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Ann Arbor German-American family, owners of the Allmendinger Organ Company which later became the Ann Arbor Organ Company. Correspondence, scrapbooks, family genealogy, photographs concerning family affairs, materials on Helene Allmendinger's radio show, examples of spirit messages received by Helene Allmendinger from deceased family members; information pertaining to the Ann Arbor Organ Company, and family members still living in Germany.

The collection is divided into the following series: Family records and correspondence; Helene Allmendinger papers; Ina Allmendinger papers; Ann Arbor Organ Company; Harriet Birch papers, Other family members; Miscellaneous, and Photographs.

American poet; co-founder of the Jack Kerouac School of Disembodied Poetics at Naropa University. Papers include correspondence, poems, essays, photographs, art, biographical material, and audiovisual materials.

The Anne Waldman Papers were purchased by the Special Collections Library in 1998. Periodic additions to the collection have been made.

The papers document Waldman's personal and professional life from childhood to adulthood in great detail, and provide a rich and unique source for the study of American poetry. The collection includes textual material, photographs, audiovisual material, and artwork that extensively document Waldman's writing, publishing and performance efforts; her administrative leadership and teaching activities at the Poetry Project at St. Mark's Church-in-the-Bowery and Naropa University's Writing and Poetics program; and her relationships and interactions with a remarkable number of prominent poets, writers, and artists.

The Biographical series (approximately .5 linear feet) contains biographical summaries written by Waldman and others, resumes, travel and work itineraries, and publicity material such as press releases, pamphlets, and quotes and "blurbs" for books.

A highlight of the series is Waldman's autobiographical essay and drafts for the Contemporary Authors' series. A small folder of poems written about Waldman is also included. The researcher should note that additional material written about Waldman can be found in the Correspondence and Name File Series.

The Correspondence and Name File series (25 linear feet of material, divided into several subseries) provides insight into Waldman's professional activities and relationships, and her personal relationships with many poets, writers, and artists. Poets including Allen Ginsberg, Ted Berrigan, Joe Brainard, Tom Clark, Diane di Prima, Kenward Elmslie, Joanne Kyger, Bernadette Mayer, Ron Padgett, and many others are well represented in the series, as are visual artists such as Alex Katz, Jasper Johns, Robert Mapplethorpe, Larry Rivers, and James Rosenquist. Material in the Correspondence and Name File was created during Waldman's college years and adulthood (approximately 1962-1999). Correspondence from Waldman's childhood and teenage years, and correspondence with family members can be found in the Early Years and Family series respectively.

The Name File subseries is an alphabetical file consisting primarily of more prominent personalities and frequent correspondents. Although the bulk of the material in the Name File is correspondence, manuscripts and other material created by or related to the person listed may also be found in the files. Where large amounts of material related to a person exist, the type of material has been grouped by genre and indicated separately in the finding aid. In cases where the type of material is not listed separately, the file contains mainly correspondence, but may also include small amounts of other material, most likely manuscripts. The researcher should note that some manuscripts submitted to Waldman and a small amount of correspondence related to Waldman's specific publishing ventures or specific subjects have been left with the appropriate subject file or organizational records.

The Miscellaneous Correspondence subseries contains more routine correspondence. This subseries is arranged alphabetically.

The Unidentified and Fragments subseries consists of approximately .75 linear feet of material from correspondents who did not identify themselves, identified themselves by their first name only, or whose signatures were illegible. This material is arranged chronologically, and is divided in to unidentified correspondence and unidentified manuscripts. Although every effort was made to arrange correspondence in the appropriate place in the Name File and Miscellaneous Correspondence subseries, researchers interesting in viewing all the correspondence from a particular person may want to examine the Unidentified and Fragments subseries.

The series also includes two folders of Anne Waldman's outgoing correspondence, as well as several folders of printouts of Waldman's outgoing and incoming email. The email correspondence spans the years 1997 and 2009. Researchers should note that there is substantial overlap between the Email and Correspondence and Name File subseries.

The Writing series (11 linear feet) consists of Anne Waldman manuscripts and other material, such as correspondence, administrative files, and ephemera, related to her writing. This series is divided into five subseries: Early Work; Fiction; Essays, Speeches, and Interviews; Poetry; and Contributions to Other Works.

The Fiction sub-subseries is divided into Drama and Short Stories. Much of this material is also early work, from Waldman's college years or shortly thereafter. Within Drama and Short Stories, the pieces are arranged alphabetically by title.

Essays, Speeches, and Interviews comprises Waldman's prose work, consisting of essays, articles, speeches and addresses, and interviews, as well as book blurbs, introductions, forewords, and reviews. Many of these pieces exist in various stages, from handwritten notes to published articles. The Essays grouping contains essays and articles written for various publications. The Speeches grouping, arranged chronologically, consists of speeches and speaker introductions made by Waldman at various events. Undated material is located at the end of the section. The Interviews grouping is divided into interviews of Anne Waldman by others, arranged chronologically, and interviews of others, which for the most part have Waldman as either interviewer or co- interviewee. These interviews are arranged alphabetically by name of interviewee.

Also included in the Essays, Speeches, and Interviews subseries are "Biographical Sketches" of other authors. (Biographical and autobiographical sketches of Anne Waldman can be found in the Biographical series.) Most of these sketches appear to have been written by Waldman, although some were contributed by the authors themselves. In addition, the researcher will find a Notes grouping, made up of Waldman's loose collected notes, both literary jottings and everyday work lists. Some of the notes are of unknown authorship, although a few appear to have been Reed Bye's.

The Poetry subseries is divided into two sub-subseries, Published Works and Single Titles. Although Waldman's poetry can be found throughout the Writing series--and indeed throughout the entire collection--the bulk of it resides here. Published Works incorporates Waldman's stand-alone or collected works, most but not necessarily all of which have been published. The Published Works sub-subseries begins with an Alphabetical File containing Waldman's shorter works intended for publication. These files are arranged alphabetically by title.

A Collaborations section of collaborations between Waldman and others, and a Translations section, with a small number of works by others which Waldman translated or helped translate into English are also included in the Published Works subseries. The Collaborations section is arranged alphabetically by collaborator. The translation section contains only three works, which are arranged alphabetically according to the original author.

