Ransom Center Magazine

Books + Manuscripts

A childhood gift inspires a lifelong passion for India and map-collecting

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Charting a Path

Sixty maps and other prints of South Asia and the surrounding region have recently arrived at the Ransom Center at The University of Texas at Austin in honor of former professor Susan G. Hadden. Generously donated by her husband, James Hadden, Jr., the newly acquired Susan G. Hadden Collection of Early Maps of India contains maps dating from 1540 to around 1880, and together they track developments in cartography and the rise of European trade, colonization, and ultimately empire in the region.

The Hadden collection’s earliest map is a two-page woodcut that was printed as part of Sebastian Münster’s Geographia (Basel, 1540), a Latin version of Ptolemy’s widely printed and adapted Geography. It is the first printed map dedicated to illustrating the Asian continent as a whole. In it, only four cities within India have been identified, all on the western coast, all sites of early Portuguese settlement and/or trade.

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Women and the Making of Ulysses: A History in Ten Objects

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by CLARE HUTTON

This article is devoted to objects that tell the story of women who supported James Joyce and the publication of his landmark novel, Ulysses (1922).  They were previously on display in our exhibit, Women and the Making of Ulysses, curated by Dr Clare Hutton, author of Serial Encounters: Ulysses and the Little Review (Oxford University Press, 2019).

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Women and the Making of Joyce’s Ulysses: A History in Ten Objects #10

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#10: Page 709 of the final corrected page proofs of Ulysses (1922), James Joyce Collection, Harry Ransom Center 

by CLARE HUTTON

This is the tenth article in a series devoted to objects that tell the story of women who supported author James Joyce and the publication of his landmark novel, Ulysses (1922). Learn more in the exhibition, Women and the Making of Joyce’s Ulysses, curated by Dr. Clare Hutton and on view through July 17, 2022. Subscribe to eNews to receive all the articles in this series.

Joyce was still adding to the text of the final eighteenth chapter of Ulysses less than two weeks before the first edition was published on 2 February 1922. This single page of proof reveals much about the complications of the process. Working in two colors of ink – red and black – Joyce has gone through the text at least twice in order to correct typographical errors, and insert new additions to the text. Notable errors that he catches include “as tone” corrected to “a stone” and “thatand” corrected to “that and”.

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ABOUT CLARE HUTTON

Dr. Clare Hutton is Reader in English and Digital Humanities at Loughborough University, and the curator of Women and the Making of Joyce’s Ulysses, a centenary Ulysses exhibition at the Harry Ransom Center, University of Texas at Austin. Her monograph, Serial Encounters: Ulysses and The Little Review (OUP, 2019) has just been reissued in paperback. Her other research includes editing The Irish Book in English, 1891-2000 (OUP, 2011), and many essays on Yeats, Joyce, and the "Irish Literary Revival."

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