Collections : [University of Michigan Special Collections Research Center]

Tom Pohrt is a self-taught artist who works out of Ann Arbor, Michigan. He is best known as a children’s book illustrator and author. The collection documents Pohrt’s work as a children’s book illustrator and author through published works, correspondence with authors and publishers, manuscripts, and artwork.

This collection spans the years 1980-2004, and is comprised of published books, correspondence between Pohrt and authors and publishers, manuscripts, and artwork. The published books have been removed from the collection and catalogued separately. It is divided into 4 main series; Correspondence, Manuscripts, Ephemera and Artwork. The collection was divided into these four series to facilitate the addition of materials to the collection. The repository also holds a box of facsimiles of items in the collection used in an exhibit at the Ann Arbor District Library Exhibit in Fall, 2003.

The Correspondence series is arranged into subseries according to the correspondent or organization (usually publishing houses) in alphabetical order. Under each correspondent the materials are further divided into folders by date span and arranged chronologically. Under the publishing houses, materials are divided under subheadings according to project (book title) and arranged chronologically.

The Manuscript series contains manuscript material by Jim Harrison, Barry Lopez, and Tom Pohrt, and is arranged alphabetically by creator and book title.

The Ephemera series consists of calendars with illustrations by Pohrt, exhibit catalogs, flyers and brochures announcing events and public appearances, and other printed ephemera.

The Artwork series contains unbound preliminary drawings, paintings and sketches created by Pohrt to illustrate some of his most well-known books. The pieces of art are of various sizes and in a variety of media (e.g., pencil, watercolor, pen and ink). Many are stored in linen-covered cardboard portfolios, while others are tipped into handmade booklets and scrapbooks.

Tony Platt (1942-) is a scholar and activist focusing on criminal justice, race, inequality, and social justice. The Tony Platt papers (1942-2023, bulk dates 1960-1985) focus on his early career including his graduate education, postdoctoral activitites, and term as a professor at the now-closed School of Criminology at the University of California, Berkeley. After the completion of his dissertation later published under the name, "The Child Savers: The Invention of Juvenile Deliquency" and his postdoctoral fellowship with the University of Chicago, he returned to the University of California, Berkeley in 1968 as an Assistant Professor. Notable for his activism, professional engagement, and development of a "radical criminology", Platt was a key figure in shifting the School of Criminology from a professional program heavily connected to the police to an academic program centered on examining the issues of the field through understanding the effects of racism, colonialism and imperialism, and other factors popular with students throughout the 1960s-1970s. However, his career at the university was also shaped by a long fight for tenure and the debate over the School of Criminology's future. The Platt papers consist of 11 linear feet arranged in five series covering the early part of Platt's career. The Platt papers feature correspondence with scholars, faculty, and other individuals, research notes and drafts, course materials, files related to professional development activities such as conferences, clippings, legal files, and other collected materials reflecting Platt's research and professional ties.

Materials have been divided into 5 series.

1. Biographical: Primarily includes materials reflecting Platt's education prior to obtaining his Ph.D. in 1966, along with personal materials such as calendars, photographs, and later reflections of his work. Significant materials include those in the subseries for "The Child Savers". Materials are arranged by date.

2. Postdoc Activities: Includes materials reflecting Platt's time in Chicago where he completed a fellowship with the University of Chicago. Subseries include materials such as correspondence, research files related to his work, significant projects undertaken by Platt such as Legal Sevices to Youth and the Community Legal Defense Organization, and photographs taken by Bill Mares who worked with Platt in Chicago. Materials are arranged by date.