The Published Work subseries also contains three linear feet of separate material for Iovis I, II, and III and Kill or Cure. This material consists generally of original manuscripts (handwritten drafts and typescripts) of single poems, drafts of the whole work, proofs, and a small amount of related correspondence. The Iovis I and Iovis II files strongly reflect Waldman's work process for the creation of these long, fragmentary epic poems. Namely, the Notes Drafts, and Research Material files, which have been left almost as-is, consist of seemingly randomly arranged clippings, correspondence, previously written material, and many different current drafts, merged together. The researcher may find this portion of the collection difficult to use, owing to its haphazard arrangement. Items which seemed of special significance have been flagged or pulled and foldered separately, the "Questions for men for Iovis" being one example. In some cases, the original has been removed and placed elsewhere within the collection. Details are noted in the contents list. Among these items are poems by Waldman's son, Ambrose, and letters written by Anne Waldman's grandfather to his future wife (due to extremely their fragile condition, the originals have been removed and placed in separate storage). The other portions of the Iovis material present a clearer arrangement, consisting as they do of draft and proof copies of the entire work. The Iovis III portion to date is quite small, consisting only of a version of Waldman's journal entries from a trip to Vietnam in 2000.

The material used in Kill or Cure has a clearer organization, although it should be noted that much of the content and order within the "Drafts/Collected Poems" portion remains unclear. It was impossible to ascertain whether some of the pieces included in the original folders labeled "Kill or Cure" were originally intended for the book and not used, or if they became misfiled. Too, some material may be missing, removed by the author from its original location in order to be used for other purposes, such as the creation of Iovis II . In fact, there is considerable overlap between some of the material in Iovis and Kill or Cure, the latter being published in between Iovis I and Iovis II .

Single Titles consists of the many loose poems that were originally scattered throughout the collection and which could not be easily placed within the context of a larger work. They are arranged alphabetically by title or first line. There are several folders of poem fragments as well, found at the end of this grouping. In the case of some of these poems, it has been difficult to ascertain whether they are in fact fragments or are rather complete, untitled poems. In general, when the title of a poem has undergone changes, all of the drafts of that poem have been grouped under what appears to be the latest version of the title. There may, however, be some exceptions to this arrangement.

Contributions to Other Works is a small subseries consisting of pieces which Waldman wrote for publication in larger works by other authors. Both poetry and prose works are represented here.

The Journals and Notebooks series (5 linear feet) consists of more than 110 journals, notebooks, appointment books, and address books kept by Anne Waldman. (For the sake of convenience, all of these items are referred to here as "journals.") A small number of journals kept by others is also represented. The journals offer a diverse array of content, from random jottings and to-do lists, to literary notes and drafts, to intensely personal diaries. In some cases distinct literary pieces have been recorded, and sometimes the line between journal and handmade book is somewhat blurred. There are collaborative works, such as those with Bill Berkson and Reed Bye. Other pieces were clearly written for friends such as Joe Brainard, Jim Carroll, and others.

The Journals and Notebooks series is broken into two subseries, Anne Waldman and Others, representing journals kept by Waldman and journals kept by others. The Anne Waldman subseries is arranged chronologically by decade, from the 1960s through the 1990s. There are many undated journals as well. The Others subseries contains journals by Lewis Warsh (including one that was co-written with Waldman) and journals very likely by Reed Bye. Of note within one of the journals from the 1970s in the Anne Waldman subseries is a drawing of Anne Waldman made by Bob Dylan.

The Editing and Publishing series (approximately 12.5 linear feet) is comprised of Anne Waldman's work in editing and publishing, often as a joint venture with those in her circle. The most important subseries, Small Press and Little Magazine, represents her work with The Poetry Project at St. Mark's Church-in-the-Bowery, Angel Hair, Full Court Press, and Rocky Ledge. For the most part, all of the Small Press and Little Magazine files consist of a mixture of the literary--manuscript contributions, drafts, mockups, proofs--and the administrative--reports, correspondence, sales and expense records, and so forth.

Perhaps the most significant portion of Small Press and Little Magazine, the Poetry Project grouping is divided into General, Adventures in Poetry, The World, and St. Mark's Church. "General" consists of correspondence; administrative material such as reports, notes, and budgets; poster, flyers, and other performance-related material, including speeches and introductions to Poetry Project events. Correspondence is related to the running of the Poetry Project, the newsletter in particular. Much of this correspondence appears to have been managed and kept by Frances Waldman, who edited the Poetry Project Newsletter from 1976 to 1978. There are also loose poems, which were printed and distributed singly, and many issues of the Poetry Project Newsletter (although not a complete run), along with original manuscript submissions for the newsletter.

Adventures in Poetry was a mimeographed literary magazine edited and published at St. Mark's Church by Larry Fagin using Poetry Project resources. A small number of submissions and publications appear here.

The most important division within the Poetry Project grouping are the files relating to The World, the magazine of the Poetry Project, which Waldman directed from 1968 through the late 1970s. Included are what can loosely be labeled "Administrative Material" as well as Submissions. Two files of Administrative Material are topical in nature, including an Author-title Index from 1979. In addition, there are the usual minutes, mailing lists, and the like. Submissions are for the most part arranged alphabetically by author. There are also two folders with material specific to individual issues of The World . Items of unknown authorship are placed at the end of these files. The researcher may find the aforementioned Author-title Index of some assistance in identifying these submissions.

"St. Mark's Church" refers to items which are church-specific; that is, related to St. Mark's as a religious institution or physical entity rather than to the Poetry Project: Such concerns as building preservation and restoration, youth projects, and church services are covered. Much of this material appears to have been maintained by Frances Waldman, including but not limited to files which are labeled as hers.

The Angel Hair files consist of material from Angel Hair Books and Angel Hair magazine, both of which Waldman co-founded and co-edited with Lewis Warsh. Press and magazine materials are commingled. Angel Hair is divided into Catalogues, Administrative Material, Proofs, and Submissions.

Full Court Press, which Waldman started with Ron Padgett and Joan Simon, was dedicated to publishing quality editions of out-of-print works. The volume of material in this collection is quite slim, consisting of only one folder.

