A plaster maquette of a bust of W. E. B. DuBois has been donated to the Harry Ransom Center. The bust, which was sculpted by Walker Hancock (1901–1998), documents a step in the creative process for the final marble sculpture, which resides in Memorial Hall at Harvard University.
A plaster maquette is a model for a finished sculpture that enables the artist to visualize and test shapes and ideas before producing a full-scale sculpture. (It’s analogous to a cartoon or sketch for a painter.)
The DuBois bust was commissioned in 1993 by the Harvard University president and fellows and the Department of Afro-American studies. DuBois was the co-founder of the NAACP and the first African-American student to receive a Ph.D. from Harvard in 1895.
Walker Hancock was an American sculptor who was awarded the National Medal of Arts in 1989 and the Medal of Freedom in 1990. His notable works include the Pennsylvania Railroad World War II Memorial (1950–1952) in Philadelphia and additions he created for the National Cathedral in Washington, D.C., including Christ in Majesty (1972), the bas relief over the High Altar.
The plaster maquette was donated to the Ransom Center by Hancock’s daughter, Deanie Hancock French.
The Center holds busts of many writers, including Ezra Pound, James Joyce, T. E. Lawrence, Tom Stoppard, William Butler Yeats, T. S. Eliot, Dylan Thomas, and many more. Several busts can be seen in the lobby of the Ransom Center and in the reading room on the second floor.
Dr. Jana Funke, Associate Research Fellow at the University of Exeter, U.K., visited the Ransom Center on a Hobby Family Foundation Fellowship in July and August 2010 to work on Radclyffe Hall’s short fiction. She is using the material she gathered for a monograph exploring the relationship between modernist sexualities and time. She is also preparing a critical edition of Hall’s unpublished works.
Radclyffe Hall is best known for her infamous novel The Well of Loneliness (1928), with its bleak depiction of female sexual inversion—a sexological term that combines traits we might nowadays classify as lesbian and transgender. It might therefore come as a surprise that spending several weeks in the archive working on Hall was tremendous fun! The Radclyffe Hall and Una Troubridge papers at the Ransom Center offer many delightful surprises, such as a box filled with kennel club information, show clippings, and photographs of Hall’s prize-winning dogs. While going through the drafts of The Well, I also came across a notebook in which she lists the “contents of an invert’s pocket.” Apparently, the female invert would not leave the house without a letter from her present love, three snapshots of her last love, a powder box, and lipstick.
While my visit gave me the opportunity to survey the archival material more generally, I spent most of my time working on Hall’s short fiction. Hall only published one collection of short stories, Miss Ogilvy Finds Herself (1934), but among her papers are more than 15 additional, mostly complete, unpublished stories, which were written in the 1910s and 1920s.
One group of unpublished works—including the unfinished novel The World—deal with the Great War. Whereas published texts like The Well or Miss Ogilvy Finds Herself focus on women’s experience of the war, the unpublished stories explore how men who were “unfit” to serve their country coped with the resulting sense of exclusion.
Other short stories deal with female experience; “The Modern Miss Thompson,” for instance, depicts the struggle for female autonomy and shows interesting parallels to Hall’s New Woman novel The Unlit Lamp (1924). Yet another set of stories provides insight into Hall’s engagement with religion, spirituality, and the supernatural. These texts deal with a range of subjects including the life of the medieval Saint Ethelflaeda, time travel, and mystic human-animal relationships.
The reasons why Hall did not publish more of these short stories are unclear. Hall’s notebooks reveal that she thought about publishing a larger number of short stories and sent a selection to her agent in 1924. We do not know why this publication did not materialize at the time. In her memoirs, Hall’s partner, Una Troubridge, suggests that by the time Hall was preparing the collection Miss Ogilvy Finds Herself in the early 1930s, she decided against including an earlier short story since it had “missed the boat.” It is possible that Hall felt her other short stories had also gone out of fashion by the time she was given the opportunity to publish them.
Returning to these texts almost a century after they were written, I found them anything but untimely. To be sure, the short stories confirm a certain image of Hall as an author with deeply conservative and often troubling national, racial, sexual, and class politics. However, my archival work also allowed me to develop a more nuanced understanding of Hall. Her unpublished work shows a writer keen to explore vastly different interests and stylistic approaches, and her investigation of questions of difference, outsiderism, and the struggle of belonging relates to scholarly concerns today. My time in the archive certainly did not present me with a radically new image of Hall, but it did allow me to explore a body of texts that is much more conflicted and less orthodox than I expected. I am very grateful to the Ransom Center, with its wonderful staff and sense of scholarly community, and the Hobby Family Foundation, for giving me this opportunity.
The Harry Ransom Center owns a collection of materials related to magician Harry Houdini, whose 137th birthday is today. The above slideshow highlights some examples of materials in the collection.
Parts of the Houdini (1874-1926) collection pertain to the numerous magicians with whom Houdini cultivated personal relationships, but the focus of this collection is the life and career of Houdini himself. Manuscript material in the collection includes Houdini’s correspondence with magicians and writers; letters to his wife Bess, 1890s–1926; manuscript notes and revisions for A Magician among the Spirits (1924), along with Houdini’s annotated printed copy; and the correspondence of A. M. Wilson, editor of The Sphinx, 1905–1923. Houdini’s films are represented by the script for The Master Mystery (1918), news clippings and a press kit for The Man from Beyond (1922), and publicity photographs. His interest in spiritualism is documented by a newspaper clipping file on spiritualism, manuscript notebooks on spiritualism and theater, and history of magic scrapbooks, 1837–1910.
Please click on the thumbnails below to view full-size images.
Actress Elizabeth Taylor, who died today at the age of 79, has connections to the Ransom Center holdings, ranging from the Mel Gussow collection to the Ernest Lehman collection.
The former New York Times theater critic Mel Gussow, who died in 2005, wrote Elizabeth Taylor’s obituary. His obituary, with updated contributions from other reporters, was posthumously published today in the New York Times.
The Lehman collection, consisting of more than 2500 items, spans the forty year career of the screenwriter, novelist, short story writer, journalist, motion picture producer and director. Included in the collection are scripts, correspondence, photographs and other material from the production of Edward Albee’s Who’s Afraid of Virginia Woolf? for which Lehman wrote the screen adaption and produced. The 1966 release of Who’s Afraid of Virginia Woolf? won Elizabeth Taylor her second Academy Award for her performance as a bitter faculty wife, Martha.
As a part of the Ransom Center’s Tennessee Williams Film Series, the Ransom Center will show Cat on a Hot Tin Roof (1958), starring Elizabeth Taylor as Maggie “the Cat” on Thursday, June 23 at 7 p.m. Included in the Ransom Center’s current exhibition Becoming Tennessee Williams is an unidentified magazine clipping titled, Liz Plays “Cat on a Hot Tin Roof.” Though Taylor did not fit Williams’s own idea of Maggie the Cat, Taylor is praised in the article for making herself “believable as a rejected wife, determined somehow to win back her cold and hostile husband.”