Nicholas Roerich, Russian, 1874–1947. Hat and robe from the original production of "Le Sacre du printemps" ("The Rite of Spring"), 1913

It is 1913 at the Théâtre des Champs-Élysées, and the audience is screaming, cat-calling, and fist-fighting. It’s the most famous riot in classical music history at the premiere of the ballet The Rite of Spring, composed by Igor Stravinsky, choreographed by Vaslav Nijinsky, and premiered by the Ballets Russes.

Accustomed to more “palatable” ballets such as Swan Lake, the audience at the premiere of The Rite of Spring was shocked by the dissonant and jarring music, the violent and unnatural choreography, and the depiction of a Russian pagan tribe celebrating the arrival of spring by choosing a sacrificial virgin to dance herself to death. Upon…

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Cultural Compass: Can you tell us about some of your most memorable guests?

Martha Campbell: Oh, heavens!

Martha Campbell, 73, is not your typical B&B owner. During the time she hosted Ransom Center scholars at her home between 1995 and 2010, Campbell helped one renter woo her future husband, competed with a guest in a bake-off, hosted a frequent renter’s book launch, and became a close friend and confidante to many of the scholars who stayed with her.

“When I first started doing this, I thought: ‘How would I feel if I were a stranger in a strange place? How would I want to be treated?’ That’s guided me through the years,” Campbell said.

Campbell quickly became a legend among the Ransom Center scholars, in part for her breakfasts. Vanessa Guignery, past guest and former Ransom Center fellow, reports that Campbell served fruit, juice, muffins, and either waffles, pancakes, or french toast every morning.

“Other scholars stayed with other people who were very nice, but there was no breakfast. So each time I arrived at the Ransom Center and said, ‘Mmm I had waffles for breakfast!’ the other scholars would say, ‘Stop it!’ Everybody wanted to stay with Martha,” Guignery says.

Campbell’s hospitality didn’t stop at breakfast. She invited her guests to dinner parties with her friends and to Austin’s famed live-music concerts. (“I got a kick out of introducing them to Texas music.”)

“It wasn’t just coming back, closing the door, and that’s it. She didn’t make you feel as though you were actually paying to be there. It truly felt like home,” Guignery says.

Campbell’s guests have formed a network, and many of them became close friends and colleagues. During one of Guignery’s stays, Campbell invited two Norman Mailer scholars staying elsewhere, Michael and Donna Lennon, over for a wine and cheese party. Guignery told Michael Lennon about her work on British writer Julian Barnes, whose archive Guignery was researching at the Ransom Center. He suggested that she publish a collection of interviews with Barnes, put her in touch with an editor, and three years later Guignery published Conversations with Julian Barnes. The book now sits on Campbell’s table.

Campbell made her own contributions to her guests’ work. She introduced a few scholars studying spiritualist writers like W. B. Yeats and Arthur Conan Doyle to a spiritualist church down the street. During one of his stays with Campbell, Michael Lennon was invited to read at the Ransom Center’s monthly Poetry on the Plaza event. He asked Campbell if she happened to have any beat poetry around, and he ended up reading from her copy of A Coney Island of the Mind by Lawrence Ferlinghetti, which she bought at the City Lights Bookstore in San Francisco in 1960.

Built in 1910, exactly 100 years before Campbell hosted her last guest, the home is a registered historical landmark in Austin’s Hyde Park neighborhood. Campbell started housing renters in 1994, soon after her husband passed away.

“I had never had a job. I always thought I couldn’t do anything since I always had my husband,” Campbell says. “Every time I did something like change a light bulb or carry something heavy or fix a toilet, I kept getting more and more self-confidence to live by myself. So I grew as a person along with the house. It really made me a different person. The house is kind of the third big chapter of my life.”

Before hosting Ransom Center scholars, Campbell housed mathematicians and scientists visiting The University of Texas at Austin. Her very first renter was a Japanese man who spoke little English.

“When he left, he looked really forlorn, so I gave him a hug. Then I thought, ‘Am I supposed to do that?’ When I cleaned his room, I found five or six beautiful origami cranes placed around the room. I found out later that was a compliment. He came back once to say hello, so I figured I must’ve done a pretty good job,” Campbell said.

Though she stopped renting in 2010, Campbell periodically hosts informal gatherings for current Ransom Center scholars and staff.

“Somebody said I fall in love with all my guests. I think it’s true. I have a charming man who has breakfast with me, talks to me like what I have to say is important, he stays for a month, then another one comes and takes his place,” Campbell laughs.

Martha Campbell in front of her Hyde Park home. Photo by Alicia Dietrich.

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The Ransom Center has acquired the archive of novelist and short-story writer Tom Coraghessan “T. C.” Boyle, author of such acclaimed works as The Tortilla Curtain (1995) and World’s End (1987). Spanning more than 30 years from the 1970s through the present, the archive covers the breadth of Boyle’s prolific career.

“I am very pleased and honored to have my papers safely ensconced at the Ransom Center so that they may be preserved and made available to scholars,” said Boyle. “With such an archive, there is always the danger of damage or even destruction, especially when the papers are stored in filing cabinets and cardboard boxes in the basement of a very old house. I am vastly relieved to know that they are now safe.”