Rocky Ledge refers to the mimeographed magazine, Rocky Ledge, which Waldman started with Reed Bye in Boulder. It was published in eight issues from 1978 to 1981. Some books were also published through Rocky Ledge Cottage Editions. There is a folder of general Administrative Material and another slim folder of manuscripts published by Rocky Ledge Cottage Editions. In keeping with the original organization of the material, the rest of the files are arranged by the individual issue of Rocky Ledge , with administrative materials mixed in with each issue of the magazine. Types of material found in the Rocky Ledge files include draft or mockup versions of the magazine; manuscript submissions; correspondence; cover art, both originals and facsimiles; receipts; and editors' notes. In some cases, the original manuscript submissions appear to have been used in the creation of the draft versions of the magazine. A separate division deals with submissions that were either not used in Rocky Ledge, may not have been intended for use in Rocky Ledge in the first place, or are unidentified.

Also included is a small amount of material labeled "Cherry Valley." Waldman summered in this small New York town in the late 1970s, Waldman's family and Allen Ginsberg maintained houses there for a time, and some work produced by Waldman and her circle was published by "Cherry Valley Editions." However, the exact nature and extent of literary activity from this period and location is unclear, and extant files in this collection are unrevealing.

The rest of the Editing and Publishing is divided along the lines of the individual book titles which Waldman edited or co-edited: The Beat Book, Nice to See You, Out of This World, Talking Poetics, and Disembodied Poetics.

The Beat Book files consist of some correspondence and, primarily, a draft version and a proof version of the work. Nice to See You, which is a tribute to poet Ted Berrigan, consists mainly of submissions by friends of Berrigan's. There are also files of background material, notes, a small number of photographs, correspondence, a draft, proofs, and publicity and reviews. Out of This World is an anthology of work from The Poetry Project. The Out of This World files consists of correspondence (dealing mainly with publishing permissions), early versions of the preface and introduction, drafts, and proofs.

Both Talking Poetics and Disembodied Poetics are anthologies of lectures delivered at Naropa University by Writing and Poetics Department faculty and visiting poets. These files are comprised mainly of transcripts of these lectures; manuscript reworkings and revisions by the authors; correspondence between authors, editors, and publishers; and various drafts of the whole work. In some cases, the name referenced in the correspondence file is the subject of the correspondence rather than its author. Administrative material is also included.

In the Talking Poetics files, the Drafts and Proofs section is divided into Early Work and Complete Drafts. Much of the Early Work section is fragmentary in nature, in particular, the Early Drafts material. Although at some time all of the individual pieces of Early Drafts were collated and paginated, much is missing or has been placed elsewhere. The existing pieces are now arranged alphabetically by author. Particularly noteworthy in this section is a handwritten John Cage score, a part of his work Lecture IV. Complete Drafts are arranged by page number.

The Disembodied Poetics files are arranged in a similar fashion, with individual pieces placed in the Early Contributions and Ideas and Early Drafts portions and later, more complete drafts arranged in or nearly in book order. It should be noted that the designations of the drafts as "A," "B," and "C" were assigned during processing and do not necessarily reflect chronological order. The order within each draft follows the table of contents for that draft, none of the drafts being paginated as a whole.

The subseries, General Publishing, consists of miscellaneous contracts, proposals, copyright application material, and financial material covering royalties, honoraria, book sales, and so on. The Unpublished material subseries consists mainly of miscellaneous pieces of writing that could be part of books that are published or unpublished or drafts of works with an unknown title.

The Naropa series (8 linear feet) consists of material related to Waldman's involvement with the Naropa Institute, now Naropa University, in Boulder, Colorado. It is comprised of the following subseries: Course Material, Administrative Material, Conferences and Panels, Publications, Printed Material, Other Teaching Activities, and Personal.

Course Material is divided into the following sub-subseries: Anne Waldman, Others, and Summer Writing Program. Anne Waldman course material is arranged chronologically and topically and contains many sourcebooks or bound copies of readings for her classes. Course material of others is arranged primarily chronologically, as is, for the most part, material from the Summer Writing Program. The Summer Faculty and Visiting Poets folder under Course Material includes contracts, correspondence and resumes from guest lecturers such as Amiri, Baraka, Ted Berrigan, Diane Di Prima, Tom Clark, Robert Creeley, Kenward Elmslie, Joy Harjo and Harry Smith and is organized alphabetically. Administrative Material is divided into General, Writing and Poetics Department, and Summer Writing Program. Within all levels of the Administrative Series can be found correspondence which includes emails, memos, minutes and reports, planning material, notes, etc. "Early Planning Material" within the Writing and Poetics Department files includes documents penned by Anne Waldman and Allen Ginsberg which formulate aspects of the founding of the Jack Kerouac School of Disembodied Poetics. Also included in the Writing and Poetics files are departmental newsletters. Student and instructor evaluations also appear. Evaluation files, barring those of Anne Waldman, are closed due to privacy legislation and concerns.

Conferences and Panels consists of notes for talks given at Naropa along with transcripts and schedules. Speeches and Interviews covers those speeches and interview given at Naropa, although there may be some overlap with material in the Writing series. Speeches are arranged chronologically. "A Declaration of Interdependence," although grouped with Speeches, is not a speech per se, but rather a protest document mirroring in structure the Declaration of Independence. It was penned by multiple authors, including many Naropa faculty members as well as other poets and activists. Interviews are listed alphabetically by interviewee.

Publications consist of Campus Periodicals (student newsletters and literary magazines); Class Publications, including those of the Summer Writing Program; and a small number of works by faculty members. Printed Material consists of Catalogs and Brochures; Posters, Flyers, and Programs; and Clippings. Arrangement at the folder level is chronological. Additional class publications can be found within the Course Material subseries.

In addition to her role at Naropa, Waldman has taught at several other institutions. These activities are reflected in the Other Teaching Activities subseries, which includes work at the Schule für Dichtung in Vienna and the Stevens Institute of Technology in New Jersey, among other institutions. Because the bulk of Waldman's teaching activities is tied up with Naropa, these files are included within the Naropa series. Material for each institution is arranged chronologically.

