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This collection documents the activities of Jacques Girard, who was an activist, organizer, and researcher of LGTBQ issues in France from the 1970s to the late 1990s. The collection consists of records relating to organizations that Girard was a part of, personal research papers, and manuscripts and print ephemera. Many of the materials are in original folders labeled by Girard. The collection contains three series: General Records, CUARH Records, and Research Records.

This collection documents the activities of Jacques Girard, who was an activist, organizer, and researcher of LGTBQ issues in France from the 1970s to the late 1990s. The collection consists of three manuscript boxes of records relating to organizations that Girard was a part of, personal research papers. These documents include correspondence, meeting minutes and articles of incorporation, press releases, flyers, manuscripts, financial statements, and newspaper clippings from 1975 to 1999. Many of the materials are in original folders labeled by Girard. The collection contains three series: General Records, CUARH Records, and Research Records.

The collection consist of copies of the author's two published books; about a third of his estimated fifty essays; several pamphlets; a limited series of mostly email correspondence dating from the turn of the millennium; and a small set of papers documenting workplace policies and politics. Of special interest are the thorough correspondence with George Salzman; the hard-to-find Autonomous Marxism: An Annotated Course Syllabus and Bibliography, by Harry Cleaver; and the set of documents pertaining to the Lucy Parsons Center.

The collection consist of copies of the author's two published books; about a third of his estimated fifty essays; several pamphlets; a limited series of mostly email correspondence dating from the turn of the millennium; and a small set of papers documenting workplace policies and politics. Of special interest are the thorough correspondence with George Salzman; the hard-to-find Autonomous Marxism: An Annotated Course Syllabus and Bibliography , by Harry Cleaver; and the set of documents pertaining to the Lucy Parsons Center.

The subject matter is diverse: topics include the destruction of capitalism, radical democracy, play, anarchism, health, the politics of protest, HIV and AIDS, commercial films, sectarianism, revolution, indigenism, majority rule, and schooling.

Many of the materials represented in this collection have been published on Mr. Herod's website http://jamesherod.info. Additional essays appear there, along with notes on a variety of topics.

It is hoped that one day additional materials from the website will be included in this collection. Noticeably missing from both locations are photographs, older correspondence, and any supporting ephemera or newspaper documentation.

Many items in the collection have been edited or annotated by Mr. Herod. Some have been written under pen name Jared James.

The James Herod Papers are arranged in four series: CORRESPONDENCE; ESSAYS; PUBLICATIONS AND BIBLIOGRAPHIES; and WORKPLACE ACTIVISM.

CORRESPONDENCE. The Correspondence series consists of personal correspondence as well as general correspondence in the form of open letters or participation in online forums. It consists mostly of e-mail written between 1998 and 2001. Personal correspondence consists almost entirely of email exchanged with George Salzman. General Correspondence includes open letters and participation in online forums.

ESSAYS. The collection includes 17 of about fifty essays spanning the author's adult life from 1968 to the present.

PUBLICATIONS AND BIBLIOGRAPHIES include the privately published Papers from the Struggle (1987) and Getting Free (1998 and 2007). It also includes the author's pamphlets and book reviews from What's Left in Boston . The collection includes a copy of Harry Cleaver's Autonomous Marxism: An Annotated Course Syllabus and Bibliography.

WORKPLACE ACTIVISM documents the author's time spent with the Boston Typographical Union, Dorchester Community News, and, most notably, with the Lucy Parsons Center (formerly the Red Book Store).

Other publications were donated with the collection but have been cataloged in other parts of the Labadie Collection. These include:

The New York City Star (first two issues)

What's Left in Boston (set of twenty-five issues)

Jill Boskey's The Split at The Liberated Guardian

Pamphlets and other materials from The Committee of Returned Volunteers

James Turner was the deputy attorney general for the Civil Rights Division of the Department of Justice from 1969-1994. This collection includes materials from his career with the Division, such as the work he did on the Viola Liuzzo murder case and the Rodney King Trial, as well as personal materials related to his own research and book drafts. Dates range from 1954-2014 and are arranged into sections based on the Civil Rights Division's Organization.

The James Turner Papers details Turner's career with the Department of Justice, Civil Rights Division. A small portion of the collection also includes materials from Turner's education and his personal research, such as the work he did for his two published books. Because most of this collection details the Civil Rights Division, it has been arranged to mirror the sections of the Civil Rights Division, with an additional section for materials that span across the Division. The majority of the collection are paper documents, with a small collection of cassette tapes, VHS, and photographs. This is not a complete history of the Civil Rights Division, but are the records of a former employee and so is focused on the work that Turner participated in for the Division. Significant topics include: the Viola Liuzzo Murder, the Rodney King trial, Gary T. Rowe, Kent State, and COINTELPRO.

