Collating unprocessed documents from the personal archives of internationally acknowledged scholars can lead to a serious academic headache. Why was he so serious in discussing those problems? Why wasn’t he able to formulate it comprehensively? Was he really replying those critiques or just exposing his personal biases? And the ultimate landmine nobody can sweep: did Dr. X influence Prof. Y? One should, although, find a remedy to fight this splitting headache of all archive researchers. The constitution of the fait divers folder has to be such a remedy. It would be a good escape routine if we digressed a little from the original plan. Great scholars are usually complicated figures, their warped life resembles their twisted mind, but regularly they also have a simple life of simple courses of action. Let us now reconstruct everyday rituals and recount a possible tale of the usual carried out on an average week.
The materials depicted here are documenting this very process. Hauser took the notes and terminological memos for his weekly teaching duty on slips of paper made out of United Artists’ sheets for the movie distribution catalogue (fig. 2-3), library book lone forms (fig. 4-5) and letter pads from his temporary home in a Leeds hotel (fig. 6-7)
6-7. Notes taken on the printed paper of Mount Hotel in Leeds. Hauser regularly reserved a room there when he was teaching at the University.
It must have been a weary year in the heart of England. And it culminated in a honorable mention from Thomas Mann, a new, but unexpected admirer of his 1000 pages long synthesis in the social history of art (fig. 9-10). It was, probably, after all a usually good year. For it was his first proper one in the academia it couldn’t have been better.