The final subseries of the Naropa series is Personal, which includes ephemera, correspondence, topical files, contracts, and notes. Correspondence is both incoming and outgoing and consists of both Naropa-related 'official' correspondence that is addressed solely to Waldman and correspondence that is personal in nature but which refers to Naropa (here, there will naturally be some overlap with Waldman's correspondence in the Correspondence and Name file series). Material within folders is arranged chronologically.

The Other Activities series is comprised of 1 linear foot of material, and documents Waldman's activities outside of writing and publishing. The series includes material related to conferences and festivals that Waldman attended or participated in, as well as material related to Bob Dylan's Rolling Thunder Revue Tour, various video and audio recording projects, and attempts to sell Waldman's archive, or portions of it. The series also includes a significant amount of material documenting Waldman's involvement in social protest issues.

The Personal series is a topical file consisting of 1.5 linear feet of material not primarily related to Waldman's writing or professional activities. Material documenting Waldman's interest in Buddhism and her 1967 wedding to Lewis Warsh can be found in the series. Of particular note is a collection of memorabilia, including material from Waldman's travels, and various playbills, museum programs and ticket stubs. Legal and financial records, as well as various and unidentified notes, jottings and telephone messages, are also included in this series.

The Early Years series contains 2 linear feet of material documenting Waldman's school years, as well as her early interests in writing, acting and drama. The series includes material from Waldman's elementary school, middle school, high school and college years. Early writings can be found in each of the Pre-High School, Friends Seminary and Bennington College subseries, as well as the Early and Unidentified Writings subseries. Highlights include childhood and family newsletters titled "Our Life and Times" and "The Penguin News," school publications in which Waldman was first published, production material from Waldman's high school newspaper (of which she was editor), and manuscripts and typescripts of early poems. The Friends Seminary and Bennington College subseries contain class notes and papers, a high school report card, college grade reports and other school-related material. The Bennington College subseries also includes correspondence and notes from Howard Nemerov and other professors.

The Acting and Theater subseries includes material from various productions, theater companies and organizations with which Waldman was involved in the 1950s and 1960s. The Correspondence subseries consists primarily of correspondence from Waldman's middle school and high school friends, but also includes a folder of notes that appear to be notes passed in class. This folder also includes school love poems that appear to have been written for Waldman. The Early and Unidentified Writing subseries consists primarily of unidentified or undated material that could not filed with the other subseries.

The Family series (approximately 4 linear feet and 1 oversize box) includes material related to Waldman's mother, father, brother, son and other relatives.

The bulk of the series is comprised of material created by, or related to Waldman's mother, Frances Waldman. The Frances Waldman subseries includes 1.5 linear feet of correspondence between Waldman and her mother, spanning the years 1958-1981. Several folders of Frances Waldman's correspondence with other people, including many New York poets and writers, can also be found in the subseries.

The subseries also includes several folders of Frances Waldman's manuscripts, translations and miscellaneous material. Although the majority of the material related to other family members is correspondence, manuscripts and other material can also be found in the series. Of special note are the manuscripts found with the Ambrose Bye material, which include some poems written with or transcribed by Anne Waldman.

The Handmade Books series (3 linear feet) is comprised of one-of-a-kind books made by Waldman and her friends. Often they were presented as gifts on special occasions. They are divided into three subseries: Anne Waldman, representing books by Waldman; Collaborations, representing collaborations between Waldman and others; and Others, that is, works by others.

Included in Others are books printed at Naropa University either through a print workshop or class, or through the school's Kavyayantra Press. Within the Waldman subseries, books are listed alphabetically by title, with untitled books at the back. Collaborations, all of which have Waldman as a coauthor, are arranged alphabetically by the collaborator's last name, as are works in the Others subseries.

Many of the handmade books bear inscriptions indicating maker, recipient, date, and other information, which has not been included in the contents listing. Included in the Handmade Books series are some limited edition volumes, such as those produced by Waldman's Erudite Fangs Press.

The Printed Material series (4 linear feet, 1 oversize box, and 1 portfolio) encompasses the subseries Broadsides; Posters, Flyers, and Programs; and Clippings. Broadsides are broken down into those by Anne Waldman, Collaborations (between Waldman and others), and Others--that is, works by others. Within these divisions, work is arranged alphabetically, first by author, then by title. Also included in Broadsides are postcards and bookmarks printed by various small presses. Oversize broadsides are housed separately.

Material in the Posters, Flyers, and Programs subseries is for the most part grouped chronologically. Separate, topical divisions have been made for undated material. Small press book catalogs and newsletters are included as separate divisions. Oversize posters are housed separately. The section labeled "Newsletters" consists of should really be viewed as a set of clippings, consisting as it does of single issues of various newsletters and some journals, most of which appear to have been saved for particular articles.

Clippings are arranged in rough chronological order by decade, where date is known. The vast majority of the clippings pertain to Waldman and her circle, although some clippings reflect topical interests. Some of these appear to have been saved by Waldman's mother, Frances LeFevre Waldman. In some cases, whole publications have been saved, either due to their content or to their rare or unusual nature.

Art (1 linear foot, 10 oversize boxes, and 1 portfolio) is made up of artworks by Waldman and her family and friends, as well as various pieces she has collected over the years. Work in many different media exists, including prints, paintings, sketches, drawings, and collages. Much of Waldman's work consists of prints done while a student at Bennington College. There are also exquisite corpses (collaboratively created pictures and writings, done in-the-round) by Anne Waldman, Reed Bye, and Ambrose Bye. According to Waldman, this was a frequent after-dinner pastime when Ambrose was young, and friends and guests, such as Bobbie Louise Hawkins, were invited to participate.

Cover Art includes "Collaborations," which consist of collaborative book-length works and not just cover art per se. Additional cover art may be found in the among the Rocky Ledge files within the Editing and Publishing series. Noteworthy among the artists represented are George Schneeman and Joe Brainard.

The Photographs, Slides and Negatives series consists of approximately 2.5 linear feet of photographic materials documenting a variety of subjects, including Waldman's childhood and school years, her large circle of friends and colleagues, and her publishing and performance activities.

