The Ransom Center is acquiring the archive of novelist Kazuo Ishiguro.
Translated into more than 40 languages, Ishiguro’s fiction has received numerous awards, from the Booker Prize for Fiction for “The Remains of the Day” (1989) to the Whitbread Book of the Year award for “An Artist of the Floating World” (1986). Read more
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Highlights in the archive include multiple drafts of García Márquez’s unpublished novel We’ll See Each Other in August, research for The General in His Labyrinth (1989), and a heavily annotated typescript of the novella Chronicle of a Death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.
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.
Among the papers in the recently acquired Billy Collins archive are materials related to his poem “The Names,” which was written to commemorate the victims of the September 11, 2001 attacks. Interspersed throughout the poem are the names of 26 victims of the attacks, one name for each letter of the alphabet, from “Ackerman” through “Ziminsky.”
Collins, a native of New York City, was the U.S. Poet Laureate when the attacks occurred in 2001. He wrote the poem and read it at a special joint session of Congress on September 6, 2002.
One of the notebooks in Collins’s archive contains his notes and early drafts of the poem, along with lists of names for different letters of the alphabet. An annotated typescript shows a later draft of the poem with Collins’s handwritten notes and edits.
The archive will be accessible in the Ransom Center’s reading room once it has been processed and cataloged.
The Harry Ransom Center has acquired the archive of American poet Billy Collins. The materials span Collins’ personal and professional life from the 1950s to the present and documents in detail his creative development.
Collins, born in 1941, is known as a poet for the people, with a witty, conversational style that welcomes readers and illuminates the profound details of everyday life. He has described the beginning of his poems as “a kind of welcome mat … inviting the reader inside.” This accessible style and public presence have garnered a wide following, and from 2001 to 2003 he served as Poet Laureate of the United States.
“Collins is one of a very few poets whose poems are widely read,” said Harry Ransom Center Director Stephen Enniss, “and it is a great pleasure to extend the Center’s holdings in this way, with the archive of a poet beloved by readers everywhere.”
Within the archive are dozens of notebooks, which include Collins’ observations, notes, doodles, clippings, and extensive drafts of poems, both published and unpublished. It also includes desk diaries or datebooks that document his life as a teacher, poet and public figure. The earliest materials in the archive include childhood compositions and early family photographs. Also documented is Collins’ career as a teacher and his later emergence as a poet in the late 1970s. Audio and video recordings and drafts of speeches and talks document a full public life as one of the country’s most popular poets. The archive includes extensive correspondence, both personal and professional.
“I am deeply honored and not a little intimidated to have my papers join the literary trails of so many illustrious writers housed at the Harry Ransom Center, several of whom I count among my literary heroes,” said Collins.
Collins will be speaking at Austin’s Paramount Theatre on Thursday, Jan. 23, at 8 p.m. Tickets can be purchased online or by phone at 512-474-1221.
The Ransom Center has acquired 21 previously unrecorded and unpublished letters by author J. D. Salinger. The letters are accessible as part of the Ransom Center’s existing Salinger collection, which includes published and unpublished manuscripts, galleys, page proofs, and correspondence.
Most of the newly acquired letters are written by Salinger to Ruth Smith Maier, a classmate and friend he met at Ursinus College. Salinger attended Ursinus College in Collegeville, Pennsylvania, in the fall of 1938, but he quit midterm and returned to New York City. He and Maier maintained a 40-year correspondence in which Salinger commented on a wide range of topics including his literary ambitions, his writing, and his family life. A number of letters offer insight into his evolving attitude toward public exposure and cast light on his decision to withhold new work from public view.
In the earliest letter, the 22-year-old Salinger expresses confidence in his literary gifts: “Oh, but I’m good,” he writes Maier. “It will take time to convince the public, but [it] shall be done.” In later letters Salinger reminisces about his brief time at Ursinus College (“one of the last peaceful or simple or oddly comforting times of my life”) and comments on his second marriage and early fatherhood. Five letters from 1977 and 1978 are written to Ruth Maier’s son, Christopher. In one he offers an explanation for his decision to withhold his writing from the public, explaining “publication tends, for me, at least, to put all work still in progress in dire jeopardy . . . I distrust the finality of publication.”
The acquisition also includes copies of Ruth Smith Maier’s letters to Salinger and a draft of the first letter Christopher Maier sent the author.