The Jean Fagan Yellin/Harriet Jacobs Research Collection (1855-2017, majority between 1968-2010) spans approximately 10 linear feet with 7 series covering the work done by Jean Fagan Yellin on Harriet Jacobs and related materials on slavery, abolitionism, and feminism. The collection includes correspondence, drafts, reports, notes and annotations, clippings, photographs, and various research files collected, created, and utilized for Yellin's research, writings and publications, and speaking engagements to public and scholarly audiences. Notable materials include extensive evidence of Yellin's engagement with public and scholarly audiences on topics related to Harriet Jacobs, research files and other materials related to Harriet Jacobs and individuals originating from the 1800s and descendants, and files including correspondence proving the authenticity of "Incidents in the Life of a Slave Girl" as an autobiographical work by Harriet Jacobs.

The Jean Fagan Yellin/Harriet Jacobs Research Collection is approximately 10 linear feet and contains materials between 1855-2017 and primarily between 1968-2010. The collection focuses on the work of Jean Fagan Yellin with most attention to Yellin's research and engagement regarding Harriet Jacobs through correspondence, research files, drafts, reports, clippings, photographs, clippings, and other collected materials.

Other notable topics include her works on antislavery, abolitionism, and feminism during the nineteenth century through additional writings, drafts, and research that would connect with Yellin's work on Harriet Jacobs. Notable strengths of the collection include files related to extensive outreach efforts to public and scholarly audiences about Harriet Jacobs, research files with notes and other documentation including those created during Harriet Jacobs' lifetime, correspondence with the North Carolina archivist George Stevenson in researching "Incidents in the Life of a Slave Girl", and a 1993 interview with Dr. William Knox Jr., a family member of Harriet Jacobs.

Audiovisual materials in the collection have not been digitized.

Jean Fagan Yellin also used extensive abbreviations to describe various professional associations, organizations, projects, and titles within individual files and folder names such as the following:

AAUW: American Association of University Women AHA: American Historical Association ALA: American Literature Association ASA: American Studies Association CAAR: Collegium for African American Research CLA: College Language Association EIAAT: European Imprints of African American Texts HJFP: "Harriet Jacobs Family Papers" ILSG: "Incidents in the Life of a Slave Girl" MELUS: Society for the Study of Multi-Ethnic Literature of the United States MLA: Modern Language Association NCFA: National Collection of Fine Arts, now Smithsonian American Art Museum NEH: National Endowment for the Humanities NEMLA: Northeast Modern Language Association NHI: National Humanities Institute NYC: New York City Humanities Program OHA: Organization of American Historians SHA: Southern Historical Association

J. Louis Engdahl (1884-1932), editor and journalist, was an advocate for labor, socialist, and communist causes. The collection includes letters Engdahl wrote to his wife and daughter, trial transcripts, photographs; Engdahl's original writings; and published works in various formats. Also included are memorabilia, clippings, pamphlets, and other printed material, and artwork.

The J. Louis Engdahl Papers (6.5 linear feet) are divided into seven series: Correspondence, Writings, Chicago Socialist Trial, Scottsboro Trial, Photographs and Artwork, Personal and Memorabilia, and Printed Material.

Highlights of the collection include the letters Engdahl wrote to his wife and daughter, in which loving epithets and stories of day-to-day life mingle with accounts of his work and that of other prominent labor, socialist, and communist figures. The collection contains several pieces of Engdahl's original writings, along with numerous published works in various formats. Causes for which Engdahl fought, both on his own behalf and that of others, are documented through letters, clippings, trial transcripts, and images. Over sixty photographs, as well as various pieces of personal memorabilia, depict both family life and professional associations. Also of note is a portrait of Engdahl by the artist Mitchell Siporin.

A note on names: Throughout the collection, certain individuals are referred to by various alternate names and nicknames. Engdahl himself went by "J. Louis" or more informally, "Louis," rather than his given name of "John." Sophia Levitin Rodriguez is addressed variously as "Sophia," "Sophie," "Sonia," and even by her middle name, "Vera." As mentioned in the biographical portion of this finding aid, Pauline and Louis Engdahl's daughter is also named Pauline. To avoid confusion, within this finding aid, Engdahl's wife is referred to as "Pauline Levitin Engdahl" and their daughter as "Pauline Engdahl." Pauline Engdahl had the family nickname of "Chootch," with variants "Chootchie," "Chuche," etc.

These materials were collected during American writer Kay Boyle's time in Cambodia from 1966-1980, reporting on the impact of the Vietnam War.