3. Academic Activities: Consists of the largest amount of materials in the collection and covers Platt's career at the Uniersity of California, Berkeley (1968-1976) with few materials afterwards. Subseries include Correspondence, Course Materials, Faculty files, Professional Activities, Articles and Writing, and Topical Files. Correspondence spans the entirety of Platt's time at Berkeley. Course Materials feature Platt's courses at Berkeley including lecture notes, readings, projects, and other documentation. Faculty files include communication, reports, and other materials between Platt and other faculty members at Berkeley. Professional activities include notes and materials related to conferences, speaking engagements, and other activities. Articles and Writing feature several articles written by Platt in collaboration or individually. Topical files include smaller projects, activism, and some collected materials from scholars that Platt knew. The subseries, Correspondence, is arranged by Incoming and Outgoing, and by date. The subseries for Faculty Files, Professional Activities, Articles and Writing, and Topical Files are arranged by date. The subseries, Course Materials are arranged by course number with the full title of the course included.

4. Project Files: Includes files for several large projects led by Platt between 1968-1976 that led to articles, professional engagement, research, and mobilization at the University of California, Berkeley. Subseries include the Politics of Protest, Prison Action Project, Campus Police Project, History of Criminology, and Save the Crim School campaign. Materials are arranged by date.

5. Case Files: Includes two series related to Platt's case for tenure. The subseries, Tenure and Legal files includes additional materials related to Platt's tenure case such as correspondence, memos, research, clippings, and various legal documents. Meanwhile, the subseries, FOIA, consists of records related to Platt's request for information about government surveillance and the report made about him while he was at Berkeley. Materials are arranged by date.

Materials are primarily from 1969, and relate to the student-led sit-in protest of Universary of Chicago administration buildings following the firing of Marlene Dixon.

The materials are arranged in three series: Series 1: University of Chicago Sit-In Protest; Series 2: Other Activism and Protests; Series 3: Publications. The collection is 0.5 linear feet in size, and focuses primarily on the early half of 1969, with occasional materials from 1968 and 1970.

The University of Chicago Sit-In Protest series is the largest of the three, and the focus of the rest of the collection. Materials are concerned primarily with the two-week-long student-led occupation of University of Chicago administration buildings following the firing of professor Marlene Dixon in the spring of 1969. Materials include student and faculty statements, posters, news clippings, and official university documentation of the event.

In the late 1950s, as a reaction to Cold War era politics, the University of Michigan Press embarked on a program to publish Russian language materials. Their first undertaking was Boris Pasternak's Dr. Zhivago.The material retained by the Press, related to the publication of Dr. Zhivago, as well as Pasternak's Poems, and Collected Works, comprises correspondence between the books’ editors and the directors of the Press. Other items, such as a first edition with marginalia, photographs of letters from Pasternak to Eugene Kayden, and assorted newspaper clippings, help document the history of this unusual endeavor. The 1.5 linear feet of material span the years 1958 to 1988, with the bulk of the papers dating between 1959 and 1962.

The material retained by the University of Michigan Press, related to the publication of Dr. Zhivago , Poems, and Collected Works , comprises correspondence between the books’ editors and the directors of the Press. Other items, such as a first edition with marginalia, photographs of letters from Pasternak to Eugene Kayden, and assorted newspaper clippings, help document the history of this unusual endeavor. The 1.5 linear feet of material span the years 1958 to 1988, with the bulk of the papers dating between 1959 and 1962. The Pasternak records of the University of Michigan Press have been divided into three series: Dr. Zhivago (0.5 linear feet), Eugene Kayden Translation -- Poems (1959) (0.5 linear feet), Sochineniia [Collected Works] (1961) (0.5 linear feet), and Media (3 items).

The Dr. Zhivago series consists of two subseries: Pre-publication and Publication. Pre-publication includes newspaper clippings related to the Nobel Prize awarded to Pasternak in 1958, correspondence pertaining to the copyright negotiations with Giangiacomo Feltrinelli Editore, and promotional materials for the book's release. Most of the correspondence to Feltrinelli is carbon copies. Permissions Granted is correspondence between the Press and other authors regarding use of the novel in other publications. These letters date between 1960 and 1988. Additional material includes a limited amount of University of Michigan Press business records, galleys of the text, and other miscellaneous documents.

