The University of Texas Press recently announced the undertaking of the publishing project The Texas Bookshelf, a series of 16 books, with an accompanying website, focusing on all things Texan. All books are to be written by faculty and staff at The University of Texas at Austin. The inaugural book, to be released in 2017, will be a history of Texas written by Stephen Harrigan, faculty member at the Michener Center for Writers. The subsequent books will focus on Texas history, business, culture, art, music, film, politics, and more.
Of the contributors, two are affiliated with the Harry Ransom Center.
Greg Curtis, Humanities Coordinator at the Ransom Center and Senior Lecturer at The University of Texas at Austin, plans to write a book on the history of Texas literature, with profiles of the lives of Texas writers and critical responses to their work.
Roy Flukinger, Senior Research Curator at the Ransom Center, will be writing and compiling a volume about the evolution and expansion of twentieth-century photography in Texas, which will feature hundreds of significant images created by important photographers and artists who worked throughout the state during that century.
Image: Photo of contributors to UT Press series The Texas Bookshelf by Michael O’Brien.
Steven Hoelscher, editor of Reading Magnum: A Visual Archive of the Modern World, will discuss the book at The Contemporary Austin tonight in an event hosted by Austin Center for Photography, University of Texas Press, and The Contemporary.
The arrival in December 2009 of some 200,000 press prints from Magnum Photos’s New York bureau represented a remarkable opportunity for scholarship—and a substantial challenge. Although Magnum’s photographers had received considerable individual attention and lavish coffee table books have reproduced their iconic images, no scholarly work to date had assessed the photo agency’s visual archive. Important retrospectives have been published, but their textual brevity and the fact that the photo agency itself produced them suggested the opportunity for a critical, independent study.
Thus, the time seemed ripe to dig into the collection, to see what’s there, and to consider how the photographs fit into a larger cultural history. Here, of course, is where the challenge arises. How to approach the photo collection? What sort of organizational frameworks would seem to be most appropriate? What should the resulting publication look like? I spent roughly six months combing through the 1,300 archival boxes to find answers to these questions.
During this preliminary research, several things occurred to me. First, while nearly limitless possibilities of scholarly frameworks existed, a half dozen themes kept emerging as I studied the contents of the archival boxes. War and conflict, of course, was important, but so too was portraiture and geography. What’s more, cultural life, social relations, and globalization stood out as recurring themes.
Second, it became immediately evident that three years would not be nearly long enough for me alone to take on such a project, and it was always my intention for the volume to be published in conjunction with the current exhibition Radical Transformation: Magnum Photos into the Digital Age, which was curated by Jessica S. McDonald and Roy Flukinger. The book would necessarily be one of collaboration. Here, I was fortunate to be joined by seven distinguished scholars for this project. They are trained in a range of academic fields—art history, journalism, literature, cultural history, geography, cultural studies, communications, and visual studies—for the simple reason that no one perspective can adequately encompass the Magnum archive’s reaches. Each contributor spent considerable time with the collection at the Ransom Center, and each brings his or her unique point of view to the collection’s materials.
What each chapter shares is a concern for historical and cultural context that is so often missing when photographs are disconnected from their original settings.
Finally, I wanted the book to reflect the dual nature of photographs: that they were both physical objects and the bearers of compelling imagery. With this in mind, two sets of works—bookends, if you will—surround each chapter. I included a set of “Notes form the Archive,” which emphasizes the materiality of the photograph and traces its trajectory, from annotated press prints to distribution to eventual publication. A “Portfolio” then follows each chapter, illustrating something of the depth and range of the images carried by a photograph.
Putting this book together has been a real labor of intellectual love. The deeper I dug into the Magnum Photos collection, the more impressed I was by the depth, range, and artistry of the contents. It’s my hope that Reading Magnum reflects something of the collection’s power.
It was a bitterly cold day in Frankfurt when my wife and I stepped off the plane. Being from Texas, we quickly found that our bodies were not acclimated to the bitter winter winds of Europe. Our cab dropped us off near the central square of the city so we could get some hot spiced wine at the market. On our way back to our apartment, we spotted a public building across the street, the Museum Judengasse, and decided to take a tour and thaw out before braving the rest of the journey. The museum contained the archeological remains of the Frankfurter Judengasse—the Jewish Ghetto of Frankfurt—one of the earliest ghettos in Germany.