Boyle is the author of 22 books of fiction, and his short stories have appeared in The Atlantic, Esquire, Harper’s, McSweeney’s, and The New Yorker. He was awarded the PEN/Faulkner Prize for best novel of the year in 1988 for World’s End and the PEN/Malamud Prize in 1999 for T. C. Boyle Stories (1998). Boyle is currently a professor of English at the University of Southern California.

The collection includes manuscripts, correspondence, professional files, and teaching material. Nearly every published title is represented by a binder of manuscript notes, research material, drafts, and proofs. Also included are about 140 short-story files.

If you’re in Austin, don’t miss the chance to see Boyle at BookPeople on March 19.

Promotional poster for a reading of "The Tortilla Curtain" by T. C. Boyle on November 14, 2006.

In May 2011, five Magnum photographers and one writer hopped on an R.V. at the Harry Ransom Center and launched a two-week road trip from Texas to California.

1,750 miles and thousands of photographs later, the result of the “Postcards from America” road trip is a limited-edition book that was released this week. The book is actually a collection of 18 items enclosed in a box signed by the itinerant photographers—Paolo Pellegrin, Jim Goldberg, Susan Meiselas, Alec Soth, Mikhael Subotzky—and writer Ginger Strand: a book, five bumper stickers, a newspaper, two fold-outs, three cards, a poster, and five zines. According to the “Postcards From America” Tumblr, these items “combine to represent the idiosyncratically American character that defines this project.”

More information and…

While studying the 1911 manuscript of Maurice Ravel’s “Mother Goose” ballet suite, housed at the Ransom Center, scholar Arbie Orenstein discovered the largest error in all of Ravel’s scores: a bassoon line that’s been missing from the published edition for the last century.

Orenstein’s discovery comes just in time for the centennial of “Mother Goose,” which premiered in Paris 100 years ago this Saturday.

“The first time I looked at that bassoon part, I thought, ‘What on earth is this instrument doing here?’” Orenstein told Cultural Compass. “But it’s perfectly written, complete with dynamics and phrasing, and it makes absolute sense according to all the rules of orchestration. I said, ‘Wow, this is really something.’”

The “Mother Goose” manuscript is housed in the Ransom Center’s Carlton Lake collection, which also includes manuscripts by Claude Debussy, Camille Saint-Saëns, and Igor Stravinsky.

In addition to the bassoon line, Orenstein, Professor of Music at Queens College, found other discrepancies between the 1911 manuscript and the widely used 1912 published score. Orenstein plans to publish a new edition this year presenting all of the differences between the manuscript and the published score. Philadelphia Orchestra librarian Clinton F. Nieweg will help communicate the changes to orchestras around the world.

While preparing the new edition, Orenstein consulted with musicians from the New York Philharmonic, and the Philharmonic became the first orchestra to incorporate Orenstein’s changes in a concert on December 28, 2011.

“It was quite exciting to hear that bassoon part for the first time in 100 years (not that I’m 100 years old!),” Orenstein wrote in an e-mail after the performance.

Though the “Mother Goose” manuscript contains more errors than any other manuscript he’s ever worked with, Orenstein says he doesn’t criticize Ravel. Ravel had his mind on the new ballet he’d already begun composing, “Daphnis et Chloë,” the manuscript of which is also housed at the Ransom Center. On top of that, Stravinsky was composing what would become his seminal ballet “The Rite of Spring” and playing it for Ravel.

“All of these exciting things are happening. He just may not have given his fullest attention to ‘Mother Goose,’” Orenstein said. “It’s a battle for perfection which you can never win. Ravel said the same thing: ‘My goal is technical perfection. I can strive unceasingly, but I know I’ll never be able to achieve it.’”

Nevertheless, Orenstein is doing what he can to help Ravel achieve perfection posthumously.

“The greatest battle of any composer is that of wrong notes. That’s why these new editions based on the manuscripts are so important. If you’re going to interpret the music, you have to do what Mahler said: read between the notes. But you have to have all the right notes.”

Working with music publisher Ernst Eulenburg Ltd., Orenstein plans to continue publishing new editions of Ravel’s major orchestral works, some of which are housed at the Ransom Center.

“The point of departure is the Harry Ransom Center. Without that, we wouldn’t be able to do this,” Orenstein said. “There’s a tremendous amount that needs to be looked at, sorted out, and new editions made. There will be plenty more coming out of Texas, I can tell you that.”

Learn more about Orenstein’s discovery in a Wall Street Journal article by reporter Anne S. Lewis.

Second page of Maurice Ravel's Mother Goose manuscript. The missing bassoon line is in the fifth stave from the top.

Jacket worn by Robert De Niro in 'Taxi Driver' from the Paul Schrader collection.

In October, University of Texas at Austin Psychology Professor Marc Lewis brought his freshman Plan II Honors class on a trip to the Ransom Center. Professor Lewis has won numerous teaching awards, including the Regents’ Outstanding
Teaching Award and the President’s Associates Teaching Excellence Award. Below, Professor Lewis writes about his class’s private tour of the Ransom Center, led by Director Thomas F. Staley.
 