In the Eugene Kayden Translation -- Poems (1959) series much of the material is correspondence from Press directors Glenn Gosling, Ed Watkins, and Robert Erwin. Photographs of letters written to Eugene Kayden from Pasternak are included as well. The photographs are quite legible, and the text is in Russian. Related material, particularly the agreement signed between the Press and Eugene Kayden, is also in this series. Some of the folder dates will overlap in an attempt to maintain the original order of the materials.

Sochineniia [Collected Works] (1961), the Russian publication of Pasternak's poetry by scholars Gleb Struve and Boris Filippov, is the final series in the collection. Correspondence in this series, dated between 1959 and 1984, is arranged chronologically. A smaller amount of topical correspondence is arranged alphabetically by topic. As is the case with the previous series, some of the folder dates will overlap in an attempt to maintain the collections' original order.

The Media series contains two microfilms of the Collected Works , and an audiotape copy of the 45rpm vinyl recording of Pasternak Speaks . The tape documents a reading at Pasternak's home in 1958. Included are the poems "Night," "At the Hospital," "Literature Today," "To a French Musician," and an excerpt from "An Essay in Autobiography."

The Tate Personal and Professional Papers document Vernon Tate's personal interests and activities along with many aspects of his professional career as a historian, librarian, and archivist between 1929 and 1989. Dr. Tate's papers contain correspondence, speeches, articles, meeting minutes, annual reports, newsletters, conference proceedings, press releases, dissertation research materials, and photographic and microphotographic research notes.

In December 1982, Dr. Vernon Tate donated a large collection of manuscripts and publications documenting the history of microphotography and his own career as a historian, archivist, librarian, and microfilm pioneer to The University of Michigan Libraries. This donation provided the impetus for the creation of the Power Collection for the Study of Scholarly Communication and Information Transfer in the Special Collections Library. The Power Collection is named in honor of Dr. Tate's long-time friend, Eugene B. Power, the founder of the micropublishing firm University Microfilms, Inc.

Dr. Tate's donations to the Power Collection contain over 140 linear feet of manuscripts, including his own personal and professional papers, an extensive collection of records of the National Microfilm Association (NMA), and the Microfilm Pioneers Collection which contains the papers of several of Dr. Tate's colleagues concerning microphotography and the activities of NMA. In addition, Dr. Tate donated an extensive collection of serials and monographs relating primarily to the fields of photography, microphotography, and archives.

The Tate Personal and Professional Papers document Vernon Tate's personal interests and activities along with many aspects of his professional career between 1929 and 1989. This group does not, however, include files from his work as Executive Secretary of the National Microfilm Association. Those materials can be found in the National Microfilm Association Records in this repository.

Dr. Tate's papers contain correspondence, speeches, articles, meeting minutes, annual reports, newsletters, conference proceedings, press releases, dissertation research materials, and photographic and microphotographic research notes. In addition, the collection contains log books (diaries), which contain his thoughts and notes on his personal and professional activities, although the log books will not be available for research until October 1, 2009.

Scattered materials concern Tate's activities between 1929 and 1935 as a student, researcher,and microfilmer for the Library of Congress. Included is correspondence, extensive research materials on the port of San Blas (his dissertation topic), and articles on maritime history and photography.

Large portions of several series concern the years between 1935 and 1946 during which Tate headed the photographic archives and research division of the National Archives and then served in the Navy during World War II. Almost two-thirds of the correspondence series and nearly half of Tate's speeches and writings date from this period. Besides these materials, the files contain inter-office memoranda, literature and notes on microphotography, and notes on his own experiments. Since Tate was the seventh professional staff member hired by the National Archives after its founding in 1935, the files include materials on the early development of the agency and the beginnings of the photographic laboratory and microfilm operation.

By the mid-1930's Tate was already one of the recognized authorities in the rapidly developing field of microphotography. In addition to his work at the National Archives, the files concern such topics as his work as editor of the Journal of Documentary Reproduction, 1938-1942; the early history of the American Documentation Institute and the Federation Internationale de Documentation; and his involvement in the work of the Microcard Committee. A small amount of correspondence concerns the establishment and early history of the National Microfilm Association, 1944-1946, before Tate became an officer.