The Personal subseries contains personal and informal photographs of Waldman and others. Photographs in the "Family and childhood" folder include photographs of Waldman as a child, as well as other family members. The high school and college photographs include several photographs of Waldman as a young actress. The bulk of the Personal subseries consists of the "Friends and colleagues" photographs. These photographs include images of many prominent late twentieth century poets, Waldman's husbands and significant others, and other friends and colleagues. Waldman herself is pictured in some of the friends and colleagues photographs.

One of the strengths of the Professional subseries is the large amount of photographs of Waldman performing. The performance photographs, which date from the late 1960s to mid 1990s, sometimes include images of other poets and performers. Also included are several folders of portraits and publicity photographs, photographs created for various book and publishing projects, photographs of Bob Dylan's Rolling Thunder Revue Tour, and photographs documenting Waldman's activities at Naropa University and the St. Marks Poetry Project. The St. Mark's photographs include images of New York School and other poets performing at the church. The Professional subseries also includes several photographs taken by photographer, poet, and filmmaker Gerard Malanga. Although Malanga photographs can be found within several of the groupings in the Professional subseries, the majority can be found within the portraits grouping. A Malanga portrait of Waldman and her mother, Frances, has been filed with the family photographs.

The Outsize subseries consists of photographs too large to be housed with the rest of the photograph series. The highlights of the outsize photographs include two photographs taken by Allen Ginsberg which include handwritten captions by Ginsberg.

The Albums and Scrapbooks subseries complements the friends and colleagues photographs found in the Personal subseries. In addition to photographs documenting Waldman's travels in Greece and Egypt in the early sixties, the albums contain numerous photographs of Waldman and her circle in the late sixties and early seventies. Photographs of Lewis Warsh, Michael Brownstein, Joe Brainard, Ron Padgett, Ted Berrigan, Tom Clark, Bill Berkson, and others can all be found in the albums. The albums have been arranged chronologically.

The Slides and Negatives subseries consists primarily of miscellaneous and unidentified slides and negatives. The subseries does contain a few slides of Waldman performing.

The researcher should note that a small number of photographs sent to Waldman by specific correspondents can be found within the Correspondence and Name File series.

The Audiovisual Series has been divided into four subseries: Sound Recordings, Video Tapes, DVDs, and Digital Files. The series provides a unique perspective on Waldman's activities, and thus complements and expands the manuscript and photographic holdings. Including recordings of readings, lectures, and interviews given by Waldman and others, the series strongly represents the sounds and voices of late 20th century American poetry.

The Sound Recordings subseries has been organized according to format, including LPs and 45s, Compact Discs, Reels, and Audio Cassettes. In order to facilitate access, each sound recording has been numbered. Recordings are numbered sequentially within each subseries. Titles indicated in quotation marks in the finding aid are quoted directly from the labels of the recordings. In a few cases, particularly within the Commercial Recordings grouping, quotation marks are also used to indicate the title of a poem or work.

The LPs and 45s, Compact Discs, and Reels represent a relatively small part of the subseries. The LPs and 45s include the 1977 LP "John Giorno and Anne Waldman," as well as Waldman's "Uh-Oh Plutonium" 45, and a "voice-o-graph" recording of Waldman and Michael Brownstein. The Compact Discs subseries consists of commercial recordings of Waldman, including a live 1991 performance in Amsterdam which includes an accompanying booklet of poems.

Reels include recordings related to a variety of subjects. Included are Waldman performances at radio stations and elsewhere, television shows related to poetry, a commercial recording of Fast Speaking Woman , and a recording of Waldman while acting. To facilitate access, the recordings in this group have been transferred onto recordable compact discs. The numbering and labeling of the compact discs corresponds to the numbering of the reels.

The largest part of the subseries is comprised of Cassettes, which include readings and lectures by Waldman and other poets, interviews, radio broadcasts featuring Waldman, commercial recordings, Waldman's recording projects, and other miscellaneous recordings. Spanning the years 1971-2002, the readings include recordings of Waldman reading with Ted Berrigan, Allen Ginsberg, Diane di Prima, Gary Snyder and others. In addition, there are several recordings of readings not by Anne Waldman, including performances by Ginsberg, John Ashbery, Robert Creeley, Philip Whalen and others. Lectures by Waldman at Naropa Institute and in other settings, and lectures by William Burroughs, Allen Ginsberg, Ted Berrigan, Carl Rakosi, and Peter Orlovsky are included.

Interviews and conversations represent the strongest part of the series. In addition to an interview of Waldman conducted by Larry Fagin, tapes of interviews of Joe Brainard, Edwin Denby, Diane di Prima, Robert Duncan, Allen Ginsberg, and Philip Whalen are included, many conducted by Waldman. There are two recordings of "conversations," one with Waldman, Clark Coolidge, Lewis MacAdams, and others, and one with Waldman, Tom Clark, Lewis Warsh, Lewis MacAdams, and Philip Whalen. Of note is a cassette recording of Allen Ginsberg orally composing the introduction to Talking Poetics from Naropa Institute: Annals of the Jack Kerouac School of Disembodied Poetics. To facilitate access, the cassette recordings have been transferred onto recordable compact discs. The numbering and labeling of the compact discs corresponds to the numbering of the cassette tapes.

Video recordings consists of 42 VHS videocassettes, one 8mm film reel and ten DVDs. The readings, performances and lectures grouping includes performances from 1990 to 1998 and is the primary strength of the subseries. In addition to Waldman's performances, the tapes include readings by Allen Ginsberg, Gary Snyder, Michael McClure, Ed Sanders and others. Most of the tapes in the programs and television shows grouping were produced commercially or for television shows. The highlight of the grouping is a tape which includes seven episodes of "Word One," a Boulder, Colorado cable access television show hosted by Waldman, which includes performances by Allen Ginsberg, Kenward Elmslie and other poets. The programs and television shows grouping also includes a tape of "poetry videos" from the Manhattan Poetry Video Project, including music videos of Waldman's "Uh-Oh Plutonium," Allen Ginsberg's "Father Death Blues," and Bob Holman's "Rapp It Up." The personal and miscellaneous grouping includes a videotape copy of a home movie of Waldman, Lewis Warsh, Ted Berrigan and others. DVD copies of the first 27 videotapes and the film reel in the subseries (WALDVID-1 to WALDVID-27) are available for viewing in the reading room of the Special Collections Library, with advance notice for retrieval and setup. The ten original DVDs in the subseries are labeled with the prefix WALDDVD- and consist mainly of Anne Waldman poetry readings, and collaborative events such as Transatlantic Howl! A Dedication to Allen Ginsberg, a multivenue event featuring poetry readings and poetic theatre pieces celebrating Ginsberg's poem Howl.

