The Ransom Center has received a gift of materials related to writer Robert E. Howard (1906–1936), a prominent and prolific writer in the fantasy genre. Though Howard is perhaps best known for creating the character Conan the Barbarian, he wrote more than 100 stories for pulp magazines of his day, though his career spanned only 12 years before he committed suicide at the age of 30.
The collection, which includes more than 15,000 pages of manuscripts, sketches and ephemera, was donated by the estate of Glenn Lord (1931–2011), a Texas literary agent, editor and publisher of Howard’s prose and poetry. Lord is considered the first and most important researcher of Howard’s life and writings.
Howard was born in Peaster, Texas, and he sold his first story at the age of 18 when the magazine Weird Tales published “Spear and Fang” in 1924. Weird Tales would go on to publish many of Howard’s stories during the remainder of his life, including two stories in 1932 that introduced Conan the Barbarian, a character who roams the primitive lands of Earth’s mythical Hyborian Age fighting evil. Howard created other enduring characters such as Puritan duelist Solomon Kane, boxing sailor Steve Costigan, enigmatic Atlantean fugitive King Kull, and great warrior king Bran Mak Morn.
“The Ransom Center has one of the largest collections of classic science fiction novels, as well as the papers of several important science fiction and fantasy writers,” said Richard Oram, associate director and Hobby Foundation Librarian at the Ransom Center. “The Glenn Lord collection of Robert E. Howard will add an additional dimension to these materials. Everyone is familiar with the Conan the Barbarian books or films, and the franchise originated in Howard’s Underwood No. 5 typewriter. Today, original typescripts of this Texas writer are sought after by collectors around the world, and we are grateful that Mr. Lord decided to place them here.”
Howard maintained a regular correspondence for six years with fantasy writer H.P. Lovecraft, and the two debated the merits of civilization vs. barbarianism, cities and society vs. the frontier, the mental vs. the physical, and other subjects. Some of this correspondence is preserved in the collection.
Lord became a collector of Howard’s work in the 1950s and amassed the world’s largest collection of Howard’s stories, poems and letters. Lord served as the literary agent for Howard’s heirs for almost 30 years, and his collection was used as the source text for almost every published Howard work appearing in books and magazines between 1965 and 1997.
The materials will be accessible once processed and cataloged. Two cases of Howard materials will be on display in the Ransom Center’s lobby through September 3.
The Ransom Center recently launched an online database for its Kraus map collection. The 36-map collection, acquired in 1969 by Harry Ransom from the New York antiquarian dealer Hans P. Kraus, features a wide range of individual maps of Europe and America, atlases, a rare set of large terrestrial and celestial globes (ca. 1688) produced by the Italian master Vincenzo Coronelli, and a group of manuscript letters by Abraham Ortelius.
“Visitors can see the remarkable foundations of modern cartography in this digital collection,” said Richard Oram, the Ransom Center’s Associate Director and Hobby Foundation Librarian. “From a medieval map that shows the world divided into three parts split by the Mediterranean Sea to an early portolan chart of the coast of Africa and a rare 1541 Mercator globe, it’s all accessible to anyone with an Internet connection.”
Because of size and conservation considerations—some maps are as large as six by nine feet—some of these maps have been seen by only a handful of visitors. This digital collection makes it possible for a broader public to examine the collection via the Ransom Center’s website. The maps are all zoom-able, and users can view detailed close-ups of images.
Although the focus of The King James Bible: Its History and Influence is on the 400th anniversary of the Bible, the occasion presented an ideal opportunity to display early English Bibles from the Ransom Center’s collections and some of the finest examples of modern book design featuring Biblical texts.
The Ransom Center holds the Alfred A. Knopf, Inc. archive, which includes books published under the Borzoi imprint and books from Alfred A. and Blanche Knopf’s personal library. The Ransom Center’s Associate Director for Exhibitions and Fleur Cowles Executive Curator, Cathy Henderson, and Associate Director and Hobby Foundation Librarian, Richard Oram, collaborated on The House of Knopf, which consists of collected documents from the Knopf, Inc. archive and is now part of the Dictionary of Literary Biography series.
Under the title heading, The Borzoi Credo, Alfred A. Knopf’s principles of publishing appeared in the November 1957 issue of The Atlantic Monthly. Chief among his many standards in book production, Knopf stressed quality:
“I believe that good books should be well made, and I try to give every book I publish a format that is distinctive and attractive.”
It comes as no surprise that a Borzoi book published by the house of Knopf would resemble the personalities and preserve the canon of its founders, Alfred A. and Blanche Wolf Knopf. In fact, Blanche, fond of the Russian wolfhounds’ aesthetic look, chose the Borzoi as the publishing house’s legendary colophon. Ironically, Blanche later owned a pair of borzois and grew to despise them, wishing she had chosen another dog for the Knopf imprint.
Known for their distinctive styles of dress and aggressive business demeanors, Alfred and Blanche burst into the publishing scene in 1915. And, style for style, Borzoi books, like the fashions of Alfred and Blanche, made a statement.
Favoring English tweed jackets and lemon-colored shirts, Alfred broke through the monochrome haze with his flamboyant style. Blanche preferred French haute couture, and was often found sheathed in classic Dior, oozing Parisian cool.