The amount of material declines significantly for the years after 1946. Materials relating to his work as Director of Libraries at the Massachusetts Institute of Technology and subsequently as Librarian and Archivist at the U.S. Naval Academy appear, but they are smaller in quantity and less complete than the materials on earlier years. Although the Tate Papers do not concern his work as an officer of the National Microfilm Association, they do document many professional activities not connected with NMA. Included is material on his various library and archival positions and his involvement with such organizations as the American Documentation Institute and the Federation Internationale de Documentation.

In addition to documenting many of Tate's professional activities, his papers concern family matters and personal interests. The correspondence series includes a small sequence of family letters exchanged between Tate and his wife, parents, and other relatives. The personal interests series contains information on his hobbies and interests, especially in naval history and other nautical matters, but also in such areas as antiques, art, books and printing, history, and libraries.

American biographer; participated, researched, and wrote about individuals involved in movements central to New York City's Lower East Side, including the Beats and the Punks. Papers include correspondence, notes and notebooks, clippings, other resources, manuscripts (drafts, proofs, galleys), photographs, and audiovisual materials.

The Correspondence series is comprised of approximately 2.5 linear feet of material, foldered alphabetically by author with individual letters and cards within each folder arranged chronologically. The majority of the correspondence discusses Bockris' professional endeavors, including correspondence between publishers, lawyers, and sources. Additionally included are some personal correspondence such as letters, notes, and cards. Within the series are several notable, lengthy correspondence partners including Isabelle and Jean Louis Baudron, 1984-1997 (5 folders); Gerard Malanga, 1977-1996 (10 folders); Miles, 1977-1998 (7 folders); Elvira Peake, 1984-1999 (5 folders); Claude and Mary Beach Pelieu, 1983-1996 (5 folders); and especially Ingrid von Essen, 1983-2001 (31 folders); Christopher Whent, 1985-2002 (7 folders); and Andrew Wylie, 1974-2000 (41 folders). Correspondence with von Essen is of particular note as she was both a professional collaborator and personal friend of Bockris, and in addition to incoming correspondence, outgoing correspondence from Bockris to von Essen, 1977-2001 (17 folders), is included in the series.

The series also includes correspondence from notable individuals, poets such as Anne Waldman and Allen Ginsberg, John Giorno, Jeff Goldberg, artists and personalities including Lawrence Ferlinghetti, Art Garfunkel, Bobby Grossman, John Waters, Aram Saroyan, and book subjects Bebe Buell, William Burroughs, Debbie Harry, and Terry Southern.

The Notebooks and Journals series is comprised of approximately .5 linear feet, and consists of 17 volumes or items (including one that is oversize). The volumes' contents seem to span the range of Bockris' subjects, although it is difficult to discern the exact contents given the handwriting.

The Topical Files series is approximately .25 linear feet, and contains materials surrounding important topics and persons to Bockris' work. Included in the files are coverage on the subject matter of writing biographies, manuscript fragments, and information on various personalities including those that were featured in some of Bockris' work, like Lydia Lunch, collaborators including Andrew Wylie and Gerard Melanga, and individuals whom Bockris pursued as potential biography subjects such as Art Garfunkel.

The Events series is approximately .1 linear feet, and contains gallery invitations and speaking engagements sent to Bockris. These materials do not correspond specifically to any of Bockris' works, nor do they involve him as an artist or speaker, and thus are separated into their own series.

The Muhammed Ali series is approximately .5 linear feet and pertains to the works that Bockris wrote about Muhammed Ali. Although one of the smaller series of Bockris' works within the collection, it still contains a multitude of information, and is broken down into six subseries: Correspondence; Notes and Notebooks; Scrapbook; Clippings and Articles; Manuscripts; and Reviews. The correspondence is primarily from 1993-2002 and consists of letters between Bockris and his publishers. Within this subseries, items are arranged chronologically by date. The Notes and Notebooks, and Scrapbook subseries both contain Bockris' thoughts and collections of information he gathered on Muhammed Ali. Similarly, the Clippings and Articles subseries contain assorted clippings and photocopies of text about Ali. The Manuscript subseries contains drafts of four works that Bockris wrote about Ali, and the Reviews subseries contains clippings and photocopies of reviews of these works.