Ransom Center Director Stephen Enniss notes the correspondence will be of particular interest to those who wish to understand Salinger’s withdrawal from public life. He adds, “It also humanizes the author, showing him confronting a range of life-changing events from marriage to fatherhood and his own aging.”
The Ransom Center’s Salinger collection was established in 1968 and has been augmented with subsequent additions over many years. The Ransom Center is one of a handful of institutions that hold original Salinger manuscripts, including Princeton University, Harvard University, the New York Public Library, the Library of Congress, and the Morgan Library.
On December 31, 1956, writer and political activist Nancy Cunard visited the Keats-Shelley House in Rome. She went there to contribute an account of one of her earliest, most intimate experiences as a young writer and to memorialize her connection with one of the most important figures of the Romantic period, John Keats. Although Keats had been dead for many years before Cunard was born, she vividly remembered meeting him—in a dream.
Cunard writes that the dream occurred when she was 15 years old, during “a summer of adolescence” when she was “troubled by her own lines and words.” She had read nearly everything Keats had written, “knew much of him by heart,” and believed herself “in love with him.” In the dream, the likeness of Keats told Cunard that she “should write, that [she] should be a poet.” Cunard was moved by the dream and continued to feel connected to Keats throughout her life. She signed off the piece she prepared for the Keats-Shelley House by writing, “thus, to the treasure of this house, I offer my small leaf… with love, and with a tear.”
Cunard’s dramatic prose reflects her own dynamic life and personality. The British writer and political activist was the daughter of a baronet. She attended private schools in London, Germany, and Paris, where she met the friends who would later call themselves the “Corrupt Coterie.” Despite her privileged upbringing, Cunard was quick to jump into the fray of political activism and regularly spoke out against fascism and racism.
The Ransom Center recently acquired several items relating to Cunard’s pilgrimage to the Keats-Shelley House in Rome, including Cunard’s personal copy of Neville Rogers’s book Keats, Shelley & Rome: An Illustrated Miscellany. Other related materials were laid in the pages of the book, including a postcard sent to Cunard by Vera Cacciatore—then curator of the Keats-Shelley House and a friend of Cunard—and a letter sent by Cacciatore, thanking Cunard for a recent review on Byron and imploring her to visit again.
One highlight of this acquisition is the original typescript Cunard presented to the Keats-Shelley House, her four-page account of her childhood dream of Keats. These materials join the Ransom Center’s extensive Cunard collection, the bulk of which were acquired between 1969 and 1977. The collection includes manuscripts of her works, personal papers, and correspondence, as well as poems and essays by many of her friends and associates.
The Center also recently acquired Cunard’s library.
Born in Omaha, Nebraska, Ruscha moved to Oklahoma City in 1941 and to Los Angeles in 1956 to attend the Chouinard Art Institute. He had his first solo exhibition in 1963 at the Ferus Gallery in Los Angeles. In the years since, he has been widely recognized for his paintings, drawings, photographs, and artist’s books.
Ruscha is known for art that often manipulates words and phrases in unconventional ways. Ruscha’s art is deeply influenced by his love of books and language, as reflected by his frequent use of palindromes, unusual word pairings and rhyme. He has often combined the cityscape of Los Angeles with vernacular language, and his early work as a graphic artist continues to strongly influence his aesthetic and thematic approach.
Ruscha’s archive comprises five personal journals filled with preliminary sketches and notes; materials related to the making of his artist’s book of Jack Kerouac’s On The Road (2010); notes, photographs, correspondence and contact sheets relating to the creation and publication of his many other artist’s books, including Twentysix Gasoline Stations (1962), Every Building on the Sunset Strip (1966), and Some Los Angeles Apartments (1965); and materials relating to his short films Miracle (1975) and Premium (1971); his portfolios; and several art commissions.
Once processed and cataloged, the materials will be accessible in the Ransom Center’s reading room to students, researchers and the public.
The purchase of the archive was primarily supported by generous donors, including Michael and Jeanne Klein, the Marlene Nathan Meyerson Foundation, Mark Wawro, and Melanie Gray. The University provided additional support for the acquisition.
Ruscha, who continues to live and work in Los Angeles, donated a substantial portion of the archive to the Ransom Center, including a complete set of his artist’s books, print portfolios, 16 mm reels of his films, and a complete set of exhibition posters.
A small selection of materials from the archive will be on display in the Ransom Center’s lobby through December 1.