Gabriel García Márquez’s Archive Freely Available Online By Jennifer Schuessler ~ NYT

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Gabriel García Márquez with Fidel Castro in a photograph that will be available online as part of his archive. Credit Harry Ransom Center

When Gabriel García Márquez’s archive was sold to the University of Texas two years ago, some decried the fact that the literary remains of Latin America’s foremost novelist — and a fierce critic of American imperialism — had come to rest in the United States.

But now, the university’s Harry Ransom Center has digitized and made freely available about half of the collection, making some 27,000 page scans and other images visible to anyone in the world with an internet connection.

The online archive, which is cataloged both in English and in Spanish, includes drafts and other material relating to all of García Márquez’s major books, including “One Hundred Years of Solitude,” which turned the Colombia-born writer into a global figure. There are also previously unseen photographs, notebooks, scrapbooks, screenplays and personal ephemera, like a collection of his passports.

Many archives are digitizing their holdings. But to make so much material from a writer whose work is still under copyright freely available online is unusual.

“Often estates take a restrictive view of their intellectual property, believing scholarly use threatens or diminishes commercial interests,” Steve Enniss, the director of the Ransom Center, said. “We are grateful to Gabo’s family for unlocking his archive and recognizing this work as another form of service to his readers everywhere.”

Seeing some items in the archive, which the Ransom Center bought for $2.2 million, will still require a trip to Texas. The digital collection does not include any of the 10 drafts of García Márquez’s final, unfinished novel,“We’ll See Each Other in August.” (One chapter of the novel was published in the Spanish newspaper La Vanguardia in 2014, shortly after García Márquez’s death at age 87; the estate said via email that it has no further plans for publication.)

A draft page from García Márquez’s novel “Chronicle of a Death Foretold” showing highlights and revisions.CreditHarry Ransom Center

But online readers can access a 32-page draft section of the projected second volume of García Márquez’s memoirs, which would have covered the years after he moved to Europe and then Mexico City, where he wrote “One Hundred Years of Solitude” and lived until his death. They can also use a special viewer to make side-by-side comparisons of different drafts of various works as they evolved.

Alvaro Santana-Acuña, a sociologist at Whitman College who is working on a book about the history of “One Hundred Years of Solitude,” said the archive was already helping to explode some of the legends surrounding the novel, many of which were carefully crafted by García Márquez himself.

The novelist, who won the Nobel Prize in 1982, had often spoken of the book as pouring out in a kind of magical trance. “I did not get up for 18 months,” he later said.

But in fact, Mr. Santana-Acuña said, correspondence in the archive shows that he regularly sent out sections for reactions from friends and literary critics. He also published about a third of the chapters in newspapers around the world before the book’s publication, and sometimes made adjustments according to audience reaction, much as 19th-century writers like Charles Dickens would.

“He published the most important chapters, to make sure he knew what different audiences — ordinary readers, literary critics, the intelligentsia — thought,” Mr. Santana-Acuña said.

García Márquez, like many writers, claimed not to bother much with reviews, especially negative ones. But the archive includes a number of scrapbooks which carefully compile — and sometimes privately respond to — reviews of his work in many different languages.

Mr. Santana-Acuña said he was particularly amused by a notation on a second review of “One Hundred Years of Solitude” that appeared in the conservative Colombia newspaper El Tiempo, which had initially dismissed the novel as badly written left-wing propaganda.

“Al menos por larga y entusiasta!” García Márquez (who in the 1950s had written for a rival Colombian newspaper) wrote of the second effort — “At least it’s long and enthusiastic!”

In Memory of Otis Redding and His Revolution By Jonathan Gould, The New Yorker

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Otis Redding is pictured performing at the Monterey Pop Festival in June, 1967. Later that year, the multitalented singer, songwriter, and producer died at the age of twenty-six.

Photograph by Bruce Fleming / AP

Fifty years ago, on December 10, 1967, a private plane carrying Otis Redding and the members of his touring band stalled on its final approach to the municipal airport in Madison, Wisconsin, and crashed into the waters of Lake Monona, killing all but one of the eight people onboard. Though Redding was only twenty-six years old at the time of his death, he was regarded by growing numbers of black and white listeners in the United States and Europe as the most charismatic and beloved soul singer of his generation, the male counterpart to Aretha Franklin, whom he had recently endowed with the hit song “Respect.” In the preceding year, on the strength of his triumphant tours of Britain, France, and Scandinavia, his appearances at the Fillmore Auditorium in San Francisco, and his domineering performance at the Monterey Pop Festival, Redding had pushed beyond the commercial constraints of the so-called “Chitlin’ Circuit” of ghetto theatres and Southern night clubs. He was determined to become the first African-American artist to connect with the burgeoning audience for album rock that had transformed the world of popular music since the arrival of the Beatles in America, in 1964.

Redding’s success with this new, ostensibly hip, predominantly white audience had brought him to a turning point in his career. Thrilled with the results of a throat surgery that left his voice stronger and suppler than ever before, he resolved to scale back his relentless schedule of live performances in order to place a greater emphasis on recording, songwriting, and production. In the weeks before his death, he had written and recorded a spate of ambitious new songs. One of these, the contemplative ballad “(Sittin’ On) The Dock of the Bay,” became his self-written epitaph when it was released as a single, in January of 1968. A sombre overture to the year of the Tet Offensive, the assassinations of Dr. Martin Luther King, Jr., and Senator Robert Kennedy, and the election of Richard Nixon as President, the song went on to become the first posthumous No. 1 record in the history of the Billboard charts, selling more than two million copies and earning Redding the unequivocal “crossover” hit he had sought since his début on the Memphis-based label Stax, in 1962. To this day, according to the performance-rights organization BMI, “(Sittin’ On) The Dock of the Bay” remains one of the most frequently played (and streamed) recordings in the annals of American music.