The Beat Punks series is approximately 1.5 linear feet, and contains materials related to the subjects within Bockris' Beat Punks book (also published as NYC Babylon) and related works. Correspondence within this series is primarily from Bockris' publisher. The series contains significant information on Allen Ginsberg, including a scrapbook, clippings and articles, and the National Arts Club Literary Aware Dinner manuscript. Other notable individuals mentioned in this series include clippings and articles related to Lydia Lunch and a transcript documenting an interview between Bockris and Legs McNeil.

The Blondie/Debbie Harry series is approximately 2.25 linear feet, and its contents pertain to both Blondie and its lead singer Debbie Harry. Also heavily represented is Blondie member (and Harry's former partner), Chris Stein. Although the Correspondence subseries mostly concerns the book and publishers, there is a handwritten letter by Debbie Harry. The Transcripts subseries features numerous transcriptions of interviews and conversations featuring both Harry and Stein. Other resources noted within the series include both song lyrics and visual materials such as images of both Harry and Blondie.

The manuscript series fastidiously documents the evolution of the Making Tracks monograph written by Bockris, Harry, and Stein. Included are multiple, often annotated drafts of the manuscript beginning with when it was still referred to as Above Fourteenth Street. This documented evolution continues even after the manuscript was renamed to Making Tracks, and includes not only drafts but galleys, sample layouts, second blues, and book covers. In addition to this manuscript, also included are drafts of From Eat to the Beat to Autoamerican and Meeting Famous People.

The smallest series (.2 linear feet) within the collection documenting one of Bockris' works, the Bebe Buell series documents Bockris' and Buell's biography, Rebel Heart. The Correspondence subseries is comprised of two handwritten letters to Bockris from Buell. However, the most notable items within the series are a series of photocopied love letters written by Elvis Costello to Buell. Additionally included are several drafts of Rebel Heart, and documentation of legal issues concerning quotes within the book.

The William Burroughs series is 1.25 linear feet and contains an assortment of materials used by Bockris to write his works on Burroughs. The Correspondence subseries includes letters from publishers and sources, as well as from Burroughs himself, including a small painting sent to Bockris as a Christmas card. The Events subseries includes several gallery invitations specifically sent to Bockris, as well as postcards of his own speaking engagement, In America All We Do is Work.

The Transcripts subseries includes transcripts featuring a wide breadth of individuals such as William Burroughs, James Grauerholz, Richard Hell, Debbie Harry, Christ Stein, Allen Ginsberg, Jean Michel Basquait. Also found in this subseries are transcripts from Burroughs interviewing Patti Smith.

Finally, the Manuscript subseries includes several drafts of many of the works Bockris wrote about Burroughs (including A Report from the Bunker and With William Burroughs). Also included are drafts of shorter works, including the cover, back copy and page mock ups of William Burroughs Cool cats, furry cats, and aliens, but no purring, which Bockris printed in a limited edition of only 100 copies, each of which he signed and numbered.

The John Cale series is .75 linear feet and documents the writing of Cale's biography, as well as the related disagreements about its publication between Cale and Lou Reed.

The Correspondence subseries primarily consists of letters from Lou Reed, Sylvia Reed, and Chris Whent, documenting legal issues and disagreements between Cale and Reed, concerning their past as members of the Velvet Underground, and potential future as collaborators. Also of note are items from Mo Tucker (another member of the Velvet Underground).

Also included is the Other Resources subseries, which contains papers about Cale, his assorted lyrics and writings, and album covers. The Manuscripts subseries provides insight into Cale's biography from proposal, to early draft, to proof, to galleys. The series concludes with clippings and photocopies of What's Welsh for Zen reviews.