Knopf author Elizabeth Bowen, distinctly recalls her first encounter with Alfred Knopf in Portrait of a Publisher (1965). In the early 1930s, Alfred Knopf asked Bowen to meet him for lunch at the Savoy while on one of his trips to London. Already knowing Blanche well, Bowen recalls how she waltzed into the large foyer when it suddenly struck her that she had no idea what Alfred looked like. Trying to orient herself, Bowen put on her spectacles and circled the room:
“Then, my eye lit on a tie, some distance away. The sun glinted on it. The tie was not so much magenta as the dark-bright purple-crimson of a petunia, and it was worn with a shirt of a light green, just too blue to be almond, just not blue enough to be verdigris. Tie and shirt were at some height from the ground; their wearer stood leaning in a doorway or archway, a vantage-point some way away from the throng. He looked almost sleepy. With an onlooker’s great calmness, one might say indolence, he was considering everybody, including me.” Bowen’s instincts were correct; the colorful stranger was indeed Alfred A. Knopf.
Five short years after founding the Borzoi imprint, Alfred and Blanche had firmly established their high standards of book production, becoming formidable figures in American literary publishing.
The pair often used their striking Tudor house in Purchase, New York as a meeting place for entertaining Knopf authors. Known as “The Hovel,” Alfred and Blanche’s home was anything but. A 1928 Westchester County newspaper article entitled, “By Their Books Shall Ye Know Them,” highlights the most important room in the house: their library. Filled with exquisite books with fine German bindings and work of the world’s best typographers, their library held representatives from important presses.
The Knopf’s standards remained intact even during World War II when paper and other essentials were scarce. Books printed during that time enclosed a notice from the publisher assuring the purchaser that, despite the need to economize, Borzoi books would continue to use the highest quality cloths that could be procured and carry on exceptional typographical and binding design. In fact, the notice said that the slimmer models afforded easier readability and handling than their fatter fellows.
Alfred, ever the advocate of fine quality, staunchly resisted the introduction of inexpensive paperbacks following World War II. He finally gave in and established the Vintage paperback series in 1954, under the stipulation that even Knopf paperbacks uphold the same aesthetic values and employ his talented book designers, such as Warren Chappell.
Alfred and Blanche made sure to impart their personal signature upon every Borzoi book, so that each publication was a work of art in itself. Alfred and Blanche’s high standards in book production attracted many of their authors, including Willa Cather.
As Bowen put it, “part of the splendor of a Knopf book is that it does not revive or cling to an old tradition, it founds a new one. This is a beauty which is contemporary, a work through contrast, pure and clarified colour; angle, surface. A book of this kind is not only to be devoured by the eyes, but handled: it is a pleasure to the fingertips. It gains weight from the fine solidity of the paper; yet lightness from the set-out of the distinctive type on each spacious page.”
Please click the thumbnails below to view full-size images.
This large, oblong decoupage book contains more than 40 collages consisting of carefully assembled engravings from books. The decoupage has been embellished with hand-colored drops of “blood” and handwritten religious commentaries. The emphasis throughout is on images of the Crucifixion, birds, and snakes, all dripping with blood.
The album, familiarly known to us as the “Victorian Blood Book,” has been an object of fascination, horror, and mystery since it arrived with the rest of the Evelyn Waugh library in 1967.
Associate Director and Hobby Foundation Librarian Richard Oram wrote an article about the book for a prior issue of eNews. Since then, he has unearthed some new information about the book’s origins, which he discusses in a new audio slideshow, where you can see slides of each page of the book.
The Ransom Center has launched the Poe digital collection, where online visitors have the opportunity to see collection and exhibition items, ranging from manuscripts in Poe’s meticulous hand to his annotated copies of the “Tales and Poems” and “Eureka.” The Ransom Center’s Associate Director and Hobby Foundation Librarian Richard Oram, who curated the From Out That Shadow: The Life and Legacy of Edgar Allan Poe, shares his thoughts on Poe and the digital collection:
Edgar Allan Poe has always been a favorite author for visitors to the Ransom Center who want to see a few manuscripts but don’t have a formal research agenda. So many people find a personal connection with Poe. When I was nine, I discovered “The Casque of Amontillado” and “The Pit and the Pendulum.” I loved the chill down the spine and Poe’s use of “big words” that sent me rushing to the dictionary. Here was an adult author who could also tell a good story!
Poe’s widespread popularity led us to mount digitized versions of all of his manuscripts at the Center, alongside printed copies of his works with his annotations and related materials. We anticipate considerable use of the digital collection by scholars and students, although much of the material has already been published. Whatever the reason for visiting the site, online viewers will be fascinated by Poe’s eerily precise and beautiful script (of course visitors to the Center can see the real thing in the upcoming exhibition devoted to Poe, opening September 8).
Many discoveries were made along the way as we assembled materials for the exhibition and the digital collection. We uncovered some uncataloged materials from the vast Poe collection of manuscripts and printed materials assembled by the Baltimore collector William H. Koester. Among these was a large group of sheet music based on Poe’s poems—these are now all online. Not to mention the book that Poe left by mistake in his doctor’s office shortly before his miserable death in Baltimore. It bears the mysterious notation “Augusta” (in quotes and not in Poe’s hand) on one page.
Even if you work your way through the collection and go on to read or re-read his works and letters, I guarantee that you will never fully grasp Poe the man or writer. He remains fascinatingly elusive. There is, for example, the matter of his mysterious death from unknown causes, still under debate. Some critics regard him as a talented humbug, while others claim that he is the most original American author of his century. Take, for example, the manuscript of one of his lesser-known stories, “The Domain of Arnheim,” which is in the exhibition and online. No one can really tell if this is a carefully crafted work of literary irony directed against the excesses of Romantic prose, or an example of Poe’s own tendency to overblown rhetoric. For me, this very elusiveness is the essence of his appeal.