The Digital Files subseries includes backups of email correspondence, files on Waldman's poems and books, such as parts I and II of the Iovis Trilogy and the anthology Civil Disobediences, and interviews. Most of these materials are stored on floppy disks and have not been transferred to viewable digital media.

Between 1969 and 1976 Beatrice and Philip Kalisch completed a series of interviews for what would become a three volume report titled From Training to Education: The Impact of Federal Aid on Schools of Nursing in the United States during the 1940's (1974). Transcripts of interviews with men and women active in the field of nursing, specifically in an administrative position, during the 1940s including the Cadet Nurse Corps and associated programs under Lucile Petry Leone, the founding director of the Cadet Nurse Corps in 1943.

The Beatrice J. Kalisch Papers will be most useful for those interested in the administration of the Cadet Nurse Corps during the 1940s. The Cadet Nurse Corps was responsible for training nurses during the 1940s to help bridge the gap left by nurses sent to Europe. With the Cadet Nurse Corps also came a change in the perception of nursing to a respectable career for young women. The papers document the experiences of the nurse or person interviewed during the 1940s and interviews were conducted between 1969 and 1976.

The Benjamin Brown collection is made up of correspondence, documents, and artifacts related to the showman's career as a circus owner in the early 1800s. Many of the letters relate to his journey to Egypt between 1838 and 1840, as he attempted to procure giraffes for an American menagerie company; to his other travels; and to the contemporary American circus industry.

The Benjamin Brown collection is made up of correspondence, documents, and artifacts related to the showman's career as a circus owner in the early 1800s.

Letters, documents, and printed materials concern Brown's early ventures as a show owner, including correspondence and financial records pertaining to his travels in the Caribbean and to the northeast coast of South America in the early 1830s. These materials document the difficulties of transporting exotic animals by sea, the type of equipment necessary to run a circus, and other logistical issues.

A later group of letters and documents reflects Brown's experiences in Egypt, where he traveled as an agent of the June, Titus, Angevine & Company, attempting to purchase giraffes. Many of these letters are from Stebbins B. June, who was also in Egypt at the time, and several items relate to George R. Gliddon, United States consul in Cairo. Brown's friend Gerard Crane wrote about Brown's business affairs in New York, and frequently reported the increasingly frail health of Brown's father. Benjamin Brown received a letter from P. T. Barnum, who asked him to find a pair of fortune tellers for Barnum's museum. He also inquired about locating a pony small enough to accommodate his performer Tom Thumb (June 29, 1843). While in London, Brown frequently received letters from his sister, Eudocia Brown Noyes, who wrote of the Brown family farm and provided other news from Somers, New York.

The collection includes playbills and broadsides advertising Brown's circus; Brown's marriage license (March 20, 1841); a pencil sketch of Brown; two passports; and three fragments of an Arabic-language scroll, offering protection to the bearer. Later material includes newspaper clippings from 1879, 1880, and 1931, on Brown's life and career, as well as an audio tape of an interview with his grandson, Benjamin Brown.

Box 2 of the collection includes correspondence, documents, printed items, photographs, and audio recordings related to the history of Benjamin Brown, the circus, and Somers, New York. Principally organized around the career and research of Carrie Brown Rorer (1903-1969), President of the Somers Historical Society and Benjamin F. Brown's great-grandaughter, the material provides insight into public history, memory, and research on the circus. Included is a typed document, "Circus History: Recollections by Benjamin Brown (1877-1962) as told to Carrie Brown Roher, (1903-1969), who was one of his three daughters," which details memories of Benjamin F. Brown and family stories about him.

• Two shoes, [1800s]
• Burnoose, [1800s]
• Black circus jacket, [1800s]
• Pipe stem and bowl
• Two rocks
• Fragments from an ostrich eggshell
• Canopic jar lid
• Two small boxes
• Ushabti figure
• Harpocrates figure

The Egyptian figures may date to around 600 BCE.

The Bentley Historical Library houses the Michigan Historical collections, which documents the history of Michigan; and the University Archives and Records Program, which maintains the historical record of the University of Michigan. Founded in 1935 as the Michigan Historical Collections, directors of the library include Lewis G. Vander Velde, F. Clever Bald, Robert M. Warner, Francis X. Blouin, Jr., and Terrence J. McDonald. The records include administrative files, correspondence, meeting materials, files on exhibits, archived websites, images, audio-visual media, and documentation of special projects such as the Vatican Archives project.

The records of the Bentley Historical Library were received in six main accessions 1991, 2000, 2002, 2004, 2007 and 2014. Together the records comprise 79 linear feet, plus two oversize boxes, and oversize folder, three flat file drawers, and more than 16 GB of data spanning the years 1935-2014. The researcher should consult the summary box list on page vii for a quick overview of the materials in the collection.

Democratic senator from Michigan, the longest-serving U.S. senator (served between 1979 and 2015). The collection documents Carl M. Levin's 36-year career in the U.S. Senate including his service on the Senate Armed Service Committee, Government and Homeland Security, Subcommittee on Oversight of Government Management, Permanent Subcommittee on Investigations, Great Lakes Task Force, among other leadership positions. Papers include correspondence, speeches, writings, newspaper clippings, legislative and committee files, campaign materials, photographs, audiovisual materials, and other records documenting his personal life and political career.

The collection documents the personal life and political career of Carl M. Levin including his 36-year career as U.S. Senator from Michigan (1979-2015). The papers include school activities, personal correspondence, materials from Levin's work on the Michigan Civil Rights Commission and Detroit City Council, and campaign materials such as speeches, interviews, platform and planning documents, constituent research, candidate research, financial documents, correspondence, photographs, and audiovisual materials.

The bulk of papers document Levin's tenure in the U.S. Senate including legislative and committee files, correspondence, memoranda, briefing books, background information, schedules, bills, printed materials, press clippings, speeches, writings, photographs, Levin's archived website, social media, and audiovisual materials.