At approximately 12.5 linear feet, the Lou Reed series is the largest within the Bockris Collection. Each of its subseries, Correspondence; Notes and Notebooks; Clippings and Articles; Events; Sketchbooks; Transcripts; Other Resources; Manuscripts; and Reviews are sizeable and detailed, providing an enlightening look into Bockris' research and writing processes.

The Correspondence subseries contains numerous letters both from publishers and sources, the most notable of whom include Shelley Corwin (nee Albin), Reed's former girlfriend, Elizabeth Kronstad, Reed's first wife, and Andrew Wylie, Bockris' agent and former collaborator who struck up a friendship with Reed. The Notes and Notebooks subseries is extensive, containing a variety of notes, some of which were arranged by Bockris by subject, and others which were arranged by year. Bockris also participated in several speaking engagements related to his Lou Reed book, the promotional materials for which are documents in the Events subseries.

In addition to notes, Bockris's research also generated a vast quantity of clippings and articles (11 folders), serials and books (7 folders), and an assortment of Lexis-Nexis article print outs, spanning the years 1950 – 1989. Bockris also filled seven volumes of sketchbooks (the Sketchbooks subseries) with Lou Reed Content. Also utilized as source material, Bockris conducted numerous taped interviews, many of which were transcribed and are contained within the Transcriptions subseries. Interviewees of note include Shelley Corwin (nee Albin), Roberta Bayley, Legs McNeil, Richard Mishkin, Billy Name, Bob Quine, Lou Reed, Maureen Tucker, Chris Whent, and Andrew Wylie.

Other Resources also played a role in Bockris' research, and may be found in the subseries of the same name. Included are Reed's college magazine, The Lonely Woman Quarterly, Lou Reed: The Collected Lyrics, and information from Lou Reed's fan club. However, the most extensive portion of this series is the Manuscript subseries which documents Bockris' Transformer: The Lou Reed Story from early proposal all the way to U.S. galleys as well as the U.K. edition galleys, providing a meticulous documentation of the book's evolution. The drafts are organized based on the various arrangements that Bockris utilized. Similar to the arrangement of the Notes and Notebooks subseries, this results in some of the drafts organized chronologically by year range, and others organized by subject or chapter. Numerous final drafts are also included, which reveal different versions of the monograph in its entirety. The series concludes with the Reviews subseries, containing clippings and photocopies the book's reviews.

The Keith Richards series is approximately 3.75 linear feet, and documents Bockris' writing of Keith Richards. Most of the Correspondence subseries is comprised of communications from publishers and fans, however, there are several handwritten letters from Richards' former girlfriend, Anita Pallenberg, although they merely describe materials she sent to Bockris as well as signed certification that the information she provided is truthful. The arrangement of the Notes and Notebooks subseries remains as Bockris sent it, chronological and divided by year. Additional background materials may be found in the Sketchbook, Scrapbook, and Clippings and Articles subseries, the last of which includes copies of Rolling Stones newsletters Beggars Banquet and Basement News. Bockris also made use of taped interviews, the transcripts of which are provided in the Transcripts subseries, including one between him and Marianne Faithful. The Manuscript subseries contains an assortment of drafts of Bockris' work on Richards. These range from drafts focusing on specific people or time period to edited galley proofs and book covers. This broad spectrum of the manuscript provides a view inside Bockris' writing process and style. Finally, the Reviews subseries includes clippings and photocopies of reviews of this work.

The Patti Smith series is composed of approximately .75 linear feet of materials, documenting Bockris' writing of Patti Smith: A Biography. The Correspondence series primarily documents the communication between Bockris and his publisher, Fourth Estate. The remaining subseries, Notes and Notebooks; Scrapbook; Events; Clippings and Articles; and Other Resources all provide background materials for Bockris' writing.

The Manuscript subseries recounts Bockris' writing process, beginning with the early draft of Smith's biography, and ending with several portions of the finished work including the unbound galley, index, cover image, and image galleys. Also included are several drafts documenting the process Bockris underwent to get from early draft to completed galley. The final subseries, Reviews, provides clippings and photocopies of the book's reviews.