About two years later, I encountered something in the stacks of the Harry Ransom Center that brought me back to that cold day. While conducting a search for medieval manuscript fragments used in bindings of early printed books, I came upon a set of four small volumes of German poetry printed in Frankfurt in 1612 and bound in parchment. The parchment contained medieval Hebrew script. I had not yet encountered this phenomenon (I was used to finding texts in Latin), and, although I posted images of the volumes on Flickr, I received no immediate comments. Several months went by and I had almost forgotten about them when one day I happened to mention the fragments to a colleague who suggested that I contact a Hebrew specialist cataloger. I was then put in touch with the proper authorities and within a few days the fragments had been identified. Included are a fragment from a series of commentaries on late antique Hebrew liturgical poetry (dating anywhere from the twelfth to fifteenth century), a page from the table of contents from a circa fifteenth-century copy of a work by Isaac ben Joseph of Corbeil, and fragment from a twelfth–to-fourteenth-century commentary on the Talmud. Having them identified was an exciting example of international collaboration between scholars, but it is the historical context of the fragments that brings this story full circle.
In the sixteenth century, the Jewish community of Frankfurt was one of the most important centers for Rabbinic teaching and spiritual thought. It was also one of the largest Jewish communities in early modern Europe. In 1612 tensions between the town guilds and the patrician class over urban and fiscal policies led to a riot known as the Fettmilch Rising. During the course of the riot the Judengasse, or Jewish Ghetto, was attacked and looted and the Jewish inhabitants were expelled from the city. The volumes at the Ransom Center were printed in the same year as the Fettmilch Rising (1612). Given the looting that took place it is highly probable that the fragments used to cover the printed volumes were sourced from Hebrew manuscripts that had been taken during the riot and then cut up and sold for a variety of purposes—including bookbinding. And so here the volumes now sit, deep in the heart of Texas, a tragic reminder of early modern anti-Semitism in Germany. As an American, it’s often difficult to place these priceless objects in context, and when one does, it tends to have a dramatic effect on the psyche.
Our set happens to be missing two volumes. One can only hope that the other two volumes are still out there intact. This situation underscores why it is important to avoid removing medieval fragments from their bindings. When we do so, the historical context of their use as binder’s waste may be lost. With the power of crowdsourcing and online collaboration, all of the fragments from the original manuscript may someday be reunited in a virtual environment—a happy conclusion to the tragic circumstances of its dispersal many centuries ago.
The post author would like to thank Kevin Auer, Uri Kolodney, Elizabeth Hollender, Ezra Chwat, and Pinchas Roth for their assistance in identifying the Hebrew fragments.
Molly Miller is a graduate student in the School of Information at The University of Texas at Austin. She is studying to become a teen services librarian, but has many other interests, including nineteenth-century British literature, vampires, rare books, and anything to do with the Victorian Era. As part of a research project in Michael Laird’s class “Studies in the Book Arts,” Miller studied a first edition of John William Polidori’s The Vampyre.
Vampires have inspired human imagination for centuries. They even play a huge role in popular culture today, and vampire mythology has been explored in literature, movies, and many other forms of media. While big names such as Bram Stoker’s Dracula come to mind when thinking about the vampire legend, it is easy to overlook the tale that solidified these legends and presented to the world of literature the dark, brooding, mysterious, and somewhat Romantic figure that we recognize as the vampire today. This tale is John William Polidori’s The Vampyre.
Though Polidori’s Lord Ruthven rose to fame and became one of the most important figures for studying the roots of our contemporary idea of the vampire, Polidori himself remained in obscurity for several reasons. Perhaps the most prevalent one is that Polidori did not at first set out to be a writer. He was originally Lord Byron’s personal physician, who traveled with him in Switzerland. On one very cold summer’s night in 1816 (“The Year Without a Summer”), Polidori participated in a challenge to write the scariest ghost story among Byron and his group of friends. This same challenge produced Mary Shelley’s Frankenstein. Three years later, Henry Colburn, publisher and editor of New Monthly Magazine, came across Polidori’s manuscript of The Vampyre and published it serially in his literary magazine under Lord Byron’s name to promote the magazine using Byron’s established celebrity. Although Byron vehemently denied authorship of The Vampyre, it was not enough to disassociate his name from the work, and it became a sensation. When Polidori tried to assert his authorship, Colburn had the tagline “a tale by Lord Byron” removed from the book versions of the story he ordered from London printers Sherwood, Neely, and Jones. Polidori’s name, however, was not added, and the supplementary material printed before and after The Vampyre both relate to Byron in some manner. Therefore, Byron’s name continued to be attached to the work that Polidori had written, and Polidori remained in obscurity.
