center will be closed on Thanksgiving Day.  However, the Ransom Center Galleries will be open on Friday, November 28, from 10 a.m. to 5 p.m. and from noon to 5 p.m. on Saturday, November 29, and Sunday, November 30. Additional member-only hours will be available from 10 a.m. to noon on Saturday and Sunday.

 

Visitors can view the current exhibition The Making of Gone With The Wind as well as Frida Kahlo’s Self-portrait with Thorn Necklace and Hummingbird. The First Photograph and the Gutenberg Bible remain on permanent display.

 

Free docent-led gallery tours will occur daily at noon and at 2 p.m. on Saturday and Sunday. The public tours meet in the south atrium, and no reservations are required.  A selection of screentests from Gone With The Wind will be shown in the Ransom Center’s first-floor theater on weekends at 1:30 p.m. and 3:30 p.m.

 

Admission is free. Your donation supports the Ransom Center’s exhibitions and public programs. Parking information and a map are available online.

 

The Ransom Center’s Reading and Viewing Rooms and administrative office will be closed on Thursday, November 27, and Friday, November 28, and will reopen on Monday, December 1.

 

Share your love of film, literature, and photography this year by giving a gift membership to the Ransom Center. Purchase online or at the Ransom Center’s visitor desk.

 

Image: Norman Bel Geddes draws a concept for a  Macy’s Thanksgiving Day parade float, ca. 1926. Unidentified photographer.

Ransom Center acquires archive of Gabriel García Márquez

By Jennifer Tisdale

The Harry Ransom Center has acquired the archive of Nobel Prize-winning author Gabriel García Márquez (1927–2014). The archive documents the life and work of García Márquez, an author who obtained nearly unanimous critical acclaim and a worldwide readership.

 

Read the news in Spanish.

 

Spanning more than half a century, García Márquez’s archive includes original manuscript material, predominantly in Spanish, for 10 books, from One Hundred Years of Solitude (1967) to Love in the Time of Cholera (1985) to Memories of My Melancholy Whores (2004); more than 2,000 pieces of correspondence, including letters from Carlos Fuentes and Graham Greene; drafts of his 1982 Nobel Prize acceptance speech; more than 40 photograph albums documenting all aspects of his life over nearly nine decades; the Smith Corona typewriters and computers on which he wrote some of the 20th century’s most beloved works; and scrapbooks meticulously documenting his career via news clippings from Latin America and around the world.

 

Highlights in the archive include multiple drafts of García Márquez’s unpublished novel We’ll See Each Other in August, research for The General in His Labyrinth (1989), and a heavily annotated typescript of the novella Chronicle of a Death Foretold (1981). The materials document the gestation and changes of García Márquez’s works, revealing the writer’s struggle with language and structure.

 

Born in Colombia, García Márquez began his career as a journalist in the 1940s, reporting from Bogotá and Cartagena and later serving as a foreign correspondent in Europe and Cuba. In 1961, he moved to Mexico City. Alongside his prolific journalism career, García Márquez published many works of fiction, including novels, novellas and multiple short story collections and screenplays. He published the first volume of his three-part memoir Vivir Para Contarla (Living to Tell the Tale) in 2002.

 

Supporting the university’s acquisition is LLILAS Benson Latin American Studies and Collections, a partnership between the Teresa Lozano Long Institute of Latin American Studies and the Nettie Lee Benson Latin American Collection. LLILAS is regarded as one of the strongest Latin American studies programs in the country, and the Benson Collection is recognized as one of the world’s premier libraries focusing on Latin American and U.S. Latina/o studies.

 

Future plans relating to the archive include digitizing portions of the collection to make them widely accessible and a university symposium to explore the breadth and influence of García Márquez’s life and career. The García Márquez materials will be accessible once processed and cataloged.

 

 

Image: Gabriel García Márquez working on One Hundred Years of Solitude. Photograph by Guillermo Angulo.

Dylan Thomas exhibition in New York features materials from the Ransom Center’s collections

By Marlene Renz

“I went on all over the States, ranting poems to enthusiastic audiences that, the week before, had been equally enthusiastic about lectures on Railway Development or the Modern Turkish Essay.” –Dylan Thomas (1914–1953)

 

Dylan Thomas in America—A Centennial Exhibition, which opened yesterday at the 92nd Street Y’s Weill Art Gallery, chronicles the poet’s experiences in the United States between his first visit in 1950 and his death in 1953. The 92Y’s Kaufman Concert Hall hosted the Welsh poet and author for his first American reading. The exhibition includes 19 facsimiles from the Ransom Center, including letters, postcards, photos, and manuscript pages. Images of a handwritten draft of Thomas’s Under Milk Wood, some correspondence, and Thomas’s “self-portrait” will be on view.

 

Thomas is now considered one of the most important Welsh poets of the twentieth century, and it was during his American tour that he wrote his most well-known piece, Under Milk Wood.

 

The Ransom Center’s Dylan Thomas collection consists of manuscripts, correspondence, notebooks, drawings, financial records, photographs, galley proofs, page proofs, and broadcast scripts. The Ransom Center also holds more than 280 photographs related to Thomas.