The papers in the Kay Boyle collection cover the following areas: typed drafts with corrections of her Cambodia assignment for the Progressive. Photos taken during her trip to Cambodia in late July 1966. The first of two folders containing photos reflects various aspects of a public gathering where Boyle can be seen seated in front along with members of Americans Want to Know. The second folder contains photos of war damage shot by the delegation during their tour in the countryside. Other materials include private letters to Boyle from friends, including a friendly letter from Joan Baez (postmarked November 1989), writing about her writing and her visits to Redwood City volunteering in an AIDS clinic, among other things. Also included are institutions and newspaper clippings on Boyle's long time friend, Frances Steloff including black and white photographs of Steloff. Steloff is the founder of Manhattan's Gotham Book Mart and patron of alternative authors such as Henry Miller, Marianne Moore and Kenneth Patchen. Other than a letter from the managing editor of the New York Times, in which the Cambodia trip is mentioned, these items have no connection to the Cambodia assignment. The papers are placed in one box containing six folders. The photos provide a glimpse of cultural and political life at the time. They capture considerable Buddhist presence including rituals in which Prince Sihanuk is a participant. The photos also document public opulence associated with a royal procession, as well as intimate interaction between the Prince and his civilian and military constituency. In the countryside, the photos provide images of rural life and the collateral damage resulting from US bombing. The Cambodia photos, and photos of Frances Steloff at her centennial, are the heart of this collection. However, they are not unique, for similar photos permeate the public record. Similarly, the drafts of Boyle's assignment contain scant corrections that add little to the discourse on Boyle's style. The drafts resemble the article published in the Progressive. The archival value of this collection is limited to the black and white photos.

The Subject Vertical Files consist of approximately 7,500 folders containing ephemeral materials such as flyers, handbills, leaflets, and clippings on a variety of topics centered on radical history and social protest. Each folder is named with a topical descriptor, most of which take the form of a subject heading like one of the following: Anarchism -- Conferences -- Michigan Civil liberties -- Blacks -- Mississippi Colonialism and Imperialism -- Africa Labor -- International Organizations -- IWW -- Strikes -- Textile Peace Corps -- Committee of Returned Volunteers (CRV) -- Vietnam Spain -- Civil War -- International Brigades Youth and Student Protest -- Students for a Democratic Society (SDS) -- Michigan

This collection contains material related to the Ann Arbor- and University of Michigan- based magazine the Leaping Lesbian, which grew from a local to national profile over the course of its publication. Although the records contain little information on the magazine's administrators, they provide a descriptive view of both the local and national lesbian community. The publications themselves reflect these communities through submitted articles, letters to the editor and news releases. Business correspondence vividly portrays the growing network of lesbian and women's enterprises in the late 1970s. And personal correspondence shows the emergence of a similar network within the social community.

The Leaping Lesbian Records are comprised of materials relating to the publication and the administration of the Leaping Lesbian publication, from 1977 until 1981. Although they adequately reflect the operations behind the publication, little information is present about the women who made up the collective. Meeting minutes hint at strained relationships and uneven workloads, but conclusive evidence as to why the collective disbanded is missing. The records do, however, provide a descriptive view of both the local and national lesbian community. The publications themselves reflect these communities through submitted articles, letters to the editor and news releases. Business correspondence vividly portrays the growing network of lesbian and women's enterprises in the late 1970s. And personal correspondence shows the emergence of a similar network within the social community. Overall, the records of the Leaping Lesbian collective display a lesbian community growing increasingly self-assured. Although an attempt has been made to follow the collective's original organizational system, a few changes have been made in order to make the records more easily accessible. File folders, most maintaining the originally designated titles, have been arranged alphabetically within series. Materials within files have been arranged chronologically. Records containing no identifying date have been placed in front of marked records with file folders. The records are organized into four series: Publication Materials, Organizational Materials, Financial and Legal Materials and Previously Unopened Incoming Correspondence. The Publication Materials Files contain all materials related to the publishing aspect of the organization. Included are contributed materials, press releases, and layouts of publications. The Organizational Materials Files contain all material related to the administration of the organization. Included are incoming correspondence from both businesses and patrons, mailing lists, meeting agendas and minutes, as well as advertising and sales information. The Miscellaneous Memorabilia folder in this series includes flyers and publicity photographs from various organizations and events. The Financial and Legal Materials Files contain all material related to the financial and legal operations of the organization. Included are financial and legal papers, receipts, account statements and records of subscriptions. The Previously Unopened Incoming Correspondence Files contain material that arrived at the Leaping Lesbian office after the final disbanding of the organization. This is the only series that does not reflect the collective's original organizational system. Included is correspondence from businesses, correspondence from patrons and national event notices and press releases.