At .25 linear feet, the Terry Southern series is one of the smaller series in the collection that describes one of Bockris' works. Correspondence in this series includes a letter written by Southern, as well as several letters by Lee Hill (a Terry Southern biographer) written to Bockris. Also included is a Transcript subseries which features the transcript of a conversation between Southern and William Burroughs. The largest portion of the series is the Other Resources subseries containing several works by Southern and Hill. Unlike the other series documenting Bockris' works, the Southern series provides very little Manuscript subseries content. Indeed, the only item is an untitled early draft. Thus, in this case, little insight is provided into Bockris' writing process or the final work.

The Velvet Underground series is approximately .5 linear feet, and documents the making of Bockris' Uptight: The Story of the Velvet Underground. The Correspondence subseries mainly contains communication from publishers. The bulk of the contents in this series are research materials, including subseries Notes and Notebooks; Clippings and Articles; and Other resources which includes an interview with former Velvet Underground member Moe Tucker. The Events subseries provides information on several speaking engagement of which Bockris was a part.

The Manuscript subseries has two drafts, but is primarily composed of galleys, both for the U.K. edition in 2002 and the new edition. The Reviews subseries contains numerous clipped and photocopied reviews of the book. Also of interest is that some of Bockris' materials, ranging from notes to drafts also appear to have been referenced and utilized during the writing process of his Transformer: The Lou Reed Story book. The Andy Warhol series is approximately 3.5 linear feet. The bulk of the Correspondence subseries is comprised of communication between Bockris and his publishers. However, there are two letters of note, both from Warhol's brother, John Warhola, written directly to Bockris. Also included with one of these letters is a photograph of Bockris at Warhol's grave, taken by Warhola.

Much of the background research for the work is found in the Notes and Notebooks, Clippings and Articles, and Other Resources subseries. The Events subseries includes promotional materials for several speaking engagements made by Bockris as well as student feedback on a lecture presented by Bockris. The Manuscripts subseries documents the evolution of Bockris' The Life and Death of Andy Warhol from original manuscript to page proofs. Additionally included are drafts of related pieces written by Bockris including How I wrote a Biography of Andy Warhol and Pittsburgh Andy. Also included is the Reviews subseries which provides numerous clippings and photocopies of reviews of Bockris' pieces on Warhol. The series concludes with the Scripts subseries which includes several scripts based on Warhol's life and Bockris' biography. These include a potential script for Andy Warhol the Motion Picture and several annotated copies of the script Pop.

The Proposals and Drafts series is approximately .75 linear feet and documents an assortment of research on proposed subject including Ornette Coleman, Dennis Hopper, Fred Hughes, and Charles Plymell. Also included are collaborative pieces with Andrew Wylie like Which Way Did Doris Day Go? drafts of Bockris' shorter works such as Negative Girls and some of his Gadfly pieces. The Photographs series is approximately 2.25 linear feet. The photographs are primarily arranged by subject, including many of the subjects of Bockris' books (Ali, Blondie/Debbie Harry, Burroughs, Cale, Reed, Richards, Smith, the Velvet Underground, and Warhol). Photographs featuring unidentifiable or multiple subjects were filed under "Various." Additionally, there is a folder of negatives. Also included are three volumes of Bockris Contact sheets, chronologically divided into three binders, and covering 1972-2001 in total. Three more binders create the three volumes of Photographs by Victor Bockris, with each binder focusing on a different subject, Burroughs, Warhol, and Ginsberg respectfully. Finally, additional photographic materials may be found in the two oversize boxes, including the AliWarhol 24 Panel Piece, a Debbie Harry photograph, and various photographs. The Audiovisual subseries is approximately 2.5 linear feet, primarily containing cassettes of taped interviews conducted by Bockris. Of particular interest are interviews including Burroughs, Jaguar, Warhol, Ali, John Warhola (Warhol's brother), Buell, Harry, Stein, Cale, the Allen Ginsberg Memorial at the Poetry Project, Gerard Melanga, Legs McNeil, Roberta Bayley, Chris Whent, and Sterling Morrison. Also included among the cassettes are various published materials such as Lou Reed albums. In addition to the cassettes, a Terry Southern CD is also included. The VHS tapes found within this series are primarily published and feature Lou Reed. Similarly, the LPs in this series are all published. Most of these records feature Bockris' subjects including Blondie/Debbie Harry, Cale, Reed, and the Velvet Underground. Other notable individuals include Susan Sontag and Maureen Tucker. Cassette tapes from boxes 36 and 38 have been reformatted and CD use copies have been created. Use copies are located in boxes 45-47