Program Director at the Ark, Ann Arbor, Michigan music club. The collection includes the Ark's financial records and select correspondence, printed materials such as concert calendars, flyers, and posters, sound recordings, photographs of Ark performances, informal snapshots and publicity photos of performers.

The Dave Siglin papers date from 1968-2008 and primarily document Siglin's management role at the Ark, an Ann Arbor music club. The papers have been arranged into four series: Administrative Records; Printed Materials; Photographs; Sound Recordings.

The Detroit Rescue Mission Ministries began in 1909 as an organization offering food, shelter, and church services to the homeless of Detroit. Since then it has grown in size and scope as it now offers treatment for addiction, mental health services, and more throughout the Detroit Metropolitan area. The bulk of the collection includes project reports, program meeting minutes, photographs, and audio and video recordings relating to the organization. The collection also includes files of the organization's leaders administrators: Chad Audi, Donald DeVos, Barbara Willis, among others.

The Detroit Rescue Mission Ministries records primarily include materials dating from the 1980s up through the 2010s. A portion of the collection documents the early years, between the early and mid-1900s. The collection includes administrative records, project reports, as well as photographs and other publicity material.

Professor Emeritus of Music (Wind instruments) at the University of Michigan. Cavender served as the Assistant Director of Bands, Director of the Marching Band, Director of the University Bands. The collection includes video and audio recordings of the University of Michigan Bands practicing and performing during football games, including Rose Bowl games and Super Bowl VII.

The collection includes video and audio recordings of the University of Michigan Band's performance at Rose Bowls, Super Bowl VII, and at other events.

Hanuman Books was founded by Raymond Foye and Francesco Clemente in 1986. The press published small handmade books, primarily of works by contemporary avant-garde writers and rare translations. The administrative and editorial functions were housed in New York's Chelsea Hotel, while printing and binding were done in Madras, India. Through correspondence, invoices, manuscripts, typescripts, artwork, audiotapes, printed ephemera, photographs and books, this collection documents the founding of Hanuman Books, the administration of a small press, Indian printing practices, San Francisco’s North Beach and New York’s Lower East Side art scenes, Beat poetry, the Naropa Institute, contemporary music and film, and gay culture.

The Hanuman Books Records include correspondence, invoices, manuscripts, typescripts, books, art work, audio material, printed material, photographs, and other assorted material. The twenty linear feet of records span the years 1978 to 1996, with the bulk of the material falling between 1986 and 1994. Subjects documented in the collection include the founding of Hanuman Books, the administration of a small New York press, Indian printing, twentieth- century publishing, San Francisco’s North Beach and New York’s Lower East Side literary and art scenes, Beat poetry, the Naropa Institute, music, film, gay men in the 1980s and 1990s, and gay male literature. The Records are arranged in six series: Administrative Files (1986-1994), Publication Series (1986-1994), Raymond Foye Files (1978-1996), Mixed Media (1980s-1990s), Photographs (1970s-1990s), and Printed Material (1970s-1994).

Note: The Special Collections Library also holds a complete set of all the titles printed by Hanuman Books. To make these Hanuman Books imprints more accessible, the books were removed from the Records and individually cataloged. A listing of all of the titles follows the Scope and Content Note in the Related Material section.

John Dingell, Jr. was Democratic member of the U.S. House of Representatives from Michigan and longest-serving member in congressional history, 1955-2015. Dingell was the son of John Dingell, Sr. (Democratic congressman from Michigan's 15th district, 1933-1955), and husband of Debbie Dingell, who succeeded him as Representative of Michigan's 12th district in 2015. The collection documents John Dingell, Jr.'s election campaigns and his 59-year tenure in Congress. Records include legislative files, correspondence, speeches, scrapbooks, press clippings, photographs, and audiovisual materials.

The collection documents John D. Dingell, Jr.'s political career including his 59 years in the United States House of Representatives (1955-2015). The papers include campaign materials documenting Dingell's 29 elections, Democratic National Committee and Michigan Democratic Party materials, and redistricting in Michigan.

The bulk of the papers document Dingell's tenure in the U.S. House of Representatives including legislative files on topics such as civil rights, healthcare, insurance, Social Security, Medicare, environmental issues, endangered species, the auto industry, agriculture, taxes, and trade; administrative office files including correspondence, schedules, voting records, and legislative planning; and photographs, press clippings, scrapbooks, and speeches.

The collection includes born-digital records, as well as 254 pieces of audiovisual material, described in the Container Listing at the item level. Dingell's member website, campaign website, as well as his personal Twitter account are cataloged separately.

Joseph L. Sax was a Professor of law at the University of Michigan from 1966-1989. Collection includes material relating to the passage of the Michigan Environmental Protection Act of 1970, materials from his career as a legal consultant on environmental issues, course syllabi, lectures, research materials, and manuscripts of published materials.

The Joseph L. Sax papers comprise a comprehensive collection of legislative history and documentation on the enactment of the "Thomas J. Anderson, Gordon Rockwell Environmental Protection Act of 1970" (MEPA). MEPA was originally drafted by Professor Joseph L. Sax of the University of Michigan Law School and was one of the first projects undertaken by the Law School's Environmental Law Society.

The papers collected herein should be useful to several groups. Students of the environmental movement have herein a rich source of information on the early activities of the movement in Michigan and the philosophies behind various-approaches to environmental control. Lawyers interested in the legislative history of the MEPA will find an extensive collection of documents tracing the bill's movement through a number of committees of the Michigan House and Senate. Arguments about many of the issues that continue to be raised in MEPA litigation are presented in full detail in materials in these files. Students of government and political science may discover documentation of value in studies of interest group politics and the legislative process. Other uses, not imagined by those who assembled this collection, no doubt will be made.

The project was motivated in part by requests made of Professor Sax and others by lawyers, historians, and legislators in the United States and abroad about the background of the Michigan Act. Professor Sax feared that the documents that he had collected, many of which are unique and irreplaceable, might begin to be scattered and/or deteriorate. Later, it was decided to supplement Sax's papers by assembling all available documentation in the state on the Michigan Environmental Protection Act. Materials in this collection trace the history of the Act from the first correspondence between the West Michigan Environmental Action Council and Professor Sax requesting that he draft a model environmental law, through the passage of the law by the Michigan Legislature and its signing by Governor Milliken on July 27th, 1970. The collection also contains post-enactment materials, including attempts to amend the bill, through April 1976. Plans are underway to add to the collection all relevant legislative and judicial documents relating to the law, its interpretation and amendment.