 

Listen to a reading by actors, including Michael Sheen, of Thomas’s Under Milk Wood, from the opening night of the exhibition.

 

 

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In good company: Author busts keep watch over scholars in the Reading Room

 

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Image: Photo of Dylan Thomas by Rollie McKenna, ca. 1953.

Application process opens for Ransom Center’s fellowships

By Jennifer Tisdale

The Harry Ransom Center invites applications for its 2015–2016 research fellowships. More than 50 fellowships will be awarded for projects that require substantial onsite use of the Center’s collections, supporting research in all areas of the humanities, including literature, photography, film, art, the performing arts, music, and cultural history.

 

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 15, 2015, at 5 p.m. CDT.

 

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 endowments and annual sponsors, including the Andrew W. Mellon Foundation Research Fellowship Endowment, the Dorot Foundation Postdoctoral Research Fellowships in Jewish Studies, the Marlene Nathan Meyerson Photography Fellowship Endowment, the Creekmore and Adele Fath Charitable Foundation, the Robert De Niro Endowed Fund, the Woodward and Bernstein Endowment, the American Society for Eighteenth-Century Studies, the South Central Modern Language Association, and The University of Texas at Austin’s Office of Graduate Studies, Schusterman Center for Jewish Studies, and program in British Studies.

 

Since the fellowship program’s inauguration in 1990, the Center has supported the research of more than 900 scholars through fellowship awards. In conjunction with the program’s 25th anniversary, the Center seeks to raise $25,000 to establish a Fellowship Anniversary Endowment to support the growth of the fellowship program and the next generation of humanities scholars.
Related content:

Read articles by and about Ransom Center fellows 


Ransom Center Fellows on Fellowships: Video Interviews

 

Image: Attributed to Tsukioka Yoshitoshi, [Geisha having her photograph taken], not dated, color woodblock; Alfred Junge, scene conception for The Barretts of Wimpole Street, 1956; Fred Fehl, still featuring Sara Yarborough from a production of Cry, 1974; Clement Smith & Co., Hercat’s New and Startling Illusion, 1888; Julia Margaret Cameron, [May Prinsep], 1870, albumen print.

 

 

Director draws upon Tennessee Williams collection for UT production of “A Streetcar Named Desire”

By Alicia Dietrich

A production of Tennessee Williams’s iconic play A Streetcar Named Desire opened on campus last week, and director Jess Hutchinson delved into the Tennessee Williams collection at the Ransom Center to guide some of her work on the play.

 

Set in New Orleans, William’s Pulitzer Prize–winning classic centers around fading Southern belle Blanche DuBois as she seeks refuge in her sister’s home, only to clash with her brother-in-law, Stanley Kowalski.

 

Hutchinson, a third-year MFA Directing candidate at The University of Texas at Austin, was especially interested in digging deeper into the ending of the play, and in the Williams collection, she found multiple drafts of endings that were quite different from the published version.

 

“Williams tried on different ways to end Blanche’s story and handle her departure,” said Hutchinson, noting one discarded draft included Blanche being forced into a straightjacket. “And he chose this very specific, relatively controlled exit. That tells me a lot about what that moment is for her, how to stage it, how to think about where she is mentally and emotionally at the end of the play.”

 

Hutchinson worked with a group of undergraduate actors in the production, and exploring the drafts and ideas that Williams discarded helped guide how she and the actors approached the ending of the play.

 

“It focuses our range of choices in rehearsal,” said Hutchinson. “I feel that it would be disingenuous to the play for Blanche to be completely out of control at the end. She isn’t taken away in a straightjacket. In other drafts, she is. So that tells me Blanche still has some lucidity, that she retains the ability to make choices in that moment. The actress and I have looked for Blanche’s power in that scene, her control. Where can we see her consciously make decisions, and how do they fuel her departure with the doctor and matron? The actors and I have come to see that as a moment of recognition. Something in this doctor—this stranger—reaches a place in her that is whole and hasn’t been broken by this experience. And really, we got to complicate what some might write off as a moment of clear ‘insanity’ because I was able to see to see the other drafts that Williams tried first.”

 

As Hutchinson sifted through various early drafts of the play in the Williams collection, she was struck by how “not good” many of them were and how it was a great reminder that the creative process includes false starts and dead ends even for the most talented writers and artists.

 

“Something about seeing documents in a famous, iconic writer’s handwriting revealed that this person who wrote this thing that I love was closer to me than I might have thought,” she said. “He was a human and an artist and was trying to make something that spoke to the core experience of what it is to be a person—what it means to interact with other people in the world and have your heart broken and have moments of incredible joy. Just the humanity that’s present in these archival materials and what we can see in these drafts and false starts and moments of inspired genius made it possible, at least for me, to be bolder in my own work in the rehearsal room.”

 

A Streetcar Named Desire runs through October 19 at the Oscar G. Brockett Theatre at The University of Texas at Austin. Tickets are available online.

 

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In the Galleries: The “Ruins of a Play” evolve into “The Glass Menagerie”

In the Galleries: “Girls! Girls! Girls! Did You Marry Your First ‘Gentlemen Caller’?”

 

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