18 April 2012
Send in the Writers
Iain Sinclair, Jim Crace, Don Paterson, Stuart Maconie and Lauren Laverne (yay), Hanif Kureishi, Michael Rosen, Stella Duffy, Stewart Home (very Avant Bard), Colin McCabe and Tilda Swinton (assuming Jim Jarmusch lets her out on time)... and an event to mark (the first out of copyright??) Bloomsday. And lots more.
That’s the exciting line up for our events around Writing Britain - old friends of the Library, first-time appearances, something for everyone, all talking on the theme of space and place, all fabulous choices, and we’re pleased they are taking part.
For more information, see our press release; and there's also a special event with the Folio Society and the Telegraph: we’re hosting a free reader event on 21 May - I’m chairing a debate with Will Self and Craig Taylor on Landscape and Literature - and there’s entry to the exhibition and a glass of wine chucked in.
I did some initial recording for BBC R4’s Open Book today with Mariella Frostrup, and one of the questions she asked was about the inevitable effort of compression in any exhibition, but especially one that ranges as broadly as this.
As I told her, we’ve got 150 million items in the BL, and we’re displaying 150 of them in the exhibition - so whatever we choose will be partial, and it’s always subjective. And even for texts we’d like to include, there may not be an extant manuscript (or then again, it may be in Texas), or the printed book might not be especially visual .
But we shouldn’t just think of Writing Britain as being what’s in the cases in the exhibition. You can’t fit the whole of English Literature into our exhibition space (we tried), and nor can you fit every space and place in the British Isles.
And so the accompanying events, and other activities we’ll be announcing nearer the time, broaden the range of the exhibition, push some of its themes further than we can do in a gallery, and add to the debate and thinking that we hope Writing Britain will prompt.
17 April 2012
I became in secret the slave of certain appetites
…Not me, this time, but Robert Louis Stevenson’s creation, Henry (Dr) Jekyll. Or at least the first creation of the character in a draft he later censored.
We announced in a piece by Dalya Alberge in the Observer on Sunday that we’re borrowing the original manuscript of Strange Case of Dr Jekyll and Mr Hyde (no definite article, PLEASE - somehow it matters, though I know it shouldn’t) from the Pierpont Morgan in New York.
The story of Dr J is complex- and uncertain. It was written in 1885 while RLS was living in Bournemouth, and under financial pressure to come up with a story - a ‘shilling shocker’ (or, - homophonically better - as the subs on the Observer had it, a ‘chilling shocker’).
The first version apparently came to Stevenson in a dream, but was burnt on his wife’s suggestion, and the two more versions were quickly produced. The version we’re displaying - from the most complete extant draft - has a number of sentences absent from the published version, which seems to hint at a more explicit explanation behind Jekyll’s background and what he calls his ‘Full Statement’: you can see RLS deleting the reference to ‘certain appetites’ on the draft we’re showing, as well as cancelling a confession of being ‘plunged… again into the mire of my vices’.
I’ve added an image at the top – with thanks to our good friends at the Morgan - and closer examination of these hidden appetites and vices will be possible when the exhibition opens on 11 May.
Credit: Manuscript for Stevenson’s Strange Case of Dr Jekyll and Mr Hyde © The Pierpont Morgan Library, New York. MA 1202. Photography, Graham S. Haber, 2012
Writing about Writing Britain
Excitingly (actually, scarily too), our major summer exhibition, Writing Britain, opens on 11 May. It’s a showcase for our great Eng Lit collections: from a 14th-century manuscript of 'The Canterbury Tales' to the original handwritten versions of classic stories such as Alice's Adventures in Wonderland (or 'Alice’s Adventures Under Ground,' as it was originally called) or Middlemarch, to letters by Ted Hughes, Charlotte Bronte, or George Orwell.
We’re using all these - over 150 of the Library’s greatest literary treasures – to talk about how writers have described the changing and the eternal spaces and places of the British Isles… and more than that, how great texts shape our perception, and transform our spaces and places.
It’s part of London Festival 2012: which, for all the early uncertainties around the Cultural Olympiad, is going to be (is already) an inspired mix of amazing arts events and exhibitions.
The posters for our exhibition have already started to appear on the Euston Road. I’m biased, but they’re brilliant. I’ll add the image to this post - spot the quotes/images…
And more in a minute on loans…
English and Drama blog recent posts
- Digitisation of manuscripts from the Blavatnik Honresfield Library
- Amber Akaunu reflects on her work with the Beryl Gilroy archive
- A researcher's story: using the Robert Aickman Archive at the British Library
- Marking the bicentenary of the death of Percy Shelley
- Coleridge and The Ancient Mariner
- P. G. Wodehouse Society launches international Essay Prize
- Celebrating Beryl Gilroy
- John Berger and the 50th anniversary of Ways of Seeing
- Andrew Salkey: “Too Polemic. Too Political”
- Registration opens for Artist, Mentor, Friend, Activist: Andrew Salkey a Man of Many Hats
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