Meet the Staff is a Q&A series on Cultural Compass that highlights the work, experience, and lives of staff at the Harry Ransom Center.
Peter Mears served in the United States Army before receiving his Bachelor of Fine Art degree from Cranbrook Academy of Art. After traveling through Central America he arrived in Austin and gained experience at what is now called the Contemporary Austin Museum. Mears joined the Ransom Center in 1995 and serves as Curator of Art. Read more
Stephanie Jones is a Ph.D. candidate in the English and Creative Writing Department at Aberystwyth University. At the Ransom Center, she analyzed the Christine Brooke-Rose papers for her dissertation, which is a single-author study on the writer, looking at the neglect of her work as a British author by the industry. Jones’s research was supported by a 2014–2015 Dissertation Fellowship from the Harry Ransom Center, jointly funded by the Creekmore and Adele Fath Charitable Foundation and The University of Texas at Austin Office of Graduate Studies.
The subject of neglected British experimental authors has emerged as a poignant topic of critical discussion over the last few years. Writers of the 1960s and 1970s who had been influenced by the Second World War, as well as the highly reflexive, avant-garde literature produced bysuch modernist heavyweights as James Joyce, Ezra Pound and Samuel Beckett, are beginning to be reassessed as having something useful to offer to the current critical climate. Read more
In 1986 when the Ransom Center acquired the Carl H. Pforzheimer library of early English literature, with books dating from 1475 to 1700, the book world gasped. The Pforzheimer library was the outstanding private collection of early English books available, and the acquisition of this exceptional private library of carefully selected rare, and in some cases, unique books in extraordinary condition, represents one of the Ransom Center’s great achievements in book collecting.
The Ransom Center first acquired Pforzheimer’s copy of the Gutenberg Bible in 1978, one of the most interesting of the 49 known copies of the bible. Rich in both provenance (early annotations place our copy in a fifteenth-century Carthusian monastery) and textual variations (including unique type settings), it is one of the greatest treasures here at the Ransom Center. When the Pforzheimer library arrived eight years later, it continued to impress. It contains the first book printed in English, by William Caxton, titled Recuyell of the Historyes of Troye, all four Shakespeare folios, deep holdings in Chaucer, Milton, and Spenser, three copies of the King James Bible from 1611, and the 1535 Coverdale Bible, which is the first bible printed in English, just to name some of the highlights.
The Pforzheimer books are significant bibliographically, intellectually, and culturally, thus the conservation department is proactively looking after their preservation needs. The conservation department has performed previous condition surveys on this collection, but this time we wanted to have a more comprehensive approach. The previous efforts were analyzed, the current curator of the collection was consulted, and the new survey was designed for a wider capture of information that will inform not only conservation needs but curatorial interests such as bibliographical data, bindings, provenance, and metadata. This particular survey will examine all 1,100 books in the collection, in order to address its conservation needs. The survey will be complete by the end of 2015, and the results will be shared publicly.
The Pforzheimer Library is the most frequently used early book collection at the Ransom Center, with many teaching faculty in the humanities using the collection for their classes and several visiting fellows researching within this collection. And with the arrival this year of the new curator, Gerald Cloud, the collection’s use is certain to increase and attract a broader audience.
The McSweeney’s archive, which the Ransom Center acquired in 2013, is now open for research. This is the final installment in a four-part series of blog posts highlighting items from this dynamic and diverse collection.
It’s 2011. Venturing into children’s literature seems like a natural evolution for McSweeney’s. The line between McSweeney’s adult and children’s books may seem blurry to some readers. You know what I mean if you’ve ever given your child one of the “board books” in Lisa Brown’s “Baby Be Of Use” series and received a blank stare and little-to-no good response. A parent might be confused by the brightly illustrated, pictorial stories that instruct your wee little one on the method for making mommy and daddy a martini or changing the oil in the car.
Or you might relate if you’ve ever delighted in handing your fifth-grader one of the encyclopedias in the Dr. and Mr. Doris Haggis-on-Whey series. My favorite is Your Disgusting Head. Or the fuzzy (I don’t mean warm; I mean literally fuzzy) novelization of Dave Eggers’s and Spike Jonze’s screenplay, The Wild Things, based on Maurice Sendak’s classic Where the Wild Things Are. These aren’t really for kids, but they’re a lot of fun no matter how young at heart you may be!