The Ransom Center holds one of these important London first editions of The Vampyre in the Robert Lee Wolff collection. It is essential to see and read the physical copy of this first edition to get the sense of why Byron’s name continued to be tied to the text even after he publicly denied writing it. It is similarly important to study this original first edition hastily printed for Colburn because of high demand by readers, to understand how the alluring Lord Ruthven would foster our enduring image of the vampire not only as a mythical monster but also as the glamorous seducer in society.
For Further Reading:
“The London Editions of Polidori’s The Vampyre.” by Henry R. Viets, M.D.
Poor Polidori: A Critical Biography of the Author of The Vampyre by D.L. Macdonald
Jeweled bindings, which use metalwork, jewels, ivory, and rich fabrics to decorate a book, date back at least to the Middle Ages, but the form was revived around the turn of the twentieth century by the English binders Sangorski & Sutcliffe.
Francis Sangorski and George Sutcliffe met in evening bookbinding classes in 1896. After a few years teaching bookbinding at Camberwell College of Art, they opened their own shop in a rented attic in Bloomsbury despite the difficult economic climate. Then on October 1, 1901, they founded Sangorski & Sutcliffe. Quickly, they became known for their sumptuous multi-colored leather book bindings complete with gold inlay and precious jewels. Their designs were intricate, bold, and creative. These early years were the golden age of the company. During this time Sangorski & Sutcliffe created dozens of fine bindings and grew in both popularity and notoriety. More than 80 Sangorski & Sutcliffe originals are housed in the Ransom Center’s collections.
Many of the Sangorski & Sutcliffe books at the Ransom Center are high-quality bindings but rather plain in appearance, while a few of them are quite ornate. A Sangorski & Sutcliffe binding of Thomas Moore’s Lalla Rookh, for example, has semiprecious stones inlaid inside the front and back covers. An edition of Lewis Carroll’s The Hunting of the Snark is bound in leather with stingray onlay, and semiprecious stones are inlaid inside the front and back covers. Two works, Oliver Goldsmith’s The Hermit and James Russell Lowell’s The Vision of Sir Launfal, are handwritten in calligraphy on parchment by Alberto Sangorski with decorative borders and illuminated miniatures.
One famous book that the Ransom Center doesn’t hold is a book known as the Great Omar, which was a magnificent Sangorski & Sutcliffe binding of Rubáiyát of Omar Khayyám, a narrative poem about the importance of living in the moment. Set in a Persian garden, the lyrical verses are filled with imagery of roses, celebrations of wine, and questions about mortality, fate, and doubt.
Sangorski & Sutcliffe was commissioned in 1909 to design the luxurious binding for the Rubáiyát. The front coverwas to be adorned with three golden peacocks with jeweled tails, surrounded by heavily tooled and gilded vines. The Great Omar was the pride of Sangorski & Sutcliffe. Sadly, it was fated for disaster. The book was sent on the Titanic in 1912. The Great Omar went down with the ship and was never recovered. A second copy of the Rubáiyát was bound on the eve of World War II. This copy was kept in a bank safe vault to protect it. However, enemy bombing during the war destroyed the bank, the safe vault, and the second version of the Great Omar. Stanley Bray, the nephew of George Sutcliffe, created a third version of the book after he retired. This third version follows the original design and is housed in the British Library.
Sangorski drowned in 1912, but Sutcliffe continued the firm until his death in 1936. The business changed hands and names in the postwar years as interest in fine bindings declined. The firm was bought by Shepard’s in 1998, and the name of Sangorski & Sutcliffe was restored.
Please click on the thumbnails below to view full-size images.
Alyssa O’Connell is an English Honors junior in Professor Janine Barchas’s seminar, “The Paperback,” in which students used the Ransom Center’s collections to research the history of paperbacks.
Among today’s reading public, the ubiquitous Penguin Books are nearly synonymous with the notion of mass-market paperbacks. The publishing house’s continual commercial triumphs since Allen Lane founded it in 1935 have provided inexpensive literary texts for readers of all ages. Despite its successes, however, Penguin has also faced failure, and one such misstep occurred only three years after the company’s inception.
