Harry Ransom CenterThe University of Texas at Austin

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Spring 2014 Newsletter

Writers' Libraries

Book inscription

T. S. Eliot, The Waste Land (1922), inscribed to Ezra Pound.

Book inscription

Flyleaf of Graham Greene's A Burnt-Out Case with the author's inscription to Evelyn Waugh, followed by the latter's bitter response. Although the two novelists were good friends, the relationship was a rocky one.

Annotated book page

David Foster Wallace's teaching copy of Thomas Harris's The Silence of the Lambs.

Book inscription

Nancy Cunard's copy of De L'Arve à Tolède, inscribed by the author Jeune Poesie.

By Richard Oram

Until recently, nobody cared much about authors' personal libraries. Not a single volume belonging to Shakespeare has survived, although a handful from the libraries of his contemporaries Ben Jonson and John Donne are still with us. The usual fate of a writer's library was sale by auction, or worse, a dump on the curbside or into a bonfire by indifferent heirs. As a result, the contents of the libraries of Henry Fielding, Charles Dickens, and William Makepeace Thackeray are only known because of auction catalogs. Toward the end of the nineteenth century, however, collectors coveted so-called "association" items, including books belonging to important personages. Later, large academic libraries, including the Harry Ransom Center, began collecting literary archives and sometimes the author's own library in the bargain. The Ransom Center undoubtedly owns more of these than any other institution, and its collections include the books of Evelyn Waugh (an accomplished bibliophile), Ezra Pound, Anne Sexton, and scores of other writers. A preliminary listing is available on the Center's website. A couple of years ago, we acquired 300 books that had once belonged to David Foster Wallace, many of them heavily annotated.

Like Wallace's curious fans, most of us are thrilled to hold a book that was once pored over, and perhaps even dog-eared or used as a filing cabinet, by a well-known writer. Professors love to discover what writers read, and it's even better to find written evidence, in the form of annotations, of their response. I can tell you that from the curator's perspective, these libraries can be something of a mixed blessing. They typically occupy a great deal of precious space and cost a lot to catalog. Sometimes writers' books languish in obscurity for decades before they come into their own. These days, hardly anyone is interested in investigating the reading tastes of the best-selling novelist Christopher Morley, whose archive and library are housed at the Ransom Center. But, as it happens, Morley knew everybody in literary New York in the early years of the century, and so his library turned out to be a nearly inexhaustible mine for our physical and web exhibition on the Greenwich Village literati of his day.

A few years ago, a reporter for the Boston Globe lamented that books belonging to the experimental writer David Markson had been relegated to the shelves of the Strand Bookstore in New York. The unpleasant reality of bibliographic life is that dispersal is still the default fate for most writers' libraries. The late novelist John Fowles, for example, accumulated a household full of books, many of them on the history and ecology of his beloved village, Lyme Regis, in Dorset. The library was so enormous that it was too large for any repository to digest and was therefore sold off over several years. If you are an admirer of Fowles's work you can purchase one of the author's signed, annotated books for less than the price of dinner.

On occasion a writer's books are sent out into the world and somehow manage to cheat oblivion. Thirty years ago, a scholar tracked down some boxes of Mark Twain's books a few hours before they were sent to the landfill. The Ransom Center, which owns the bulk of Nancy Cunard's papers, acquired last year a previously unknown cache of her books. The poet, publisher, and crusader for progressive causes died in 1965, leaving behind a boarded-up house in the South of France. Some of her books were purchased from her solicitor before the property was sold. The buyer was a professor and must have recognized their importance; nearly a half-century later he asked an English-speaking friend to find an appropriate home.

The 130 or so books are representative of her wide range of interests in social and political causes, as well as avant-garde literature and fine arts. Today, Cunard is best known as the compiler and publisher of Negro: An Anthology (1934). This massive collection contains pieces by anthropologists, artists, and writers on the "Negro question." Negro had a stellar list of contributors, and its importance as a seminal document in the fight for racial equality is now widely recognized. Among the most significant books in the current acquisition are five from one contributor, the Harlem Renaissance poet Langston Hughes, who earned Cunard's gratitude by allowing Cunard to publish several of his poems in the anthology without fee. In all, about 15 books are by contributors to Negro or relate to her work on it in some way.

Cunard's other great cause of the 1930s was Spain; she worked tirelessly on behalf of the anti-Franco Republican forces and fell in love with Spanish culture. Later, she made numerous trips to Latin America. More than a few of the recently acquired books are by Spanish writers, members of the so-called "Generation of 36." Warmly inscribed volumes, including one by Concha Mendez, poet and sometime mistress of Luis Buñuel, and the dramatist and poet Antonio Aparicio, testify that her affection for Spain was reciprocated.

It is always particularly satisfying to discover books by a writer's closest friends. In this case, there are two books inscribed by Janet Flanner, who, as "Genêt," chronicled Parisian life for The New Yorker. Flanner has inscribed a couple of books, one of them to "darling Nancy, 1/3 of our tender trio" (the third member being Flanner's lover Solita Solano).

Writers' libraries are nearly always secondary to their papers, although the books often provide additional and sometimes unexpected insights into these figures' lives and creative processes. At the Ransom Center, we take pleasure in collecting not only archives but also items that belonged to writers, including their books. These, too, have their tale to tell.  

This article originally appeared in The Daily Beast.

Writers Libraries: A Handbook, edited by Ransom Center Associate Director and Hobby Foundation Librarian Richard Oram and Joseph Nicholson will be published by Scarecrow Press this spring.

Learn more about the Ransom Center's authors' library holdings


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