I read with interest D.T. Max’s article in the recent Summer Fiction Issue of the New Yorker covering the Harry Ransom Humanities Research Center at the University of Texas at Austin, which is, by the sound of it, one of the world’s most important literary archives. The piece mostly covered the library’s director Thomas Staley, and his impressive skill in locking down the papers of some of history’s greatest writers, but it also delved into descriptions of the papers themselves.
I suppose I’d never really thought of it before reading this article, but I was surprised at the sheer mass that these collections represent. For example, Norman Mailer’s “archive – weighing twenty thousand pounds in all – came to the center in a tractor trailer.” And that’s just one of many, many archives. In all, the collection “contains thirty-six million manuscript pages, five million photographs, a million books, and ten thousand objects, including a lock of Byron’s curly brown hair.” The Texas is also old school in the way it approaches its collection.
Staley’s conservatism extends beyond his literary taste. He does not want to place the Ransom’s archives online. He believes, quoting Matthew Arnold, that “the object as in itself it really is” can never be replaced by a digital reproduction. “Smell this,” he told me one time when I was in his office, as he picked up a manuscript box from the Edwardian British publisher Cecil Palmer. We inhaled the scent: tobacco, mold, dust. “See, there’s information in the smell, too,” he said.
Be that as it may, the objects that Staley covets for the Texas collection may not be as plentiful in the coming years.
I was fascinated, for example, by Don Delillo’s papers as described by D.T. Max in the New Yorker: Delillio’s manuscripts “were eerily immaculate – embalmed in acid-free manila folders inside blue legal-sized boxes, each about the size of an accordion folder.”
Compare this to a recent article in the New York Times discussing the increasing use of technology and software in crafting fiction. The article’s centerpiece is Richard Powers, whose affinity for technology is well known. Instead of piles of paper, Powers
poured the background research into hyperlinked notebooks using Microsoft OneNote, a program more commonly used by businesses, which allows you to combine text documents, e-mail, images, spreadsheets and video and audio material into one searchable document. He then mapped out possible changing interactions between characters. “These notebook sections gradually grew into the kernels of individual dramatic scenes, which I could then work up in parallel,” Powers said. “The combination of software programs (each of which links seamlessly into the other) allowed for simultaneous top-down and bottom-up composition.”
I would guess that some archivists might find it upsetting that, increasingly, modern day authors won’t leave dusty boxes of paper to sift through. Correspondence will be collected in email form, and background research will include hyperlinks and spreadsheets, images and video. This doesn’t jibe with the classic notion of doing literary research, but it will also open dazzling opportunities, as notable writers’ papers will exist in digital form from the outset, and won’t be physically limited to certain institutions. In this way we may trace the links and paths set down by writers as they crafted their work. We will be able to sift through the “dusty boxes” from our desks, wherever we are.