On May 18, 1938, Allen Lane introduced a new paperback series, the Penguin Illustrated Classics. Ten out-of-copyright novels, short stories, and poetry collections were released simultaneously and sold at the low cost of six pence each, which is the equivalent of around $1 to $2 in modern currency. The titles were Pride and Prejudice by Jane Austen, A Sentimental Journey by Laurence Sterne, Some Tales of Mystery and Imagination by Edgar Allan Poe, Walden by Henry David Thoreau, Selected Poems by Robert Browning, Robinson Crusoe by Daniel Defoe (in two volumes), Typee by Herman Melville, The Story of My Heart by Richard Jefferies, and Gulliver’s Travels by Jonathan Swift. Every book featured at least 12 woodcut illustrations by reputable wood-engravers of the twentieth century.
Penguin’s inspiration for the books came in part from a fellow member of the Lane family. Allen Lane’s uncle, John Lane, was co-founder of The Bodley Head publishing house. From the company’s beginnings in 1887 and into the 1920s and 1930s, The Bodley Head published elite illustrated hardbacks in small quantities at high prices. Because there was a woodcut revival in the 1930s, the nephew believed it was the perfect market to present such illustrated texts with wood engravings in the new, accessible, and inexpensive paperback format. To highlight the artists, each front cover featured the illustrator’s name in slightly smaller print than the author’s name. Also, while the front flap of the dust jacket provided information about the author, the back flap offered a biography of the wood engraver. Penguin, therefore, endorsed the artists nearly as strongly as it promoted the writers.
Despite its hopes and efforts, Penguin soon found the Illustrated Classics struggling in bookstores. World War II was approaching, and the refined series alienated consumers who sought simplicity and current information. The journalistic Penguin Specials, a different Allen Lane product that offered plain aesthetics and up-to-date intelligence, became extremely popular while the experimental Penguin Illustrated Classics failed to rouse much interest. Furthermore, as illustrated texts, the poor quality Classics did not impress customers. The cheap, thin paper could not support the rather bold art of the wood engravers, thus undermining Penguin’s venture to merge sophistication with an economical product.
Ultimately, the Penguin Illustrated Classics failed to secure a niche in the market, belonging neither with the expensive hardbacks that had inspired them nor among the pre-war softcovers associated with their publisher. Penguin Books could not transform The Bodley Head’s concept into one of mass production, and the series soon vanished from British bookstores. Allen Lane, who remained with Penguin Books from 1935 until his death in 1970, encountered a disappointing initial failure that forced him to abandon his idea of uniting sophisticated hardback trends with affordable paperbacks.
Behold this pair of Bibles. They were both owned by Andrew Fletcher (1653–1716), noted as the “Scotch patriot” in the Dictionary of National Biography. Fletcher had an interest in politics and letters but is often remembered today for his extensive library, believed to be the finest library in Scotland at that time. His distinctive signature can be seen on both images and in a Ransom Center copy of the first edition of the King James Bible (1611).
The first image is of the title page of a 1525 Hebrew Bible printed in Venice by Antwerp-born painter Daniel Bomberg. This was his third Hebrew Bible and the first to present the Masora, critical notes made on manuscripts of the Hebrew scriptures before the tenth century. It is dated ה”רפ on the title page, indicating 1525. The colophon, shown in the second image, is dated ח”רפ, but Darlow and Moule (no. 5086, Historical catalogue of the printed editions of Holy Scripture in the Library of the British and Foreign Bible Society, 1903) cite C.D. Ginsburg, who believes that the letter ח was substituted in error for the letter ה, thus changing the date from 1525 to 1528.
Also shown is a second Hebrew Bible. It was printed by Christopher Plantin of Antwerp in 1566. Leon Voet’s extensive bibliography on the Plantin Press [no. 650, The Plantin Press (1555–1589): A Bibliography of the Works Printed and Published by Christopher Plantin at Antwerp and Leiden, 1980] notes that the matrices for the type used in this Bible came to Plantin from his partner, Cornelis van Bomberghen, whose uncle was Daniel Bomberg, the printer of the 1525 Hebrew Bible. So, the two Bibles have a common thread.
Please click on the thumbnails below to view full-size images.