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Social Media: Nothing New? Commonplace Books As Predecessor to Pinterest

By Kelsey McKinney

The Ransom Center’s Alice’s Adventures in Wonderland exhibition includes a commonplace book kept by Charles Dodgson (better known as Lewis Carroll) with information about ciphers, anagrams, stenography, and labyrinths. As Kelsey McKinney, a former public affairs intern, writes, these “personal anthologies” functioned as “literary scrapbooks”. While these scrapbooks were “commonplace” in Victorian culture, modern means of communication fulfill the same desire for people to record and share their life experiences.

The exhibition—and Dodgson’s commonplace book—are on view at the Ransom Center through July 6, 2015.

Before the affordability of personal libraries, and before people were able to access the world’s knowledge through the Internet, readers and writers had to find reasonable ways to consolidate and store information that could be useful to them. There were no social media to help them aggregate and share stories, quotes, recipes, or images. That doesn’t mean they didn’t do exactly that. They created personal anthologies called commonplace books. Read more

Texas insect ID flashcards go global

By Mary Baughman

When boxes of collection materials arrive at the Ransom Center, conservators and archivists gather at the tables in the quarantine room in the basement to inspect the contents, looking for insects and the telltale signs of them—as well as for mold, another great enemy of archives. Leading the effort is Ransom Center Book Conservator Mary Baughman, who trains personnel to recognize signs of insect infestation. Below, Mary shares a recent department undertaking that may humanize the insects but will also make them more recognizable during inspections.

 

Upon the arrival of collection materials at the Ransom Center, 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 insects or mold, or any other damage that could jeopardize our collections. These inspections are important affairs, for it’s critical that we not introduce pests or mold into our stacks.

 

In looking for instructional materials to educate and identify insects, I turned to MuseumPests.net, a comprehensive international resource for collection managers. Every institution has insect challenges of some sort. In fact, MuseumPests.net is the result of the efforts of the Integrated Pest Management Working Group, a group of collection managers, conservators, entomologists, and other professionals interested in issues surrounding the implementation of integrated pest management in museums and other collection-holding institutions.

 

While exploring the MuseumPests.net website, I located a set of amusing and informative insect identification flashcards created by students of Sir Sanford Fleming College’s Museum Management and Curatorship Program in Peterborough, Ontario, Canada.

 

Inspired, conservation department volunteer Meaghan Perry and I decided Texas should have its own flashcards depicting insects in the state that attack collection materials. I penned the text, and Meaghan created the images; MuseumPests.net entomologists vetted both.

 

Identifying and understanding these insects is the first step in preserving our collections. We’re pleased to depict these Texas insects during Preservation Week.

 

The flashcards can be downloaded from the Ransom Center’s website and MuseumPests.net.

 

Read related Preservation Week 2015 posts.

 

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Click on thumbnails to view larger images.

Drama in the Archives: Undergraduate Research at the Ransom Center

By Jennifer Tisdale

After discussing his own work in the Harry Ransom Center’s archives with students in his Humanities classes, Dr. Elon Lang realized that despite his students’ interest in what he suggested could be learned from archival materials, very few had actually visited the Ransom Center and even fewer had contemplated doing research here.

 

Lang made it his mission to design a course that would show how the Ransom Center could serve as a valuable and approachable research tool for all interested users—especially The University of Texas at Austin’s undergraduates—and to show how much students could gain from working with archival materials.

 

With these goals in mind, Lang developed “Drama in the Archives,” a Humanities Honors course he taught in fall 2014.

 

During the semester, Lang brought students from his class to the Ransom Center at least once per week to learn about the Center and to learn how to conduct original primary research in the Center’s theater and performing arts collections.

 

He chose important plays as the subject matter for the class partly because of the Ransom Center’s impressive collections and partly because the consequences of creative choices that can be revealed in an archive become clear very quickly when analyzing dramatic texts.

 

After several weeks of guided readings and archival work, Lang had students develop their own research projects that involved close attention to an item in the Ransom Center’s collections and its historical and critical contexts.