McSweeney’s marketed its children and young adult book imprint with the tagline “For Kids Who Love Weird Books.” The books definitely have the McSweeney’s design aesthetic. Many feature dust jackets that unfold into posters, and one even features heat-sensitive ink. Frequent McSweeney’s collaborator Jordon Crane’s board book Keep Our Secrets includes this tip: “For best results read this book with a hairdryer.” The McSweeney’s collection came complete with a hairdryer and is certainly the only collection at the Ransom Center with such a tool. The series features not only amazing illustrations but amazing stories. S. S. Taylor’s The Expeditioners and the Treasure of the Drowned Man’s Canyon is the first in a series and was a Nominee for the 2014–2015 Texas Bluebonnet Award.
Since being weird is no longer a stigma, I’m anxious for my own 1-year old, Simon, to be a weird kid. You see, being different is not only OK, it’s celebrated. Everything about McSweeney’s celebrates difference. From the namesake of the company, Mr. Timothy McSweeney himself, to the experimental design of McSweeney’s Quarterly Concern, to publishing books like Lemon (Lawrence Krauser), Real Man Adventures (T. Cooper), It Chooses You (Miranda July), and others that bring to print stories that comfort those who’ve always felt like they’ve never “fit in.” The publishing house also shines a light on the often ignored voices captured in the Voice of Witness oral history series that highlights human rights abuses in this country and around the world.
In fact, McSweeney’s wants to help inspire the upcoming generations’ crop of McSweeney’s writers. Dave Eggers and McSweeney’s helped establish a non-profit tutoring and writing center, 826 Valencia in San Francisco. Under the umbrella organization 826 National, seven more centers have opened in Brooklyn, Chicago, Los Angeles, Ann Arbor, Seattle, Washington D.C., and Boston. Many writers and artists donate their work in support of 826 National with the proceeds of many McSweeney’s books going directly to further the work of the tutoring centers.
The McSweeney’s archive, which the Ransom Center acquired in 2013, is now open for research. Founded in 1998 by Dave Eggers, McSweeney’s Quarterly Concern 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. This is the second in a four-part series of blog posts highlighting items from this dynamic and diverse collection.
It’s the year 2000. McSweeney’s and the rest of the world came through the threat of Y2K unscathed. It’s a new millennium, and new millennium readers want to experiment, take chances, and conquer new frontiers in reading. In 2000, McSweeney’s published its first novel: Lawrence Krauser’s Lemon, which tells the story of a corporate memo writer who begins an intimate friendship with a lemon after his girlfriend breaks up with him. Lemon perhaps set the tone for McSweeney’s books, as one reviewer called it “handsome, smartly written and deeply eccentric.”
A unique love story deserves a unique cover, but one unique cover would simply not do. How about 10,000 unique covers? This line of thinking inspired Dave Eggers’s and Lawrence Krauser’s “Oodles of Doodles” cover idea. The first 10,000 books were wrapped in a blank dust jacket containing only the title and author rubberstamped in various places on each cover—Krauser’s blank canvas. Over a period of about three months, for about three hours a day, Krauser drew unique doodles on 9,812 Lemon dust jackets, making each copy a unique, one-of-a-kind original. Krauser didn’t quite make it through the 10,000 print run, but illustrated an additional 1,000 covers for the Dutch translation, for a grand total of 10,812 unique books.
The Ransom Center currently holds three copies of Lemon: one blank copy and two with unique doodle covers.
Since publishing Lemon, McSweeney’s book publishing division has grown into McSweeney’s Books, which publishes nonfiction biographies, memoirs, and criticism; a long list of humor books including the “Baby, Be of Use” series by Lisa Brown and the popular Haggis-on-Whey encyclopedias; art books with portfolios by Marcel Dzama, Dave Eggers, and Art Spiegelman; and Beck’s Song Reader, a music album that exists only as richly illustrated individual pieces of sheet music.
McSweeney’s other book imprints include McSweeney’s Rectangulars; Believer Books, collecting writing from the magazine’s contributors; McSweeney’s McMullens, which publishes books for young children and young adults; Voice of Witness, a nonprofit series of oral histories documenting contemporary social injustices around the world; Collins Library, reprints of forgotten classics edited by Paul Collins; McSweeney’s Poetry Series; and McSweeney’s Insatiables, a food and cooking imprint.
Quentin Bell’s biography of Virginia Woolf begins with a famous sentence: “Virginia Woolf was a Miss Stephen.” Her father, Sir Leslie Stephen, was an eminent critic and editor of the Dictionary of National Biography; his first wife was W. M. Thackeray’s daughter Minny. The second Mrs. Stephen, Woolf’s mother, was Julia Prinsep Duckworth, celebrated as a model for the Pre-Raphaelite artist Sir Edward Burne-Jones and the photographer Julia Margaret Cameron.
