Each Friday, the Ransom Center shares photos from throughout the week that highlight a range of activities and collection holdings. We hope you enjoy these photos that reveal some of the everyday happenings at the Center.
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. [Read more…] about Notes from the Undergrad: The Penguin Illustrated Collapse
Armando Chávez-Rivera, an assistant professor at the University of Houston-Victoria, has published four books, among them Cuba per se. Cartas de la diáspora (2009), which summarizes extensive information about Cuban writers located off the island. He worked as a journalist for more than a decade in Latin America, with long stays in various countries in the region, and has published in magazines and popular journals. Currently his academic research is concentrated on Spanish-American literature while he maintains his work as a columnist for the Latin American Data Base, a unit of the Latin American and Iberian Institute of the University of New Mexico. His research at the Ransom Center was funded by the Alfred A. and Blanche W. Knopf Fellowship and the Andrew W. Mellon Foundation Research Fellowship Endowment. The Ransom Center is now accepting applications for 2013–2014 fellowships.
In the spring of 1947, Alfred A. Knopf Inc. published the first English translation of Cuban Counterpoint: Tobacco and Sugar (Contrapunteo cubano del tabaco y del azúcar) by Fernando Ortiz. This inspired essay explores the island’s history, culture, and economy through references to its principle crops, and provides detailed information about the internal tensions within society and its relationship with the United States.
The Harry Ransom Center preserves the correspondence between Ortiz and the publishing house, as well as routine communications of the legendary team formed from Herbert Weinstock, editor, and Harriet de Onís, translator, who were responsible for the first English translations of other celebrated Latin-American writers like Alejo Carpentier.
Knopf Inc.’s growing interest in Latin America was rooted in President Franklin D. Roosevelt’s Good Neighbor Policy, and Blanche W. Knopf visited several countries in the region in 1942. Contrapunteo was the first important Cuban work published by Knopf Inc.
Ortiz’s book created a controversy among the editorial advisors; one of them undervalued it for being written in a supposedly “tropical” style, grandiloquent and almost impossible to translate. Nevertheless, Ortiz’s international prestige as an academic and his encyclopedic knowledge of culture, versed in ethnography, sociology, and anthropology, among other fields, tipped the scales in his favor.
The book received excellent reviews from the press, with praise for a translation that maintained the original language’s seductive blend of rigorous scientific knowledge, profusion of quotations, and sustained poetic prose. We now know the subsequent impact the volume had on terminology, coining terms like “transculturation,” to refer to the mutual exchange between cultures in contact.
Contrapunteo reviewed Cuba’s economic situation and its dependence on foreign markets and capital, primarily from the United States. The book found a way to state scientific knowledge without sacrificing literary elegance, while addressing political, cultural, and economic aspects of a region that the U.S. public knew little about or viewed stereotypically.
Ortiz’s works—as well as those by Knopf’s tireless collaborators in those years, Columbian Germán Arciniegas and Brazilian Gilberto Freyre—hinted at the brewing political upheavals that would yield uprisings, revolutions, and dictatorships, and focused on milestones such as the Cuban revolution and its radicalization to communism and confrontation with the United States.
In the course of my two-month stay at the Ransom Center, I followed this thread of analysis in the letters between Knopf Inc.’s editors, translators, and advisors from the 1940s and 1950s, as well as the subsequent reaction of the press and the markets. Knopf’s publications promoted a better understanding of the rest of the hemisphere by the United States and laid the groundwork for a favorable reception of Spanish American Boom literature.
I read the Knopf Inc. archive as if it was an intellectual, cultural, and societal “counterpoint.” Several books from the New York publisher showed the cultural change, literary renovation, and the approaching political explosion in neighboring countries. Cuban Counterpoint: Tobacco and Sugar was one of those rare books that, through its information and biting political reflections, was a strange hurricane of premonitions, bitter and sweet, for the Knopf editors and United States’ readers.
Before spring of last year, I had only heard David Foster Wallace referenced by acquaintances and a TV show character with an affinity for oversized novels. When I was applying for my undergraduate internship at the Ransom Center, I noticed that the Center had acquired Wallace’s archive and opened it for research. I knew that a course on Wallace was being offered by the University as an English Honors seminar during the fall semester, and the opportunity to combine my academic studies with my new internship seemed like a perfect way to enhance my first experience with Wallace’s work. What I believed to be a simple coincidence turned out to be an unforgettable journey down the rabbit hole that is the mind of David Foster Wallace. [Read more…] about English Honors seminar course on David Foster Wallace gives undergraduates a look into Wallace’s archive
Coming of age on the American High Plains, American novelist Sanora Babb was familiar with the endeavor for dignity among the people living in the poverty-stricken area. With her intimate knowledge of the landscape, she provided access to the daily circumstances of individuals struggling to survive in the Dust Bowl. Babb sought to depict the High Plains as a featureless physical space, while humanizing “the Great American Desert” as the stage on which people’s daily lives unfolded.
The Ransom Center holds the Sanora Babb papers, and some of the materials are highlighted in the Center’s web exhibition Sanora Babb: Stories from the American High Plains. In her fiction, Babb sought to illuminate the stories of those families who left little written account of the unrelenting duress and the socio-economic strife that characterized the American High Plains at mid-century. Materials from this collection are also featured in this Sunday’s premiere of Ken Burns’s new documentary The Dust Bowl on PBS, which draws heavily on Babb’s novels and documentary writings.
Before the stock market crash in October 1929, Babb moved from Colorado to Los Angeles where she found work as a scriptwriter for a radio station and began publishing her literary work in experimental activist magazines. These “little magazines” helped Babb get her foot in the door, and she soon met writers Dorothy Parker, Ralph Ellison, Genevieve Taggard, Nathanael West, John Howard Lawson, Theodore Dreiser, and B. Traven.
Increasingly involved in political activism and social advocacy, Babb worked with the Farm Security Administration (FSA) to set up tent settlements for the dispossessed in California’s farmlands. Babb’s employment with the FSA, as well as her own childhood experiences, provided the subtext for her first novel, Whose Names Are Unknown, which chronicles the lives of displaced High Plains families and their struggle to find work as seasonal harvesters in California.
Although Random House accepted Babb’s novel for publication in 1939, the contract was rescinded when John Steinbeck’s Grapes of Wrath was published during the same year. According to Random House editor Bennet Cerf, the market could not support two books with similar subjects. Although both Steinbeck and Babb explore the Dust Bowl exodus of the 1930s, the authors interpret the difficult conditions in starkly different terms. In Whose Names Are Unknown, the intimate world of human relationships relies on testimonial witnessing, while Grapes of Wrath employs symbolic means to represent the condition of “Oakies.”
Disappointed that Whose Names are Unknown was eclipsed by Steinbeck’s work, Babb turned her attention to the manuscript of her second novel, The Lost Traveler (1958). Babb continued to work as a writer and publisher into her eighties, publishing An Owl on Every Post (1971), Cry of the Tinamou (1997), and Told in the Seed (1998). A re-edited manuscript of Whose Names Are Unknown, published in 2004, received critical recognition as a rival to Steinbeck’s Grapes of Wrath.