 

Below, undergraduates describe the research they conducted and the discoveries they made while working with collections at the Ransom Center. They show how, with creativity and a bit of support, they were able to create a singular experience for themselves at the Ransom Center that greatly enhanced their undergraduate education.

 

Maureen Clark’s “Notes from the Undergrad: Student uses archival materials to explore Nietzschean nihilistic reading of Beckett’s ‘Waiting for Godot’”

 

Colin McLaughlin’s “Notes from the Undergrad: Archive, cultural consciousness, and a semester in the reading room”

 

Lily Pipkin’s “Notes from the Undergrad: Feeling Samuel Beckett’s pain and ‘Godot’ in German”

 

Emily Robinson’s “Notes from the Undergrad: Investigating the ending in David Mamet’s ‘Oleanna’”

 

Haley Williams’s “Notes from the Undergrad: An alternate ending for ‘A Streetcar Named Desire’”

 

Kenneth Williams’s “Notes from the Undergrad: Reviving Linda Loman in ‘Death of a Salesman’”

 

 

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Biographer Hermione Lee discovers author Penelope Fitzgerald’s “heart and meaning” in the archives

By Marlene Renz

Hermione Lee is a well-known biographer of literary figures, admired for scrupulously researching her subjects. Her recent book, Penelope Fitzgerald: A Life (2013), details the life of the late-blooming author as Lee discovered her in the archives.

 

Lee will speak at the Ransom Center about her experiences pursuing subjects through their archives on Wednesday, April 8 at 4 p.m. The lecture is free and open to the public, but seating is first-come first-served.

 

In anticipation of Lee’s visit, Cultural Compass reached out to her about her work and research.

 

 

How do you choose your subjects for a biography?

I choose my subjects out of a passionate admiration for their work, a desire to communicate that admiration and interest in their lives as broadly as possible, and a sense that I haven’t yet read the biography I want to read about them–so had better write it myself.

 

 

During her lifetime Penelope Fitzgerald wrote three biographies.  What was it like applying the same act of analysis to her?

I would have liked to take a leaf out of her book and write a very slim, cryptic, suggestive book about her, since she felt it “insulted the reader to explain too much.” But as I was writing the first biography of her and as she is not a mainstream, popular writer, I felt I needed to write at more length and with more detail than she would have done herself. However, my motives were the same as the motives which led her to write biography: a desire to communicate to as wide an audience as possible the heart and meaning of her life and work. Fitzgerald’s biography of Charlotte Mew, an unjustly neglected early-twentieth-century English woman poet, was particularly in my mind when I was writing my biography.

 

 

There are more than 800 footnotes in your book.  Is that average or unusual in a biography?

Some biographers put their footnotes on line, some don’t have many, some have many more. I like readers to know where the facts have come from.

 

 

Fitzgerald was a private person.  How does that make the work of a biographer more challenging?

There were times when I felt she would have resisted what I was doing, had she still been alive, but there were also times when I hoped that the attention I was drawing to her writing would have pleased her. Many of her secrets remain with her, and I admire and appreciate that, even though it can also be frustrating.

 

 

Can you talk about your research in the Ransom Center’s Penelope Fitzgerald archive? What insight did her personal papers provide?

My work in the archive was invaluable to me. It contains many of her manuscripts, letters to readers and publishers, notebooks, and first drafts. I understood her writing much better-particularly her brilliant use of sources for her novels–when I had worked in the archive.

 

 

Were you drawn to a particular item in the collection?

I was very moved by the last, unfinished story in her notebook, which ends, like so much of her life, with a mystery and a secret. I end my biography with it.

 

 

You are working on a biography of Tom Stoppard.  Have you worked with the Stoppard papers in the Ransom Center’s collections?

I am starting work in the archive now, with great excitement and anticipation.

 

 

Related content:

Remembering Penelope Fitzgerald: “We Can Only Hope It Keeps Going.”

 

 

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