Page from the Shakespeare First Folio.

Over 30 years of teaching, I can remember many occasions where students were excited and interested, but my Plan II Honors Signature class’s visit to the Ransom Center on October 4 marks the first time that I have heard audible gasps of…

Helen Adair shows Maggie Cino and Faye Lane a notebook from Spalding Gray's archive. Photo by Pete Smith.

Last Thursday at the Paramount Theatre in Austin, monologist Mike Daisey told the audience he had a confession to make.

Before coming to Austin, Daisey said, he asked his Facebook friends where he should eat in town. He received an onslaught of barbeque suggestions from Austinites passionately defending their favorites. “People were un-friending each other about where I should eat barbeque,” Daisey reported.

Mike arrived in Austin too starving to search for any of the barbeque suggestions. He did, however, find himself in front of a McDonalds, considering a McRib.

“I know!” Daisey said, acknowledging the audience’s gasp of horror. “How can someone come to Austin…

In the late 1970s, screenwriter Paul Schrader began writing a script titled Born in the U.S.A., and he asked Bruce Springsteen to write a song for the film. The script sat on Springsteen’s table until one day, while working on a song called “Vietnam,” he noticed Schrader’s script, sang the title, and “Born in the U.S.A.” became the hit title song of one of Springsteen’s best-selling albums. Springsteen eventually wrote a new song for the script, which Schrader renamed Light of Day (1987).

Drafts of Schrader’s Born in the U.S.A. and Light of Day scripts and correspondence between Schrader and Springsteen are just a few of the many highlights found in Schrader’s archive, which opens for research today at the Ransom Center.

From drafts of the Taxi Driver (1976) screenplay to Schrader’s baby book, from an outline for Raging Bull (1980) to letters from Schrader’s parents, the archive encompasses Schrader’s career and personal life.

Photographs abound in the archive. Of particular note are film stills, on-set photos, and publicity shots for Taxi Driver, the film that launched Schrader’s career. One photo shows Schrader and a young Jodie Foster at the Cannes Film Festival, and another shows Schrader, Martin Scorsese, and Robert De Niro laughing on set. Invoking De Niro’s Taxi Driver character Travis Bickle, Scorsese inscribed a photo of him with Schrader: “From one Travis to another.” In an e-mail, Schrader wrote that he felt like a Travis Bickle “at one time.”

Immediately following Jaws’s blockbuster success, Steven Spielberg asked Schrader to write a screenplay for what would become Close Encounters of the Third Kind (1977). Spielberg read Schrader’s script, but they didn’t agree on how the story should progress. Spielberg ended up writing the script himself, but drafts and notes for Schrader’s version are included in his archive.

In the mid-1980s, Bob Dylan asked Schrader to direct a music video shot in Japan for his song “Tight Connection to My Heart.” Unhappy with the result, Schrader later called the video “a source of embarrassment.” In addition to scripts, photographs, and film documenting the video production, Schrader’s archive includes a 2002 letter to an executive at Sony in which Schrader looks back on the project 16 years later:

“It was a disaster. Bob had asked me to do it but I really didn’t ‘get’ the new music video language. He didn’t want to do it and by the middle of the shoot I didn’t want to do it. I remember saying to him at one point, ‘Bob, if you ever hear I’m making another music video, just take me out in the back yard and hose me down.’”

When asked how he felt about his archive opening to the public, Schrader responded, “I hope to be too busy to even give it a thought.”

Production still of Paul Schrader, Martin Scorsese, and Robert De Niro on the set of 'Taxi Driver' (1976).

One of Ogden Nash's copies of 'Hard Lines' with padlock and chain. Photo by Pete Smith.

“All of these books are worse than opium… I would rather have a child of mine use opium than read these books,” declared Senator Reed Smoot of Utah in March 1930, speaking from behind a desk towering with “smutty” books like Lady Chatterley’s Lover and Robert Burns’s poetry.

In 1929, Senator Smoot and Representative Willis Hawley of Oregon introduced a tariff bill to Congress that included a section restricting the importation of obscene materials, which inspired the widely repeated news headline “Smoot Smites Smut.” Senator Bronson Cutting of New Mexico led a protest against the proposed ban on obscene literature, and the House approved an amendment that…

Print of Franz Liszt, 1841.

Long before Beatlemania, mid-nineteenth-century European audiences went wild for Franz Liszt, the Hungarian pianist/composer with shoulder-length hair. Women fought over his broken piano strings and collected his coffee dregs in glass vials. One woman retrieved Liszt’s discarded cigar stump from a gutter and encased it in a diamond-studded locket monogrammed “F.L.” To describe this phenomenon, German poet Heinrich Heine coined the term “Lisztomania.”

Liszt took the classical music world by storm. Considered the best pianist of all time by his contemporaries, Liszt essentially created the piano recital. He was the first pianist to emerge onstage from the wings, he introduced the custom of performing in profile because he didn’t want the piano to block his face, and…