In an age of pop culture replete with African-American superstars like Michael Jackson, Prince, Usher, Bruno Mars, Kanye West, and Jay-Z, it is hard for modern audiences to appreciate how revolutionary the self-presentations of soul singers like Otis Redding were when they first came on the scene. Prior to the mid-fifties, it had simply been taboo for a black man to perform in an overtly sexualized manner in front of a white audience in America. (Female black entertainers, by contrast, had been all but required to do so.) In the South, especially, the social psychology of the Jim Crow regime was founded on a paranoid fantasy of interracial rape that was institutionalized by the press and popular culture in the malignant stereotype of the “black brute,” which explicitly sexualized the threat posed by black men to white women and white supremacy. Born in Georgia in 1941, the same year as Emmett Till, Otis Redding grew up in a world where any “suggestive” behavior by a black male in the presence of whites was potentially suicidal.

This dire imperative began to change with the proliferation of black-oriented radio stations, in the nineteen-fifties, which enabled rhythm-and-blues singers like Fats Domino, Little Richard, and Ray Charles to sell large numbers of their records, sight unseen, to white teen-agers. Yet it was significant that these early black crossover stars were piano players, who performed behind keyboards, and whose sexuality was further qualified, in Domino’s case, by his corpulence; in Charles’s case, by his blindness; and, in Richard’s case, by the effeminacy that he deliberately played up as a way of neutering the threat of his outlandish stage presence. It was no accident that the one black crossover star of the nineteen-fifties who made no effort to qualify his sexuality, the guitarist Chuck Berry, was also the one black star to be arrested, convicted, and imprisoned, in 1960, on a trumped-up morals charge. By that time, a new contingent of black singers led by Sam Cooke and Jackie Wilson was making its mark on white listeners with a more polished style of self-presentation that became the model for Berry Gordy’s carefully choreographed Motown groups.

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World Cup medals created by Ridgway artist

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Lisa Issenberg works in her Ridgway studio. “There’s so much joy around the whole process of creating awards that honor people’s accomplishments,” she says. (Photo by Elizabeth Riley)

This week, a few works of Colorado art are headed to Switzerland, Germany and Norway, among other countries called home by the winners of the Audi Birds of Prey World Cup. Designed and handcrafted in a Ridgway studio, the medals from last weekend’s ski race in Beaver Creek are just the first few by metal artist Lisa Issenberg that will be awarded this winter.

In past years, top American winter athletes also have taken home an original medal by Kiitellä, Issenberg’s studio’s name, which means “to thank, applaud, praise” in Finnish. Ten of her awards have been won by Mikaela Shiffrin, six by Megan McJames, five by Tim Jitloff, four by Ted Ligety, and two by Lindsey Vonn, to name a few.

More than 10 winter sports competitions will be handing out Issenberg’s awards this season, including the U.S. National Skiing Championships, U.S. National Snowboarding and Freeskiing Championships, FIS (International Ski Federation) Telemark World Cup, and the COSMIC Series ski mountaineering cup. COSMIC is a new client this year.

 “I chose Lisa over all the other extremely talented people in Colorado because she is core! She understands her market. She participates in the sports she makes awards for. Her connections run deep and in the mountain sports community; that’s especially valuable,” said COSMIC Race Director and Owner Jose Risi. “You can tell that each medal someone actually had to sweat over to make. There is the human element in each medal. You don’t get that from a trophy store.”

Peter Shelton reading from his new book @ Cimarron Books, Friday evening (5:30) December 8th …

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Peter searching for the Perfect Turn on Red
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A collection of short essays, memories, and reflections on the magic and addictive pleasures of sliding down snow-covered mountains on skis. Intensely lived and intensely told tales of a life on skis, by on of America’s most accomplished and literary ski writers, Peter Shelton. . . . . “A skier’s progress from boyhood to old-man-of-the-mountain.” . . . . “In a career spanning five decades, [Shelton] has acquired a following among readers who take sensuous pleasure in the way his sentences work.” . . . . “These essays explain to us our own gob-smacked passion for the sport, and bring vividly alive what it was to live for skiing in the last third of the 20th century.” —Seth Masia in SkiingHistory.org

TAB25 CUFFS: A Telluride Aids Benefit Fundraiser – by Kiitella

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TAB25: Limited edition leather and stainless steel cuff created by Kiitella in celebration of the 25th anniversary of the Telluride AIDS Benefit. Each purchase supports the work of AIDS Service Organizations in Colorado and Africa. The cuffs were launched on World Aids Day at the TAB Dance Party, and will be available again at the 25th Anniversary TAB Fashion Show in March (get your tickets!). Meanwhile, you can also find them in Telluride at the Telluride Gallery of Fine Art.

Upcoming Event ~ Waking The Sleeping Giant ~ Sunday, Dec. 10th

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The PWC presents the FREE Telluride premiere of
Waking the Sleeping Giant:
The Making of a Political Revolution

Sunday, December 10th at 2:00 pm | Nugget Theater

Donations will be gratefully accepted at the door.  Filmmaker, Jacob Smith will be here to introduce the film and for a Q&A immediately following the film. Additionally, there will be a post-screening gathering at Oak to discuss how we can take action in our own communities.

The movie tells the story of the 2016 presidential race and the fight for civil rights, economic fairness, and a democracy that works for everyone… This film will help fuel and shape the post-election progressive movement so that this moment lives up to its potential and promise.

For more info visit: www.wakingthesleepinggiant.com