Julia Stephen was a practicing nurse and the author of a single slim volume, Notes from Sick Rooms, published by Smith, Elder (her husband’s publisher) in 1885. No doubt it was published in a very small edition, most likely as a favor to the Stephens. The Ransom Center recently acquired a copy of this book, which is remarkable for a couple of reasons. First, nearly all the surviving copies are found in medical or nursing libraries, not in special collections specializing in modern literature. Secondly, this copy was inscribed in July 1934 by Vanessa Bell, Virginia’s sister, to her lover Duncan Grant and was probably one of a handful of copies kept in family hands.
Stephen’s little book is not a nursing manual but rather a collection of practical advice on tending the sick (this task would have been an inescapable part of life for every Victorian). The text is not without a sly, allusive wit worthy of Woolf: “The origin of most things has been decided on [a reference to Darwin?], but the origin of crumbs in bed has never excited sufficient attention among the scientific world, though it is a problem which has tormented many a weary sufferer.” Based on the evidence of this book, Julia Stephen seems to have been ideally suited to the profession—a tireless caregiver with a great deal of compassion and consideration for the dignity of invalids.
The same compassion is palpablein Virginia Woolf’s essay “On Being Ill,” published in her friend T. S. Eliot’s NewCriterion in 1926. In this piece, she drew upon her own extensive personal experience of migraines, pneumonia, and a host of nervous complaints that often confined her to bed. The author wonders why illness is not more frequently written about in essays, since disease confers upon the sufferer a unique perspective on the world: “It is only the recumbent who know what, after all, Nature is at no pains to conceal—that she in the end will conquer.” Despite the seriousness of the subject matter and our knowledge of Virginia’s eventual suicide, the essay abounds with good humor and intellectual playfulness.
Woolf would be surprised to find that disease has become the subject of so many memoirs and that critics have identified a modern genre of “pathography.” Like Woolf, quite a few of these memoirists struggle to find some hidden meaning in their illness— the so-called “gift” of depression, cancer, or what have you. Julia Stephen’s Notes from Sick Rooms, rooted in another era, simply accepts that illness and its “disagreeable circumstances” are part of life.
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Arthur Hoyle’s recent biography The Unknown Henry Miller: A Seeker in Big Sur was recently published by Skyhorse/Arcade. The biography recounts Miller’s career from its beginnings in Paris in the 1930s but focuses on his years living in Big Sur, California, from 1944 to 1961, during which he wrote many of his most important books, including The Rosy Crucifixion trilogy, married and divorced twice, raised two children, painted watercolors, and tried to live out an aesthetic and personal credo of self-realization. While researching for the book, Hoyle visited the Ransom Center, and he shares some of his findings below.
Three collections at the Harry Ransom Center deepened and enriched my research as I wrote my recently published biography of Henry Miller, The Unknown Henry Miller: A Seeker in Big Sur.
The Barbara Sandford papers contain Miller’s letters to his long-estranged daughter Barbara, with whom he reconnected in 1954 when she wrote to him in Big Sur from Pasadena, where she was then living. Through Miller’s letters to her and her replies to him, held by the Special Collections Department at the UCLA Research Library, I was able to track the path of their renewed relationship as it unfolded over the next dozen years. The correspondence reveals Barbara’s growing dependence on her father and his attempts to steer her into a satisfying and self-sufficient life.
The Alexander B. Miller collection contains Miller’s letters to Renate Gerhardt, the editor and translator whom Miller met in 1960 while visiting his German publisher Ledig-Rowohlt in Hamburg. Miller fell in love with Renate and hoped to make a life with her in Europe, an intention that led him to agree to the U.S. publication of Tropic of Cancer by Grove Press. The correspondence exposes the desperate lengths to which Miller went to hold onto Renate. Her replies, also held at UCLA, show her to be a sensitive but calculating woman who understood why a domestic relationship with Miller was not feasible for them, and who saw opportunity in Miller’s continued longing for her.
The third collection (Henry Miller collection) contains Miller’s letters to Emil White, the man who served as Miller’s factotum and close friend during the 17 years of his residence in Big Sur. To Emil, Miller revealed himself candidly on a wide range of subjects—his writing, his domestic issues, his travels, his frantic and ultimately unsuccessful attempts to find a place to settle in Europe with Renate.
Miller’s extensive correspondence with friends, lovers, fellow artists, and professional associates is as important to an understanding of the man as his numerous autobiographical works. These three collections bring the researcher into the depths of Miller’s inner life during a peak creative period.
Image: Cover of The Unknown Henry Miller by Arthur Hoyle.