The 12 essays in this volume identify mutually interactive developments in media and saints’ cults at a time and in a place when both underwent profound change. Focusing on the Italian peninsula between 1400 and 1600, authors analyze specific sites of intense cultural production and innovation. The volume invites further study of saints of all sorts—canonized, popularly recognized, or self-proclaimed—in the fluid media environment of early modernity. [Read more…] about Recent publications
“Have you had a look in the Knopf collection?” Rick Watson, the head of reference services at the Ransom Center, sounded casual, and I wasn’t sure I had time to take the detour he was suggesting.
I spent a month at the Ransom Center last year, working mainly with the extensive Doris Lessing archive. [Read more…] about Fellows Find: Doris Lessing correspondence deepens insight into The Grass is Singing
It has been over 60 years since The Diary of Anne Frank was first published in the United States.
Shane Graham, Associate Professor of English at Utah State University, is the author of South African Literature after the Truth Commission: Mapping Loss (2009), and the principal editor of Langston Hughes and the South African Drum Generation: The Correspondence (2010). He has published articles in Modern Fiction Studies, Theatre Research International, Studies in the Novel, and Research in African Literatures, and he serves as Reviews Editor for Safundi: The Journal of South African and American Studies. His work at the Ransom Center was funded by an Alfred A. and Blanche W. Knopf Fellowship.
An Alfred A. and Blanche W. Knopf Fellowship allowed me to spend a month at the Harry Ransom Center exploring the connections between African-American poet Langston Hughes and black writers throughout the Caribbean, Africa, and Europe. I began this research some time ago at the Beinecke Library at Yale University, where the great majority of Langston Hughes’s papers are deposited. The Ransom Center holdings allowed me to expand and enrich my investigation into these transatlantic connections in innumerable ways.
For instance, the Knopf records and the Nancy Cunard papers contain correspondence with Hughes, typescripts of his poems, essays, and speeches, and media clippings about his books. Moreover, the Transcription Centre records include information about its parent organization, the Congress for Cultural Freedom (CCF), which established important links between African and diasporic writers. The Transcription Centre papers also contain records and reports from the important “Conference for African Writers of English Expression” held at Makerere College in Uganda in 1962, which the CCF co-organized and which Hughes attended as a guest of honor. These holdings provide small but important pieces to the jigsaw puzzle I am trying to complete sketching the transnational connections between Hughes and his many friends and correspondents.
Among other unexpected treasures I discovered were dozens of letters that Jamaican poet and novelist Claude McKay wrote to his agent and to Nancy Cunard in Paris, from a period when McKay himself was living in Marseille, Spain, and Morocco. While not proving an immediate link to Langston Hughes, these letters do establish McKay as an equally transnational figure and have prompted me to return to the Langston Hughes papers to investigate the two men’s relationship. I’m happy to report, then, that my time at the Ransom Center opened up an important new area to explore in my book-in-progress.