Voltairine De Cleyre was a prominent anarchist poet, lecturer, and writer. This collection spans the years 1876 to 1914 and is made up of correspondence, manuscript and print poems and essays, and one photograph.

The Voltairine De Cleyre Collection is organized in four series: Correspondence, Manuscripts, Printed Materials and Photograph.

This collection is comprised of letters addressed to Ward Allan Howe (1900-1977), a New York Times travel writer, between the dates of 1936 and 1960. These letters have been saved for their noteworthy signatures. All of the letters are addressed to Howe except where noted. Acquired with 6,900 positive photographs, 4,289 color transparenices, and approximately 22,00 negatives. (The aforementioned visual material is housed separately as the Ward Allan Howe Photos.)

This collection contains two series of materials (1. letters to W. A. Howe; 2. various documents related to W. A. Howe) that were created between 1922 and 1972. The first series includes letters from Lucius Morris Beebe, Arthur Brisbane, James C Hagerty, Alfred Mossman Landon, and Elwyn Brooks White. The second series includes an article, crendentials, resumes, membership cards,

An anarchist and editor of Road to Freedom, Van Valkenburgh assisted Emma Goldman in typing and distributing her writings and correspondence. The collection documents his activities in the Socialist Party in Schenectady, N.Y.; as secretary for the Sociology Club, a group in Schenectady organized to study and debate social problems; as editor of Road to Freedom and Spanish Revolution; and as supporter of anarchist causes, including the Sacco-Vanzetti Case and the Spanish Civil War. There is a collection of articles by Van Valkenburgh and others, as well as correspondence with many radical leaders, including Leonard D. Abbott, Stella Ballantine, Gustav F. Beckh, Alexander Berkman, Karl Dannenburg, Hippolyte Havel, Herman Kuehn, Maximilian Olay, Upton Sinclair, and Carlo Tresca. Correspondence with Emma Goldman concerns her lecture tours, politics, his writing for Mother Earth, and her trial, imprisonment, and deportation in 1919. Also included are transcripts of debates, leaflets, and newspaper clippings.

The collection documents his activities in the Socialist Party in Schenectady, N.Y.; as secretary for the Sociology Club, a group in Schenectady organized to study and debate social problems; as editor of Road to Freedom and Spanish Revolution; and as supporter of anarchist causes, including the Sacco-Vanzetti Case and the Spanish Civil War.

There is a collection of articles by Van Valkenburgh and others, as well as correspondence with many radical leaders, including Leonard D. Abbott, Stella Ballantine, Gustav F. Beckh, Alexander Berkman, Karl Dannenburg, Hippolyte Havel, Herman Kuehn, Maximilian Olay, Upton Sinclair, and Carlo Tresca. Correspondence with Emma Goldman concerns her lecture tours, politics, his writing for Mother Earth, and her trial, imprisonment, and deportation in 1919. Also included are transcripts of debates, leaflets, and newspaper clippings.

The War Resisters League is a pacifist organization that promotes anti-war initiatives using nonviolent actions. The records contain scattered documentation of the activities of the organization from the late 1960s through the 1980s.

The War Resisters League records were acquired by the Special Collections Library in 2014. The records provide scattered documentation of the activities of the organization from the late 1960s through the 1980s. The collection includes textual material, audio and moving image material, publications, and artifacts that characterize the anti-war mission of the organization.

Two audio cassettes and six reel to reel audi tapes from box 10 have been reformatted.