This collection contains materials about the gay communities of Ann Arbor and San Francisco, primarily in the 1970s and early 1980s. The materials were collected by Lionel Biron, who as a graduate student in Ann Arbor was instrumental in the founding of the Graduate Employees Organization and the Gay Community Services Center. The bulk of this collection relates to gay and artistic life and political activity in Ann Arbor, but San Francisco is also represented. The final series includes Biron's books of photography.

The bulk of the material deals with Biron's political and artistic activities in Ann Arbor. These include documents and correspondence related to the founding of the Gay Community Services Center (GCS), as well as flyers (many designed by Biron) for events and handouts from consciousness-raising sessions. The Ann Arbor series also includes folders related to Tristain Tzara (about whom Biron curated an exhibit in Hatcher Graduate Library) and Fernando Arrabal (whom Biron interviewed in Ann Arbor). The San Francisco series consists primarily of posters and flyers for events. Another highlight is a folder of materials related to the magazine Gay Sunshine, including correspondence between Biron and Winston Leyland. Although some of the collection dates from the early 80s, there is no material related to HIV/AIDS. Biron's own books of photography, and some of his work published elsewhere, comprise the last series.

Papers of Ann Arbor artist, writer, and musician who specialized in artwork involving bondage, fetishism, sadomasochism, cross-dressing, and transsexuality. Included are correspondence, personal items, original artwork, original writings, photographs, scrapbooks, and audiovisual materials.

The Personal series contains various personal effects of Middlesex, including driver's licenses, yearbooks, journals, a coffee mug, a pair of high-heeled shoes, and a false eyelash. Photographs of Middlesex and others in her life are included in this series, including a limited number of projector slides.

The Name and Topical series contains a wide variety of materials from across the course of Middlesex's life. This series contains all correspondence between Middlesex and others which ranges from the mid-1980s to the early 2000s. The correspondence files are organized based on the last name of the correspondent. Correspondence range varies, from some folders only containing one letter to other files which contain letters mailed over a period of years. Where a photograph was found with a particular letter, it is in the same folder as that letter. Some folders, such as those of Bill Johnson and John Anton Lang, contain original artwork and collages by those people. An Unidentified folder contains letters to Middlesex that were either not signed at all or not signed legibly. Other than personal correspondence, a couple of folders, including Jeri, Versatile Productions, Inc., and Smoke Signals, involve her business dealings with the magazines in which she published. The Name and Topical series also contains magazine and newspaper clippings organized thematically. This series also includes documentation of a presentation that Middlesex gave to a University of Michigan psychology class about cross-dressing. This particular subseries includes many photographs, papers written by students based on the presentation, and Middlesex's own recounting of the experience.

The Writings series contains writings by Lisa Middlesex. These include fictional short stories, some previously organized into a series by Middlesex. There are also a range of songs written by Middlesex, some including musical notation. The Jokes subseries includes jokes written by Middlesex, most likely for future publication. The Autobiography subseries consists of the first few pages of a planned autobiography by Middlesex. Three issues of the magazine "Reflections" in which Middlesex published her art are also included in this series.

The Scrapbooks series is comprised of twelve scrapbooks constructed by Middlesex out of bound sketchbooks. The Scrapbooks are fairly uniform in their content, in that they include magazine and newspaper clippings and Middlesex's own writings, drawings, and sketches. Scrapbook 12, filled with magazine, comic book, and newspaper clippings, appears to have been used for the purpose of illustrated models for Middlesex's artwork.

The Photographs series contains photographs of unidentified people other than Lisa Middlesex. Most of these photographs were sent to Middlesex along with correspondence from people responding to personal advertisements she placed in magazines, though they did not accompany particular letters in the collection and are not signed. Many are of an erotic or sexual nature.

The Photograph Albums series consists of albums of photographs of Middlesex and other individuals in her life. In the first subseries, half of the albums contain photographs of a primarily sexual and erotic nature. The other half of the albums in the second subseries contains various non-sexual photographs. One of the albums, Album 10, appears to have been the only one assembled by someone other than Middlesex and given to her as a gift.

The Audiovisual series contains both videotapes and musical audiocassette tapes. The videotapes are primarily of an erotic or sexual nature, most featuring transgender individuals and/or sadomasochistic and bondage themes. A few videotapes are mainstream films and television shows.

The Artwork series is the largest series in the Lisa Middlesex Papers. Her artwork spans a wide variety of genres and formats. She made sketches, drawings, paintings, and collages. Her themes include bondage, sadomasochism, smoking fetishism, other erotic drawings, cross-dressing, transsexuality, comic books, superheroes, and science fiction and fantasy. She also created art and promotional materials for musical acts, including her own band, The Wild Prayers. A subseries includes a wide variety of original artwork by others. This series is organized by topic and then by size within each topic. Some subseries, though, were created by Middlesex while still in her possession. Many of the subseries also include photocopies of the original artwork.