Highlights of the collection include the following: the original correspondence between Professor Sax and Mrs. Joan Wolfe relating to the idea for the drafting of a model environmental law in Michigan; correspondence on MEPA from the files of Representative Thomas Anderson in which he indicates his early hopes for and concerns over the Act and his strategy for shepherding the bill through the Michigan Legislature; various versions and drafts of the bill; analyses of the bill by the Governor's office and state agencies; and testimony delivered at public hearings on the bill. Also in the collection is a tape of the Senate Debate on the bill. (A complete listing of materials in the collection is found at the end of this document.)

Several sources contributed to this collection. The great majority of the material comes from the papers of Professor Joseph L. Sax on the passage of the Act and attempts to amend it. In addition, papers of Mrs. Joan Wolfe (who also has another collection in the Bentley Historical Library) were solicited and added. These include communications of the West Michigan Environmental Action Council at various points in the legislative consideration of the Act. Attorney General Frank Kelley indicated in a reply to a request for MEPA materials that most of the relevant documentation of the Department of the Attorney General on the Act had already been forwarded (courtesy copies) to Professor Sax. Requests were also made of the Executive office of the Governor, the Secretary of the Michigan Senate, and the West Michigan Environmental Action Council; any contributions from them will be added to the files when received.

An important supplemental source of information on the Act was found in Representative Thomas J. Anderson's papers on the MEPA in the State Archives of the Michigan History Division, Michigan Department of State: Personal papers, Thomas J. Anderson, [74-22, Accession boxes 403, 404, 405(B)]. Other materials from the State Archives were reviewed to insure that the MEPA Collection would be complete for legislative history and research on the State's environmental movement. Of relevance were House of Representatives, Standing Committees' Public Hearings, 1969-1973, [RG79-37, Lot 43, Box 1.) and House Committee, 1969-70, Conservation and Recreation [72-34, Lot 21, Box 4 and Box 51.

The State Archives material was not duplicated in total for this collection. Rather, those materials which record a significant event in the movement of the bill through the Michigan Legislature or highlight an important position on the bill by an interest group or governmental entity were reproduced for inclusion here.[7]Representative Anderson, who was the prime legislative mover in the passage of MEPA, received over 8000 letters or petitions about H.B. 3055. Many of these are included in his papers and are not found herein. Our efforts aimed to add to the Bentley Collection documentation from the Archives that would be of major interest to legal and history scholars.

[Archive material is noted in the files by a penciled asterisk (*) on the upper right hand corner of the document.]

Archive materials relating to MEPA after its passage were not searched for this study; there are several folders of post enactment materials and other relevant files in the Archives (e.g. 74-22 B405 FL "Newsclippings relating to H.B. 305511).

In 1982, the library received additional materials regarding the Michigan Environmental Protection Act. This new material collected by Professor Joseph Sax largely concerns similar kinds of legislation enacted in other states. Included are correspondence and legislative materials

In 1986, the library received an additional 13 feet of material, mainly case files detailing litigation arising out of the Act. The most important of these cases was perhaps the so-called Pigeon River case (West Michigan, Environmental Action Council v. Natural Resources Commission).

In 2014, the library received an additional 16 feet of material. This addition is organized into four series: Case Files, Teaching Materials, Travels and Lectures, and Publications and Research. Each series is further arranged in chronological order by year. Additional material related to this accession has been added to the Correspondence and Related Materials series, which includes correspondence from 1986-1998, a diary from a 1979 visit to Japan, and a copy of the finding aid from the American Heritage Center's Joseph L. Sax papers.

Marge Piercy is an internationally recognized feminist poet and writer. A University of Michigan alumna, Piercy is the author of over thirty published works and a contributor to numerous journals and anthologies. The collection documents Piercy’s work as a writer, through manuscripts, literary correspondence, printed ephemera, videotapes, and audio material, as well as a small number of photographs and personal artifacts. Also present are works of others based on or relating to Piercy’s writings. The bulk of the collection is comprised of thirty-four feet of manuscripts and nine feet of correspondence.

The Marge Piercy Papers were deposited with the Special Collections Library by the author in 1987. Since then, she has continued to make frequent additions to the collection. The collection offers insight into Piercy’s literary career from the late 1950s through the present, primarily by way of manuscripts of nearly all of her works, present in early drafts through to production stages. Audiovisual material, photographs, artifacts, and artworks supplement the picture.

Besides documenting the professional life of one of America’s leading feminist writers and activists, the collection offers a glimpse at the literary magazine publishing scene of the 1960s and following, particularly the feminist presses and magazines (such as CALYX and 13th Moon) which Piercy wrote for and championed. Correspondence with other poets and writers, as well as to fans, reveals Piercy’s development as a writer, her views on important issues, and her influence on others. The collection also steps beyond the literary world (mainly through correspondence) to show Piercy’s collaborations with and support of artists, musicians, and activists (especially women in these fields)--thus reinforcing the fundamental connection for Piercy between her writing and all other aspects of her life.

With roughly fifty-four linear feet of materials, the Marge Piercy papers are divided into eight series: Writings; Correspondence; Other Activities; Personal; Ephemera; Works by Others; Photographs and Negatives; and Audiovisual. Researchers should note that books and serial publications by or from Piercy have been separated from the collection and cataloged individually.

Materials relating to the work of the National Commission on Libraries and Information Science and the 1979 and 1991 White House Conferences on Libraries and Information Services. Includes correspondence, committee files, clippings and subject files.

Papers of Pun Plamondon, activist, writer, and journalist who in 1968 co-founded the White Panther Party with John Sinclair. Papers include material related to Plamondon's political activism in the late 1960s-early 1970s, material related to the White Panthers Party, the Rainbow People's Party, and Plamondon's relationship with John Sinclair, as wells as material related to law suits against Plamondon and his trials, most notably United States v. U.S. District Court for the Eastern District of Michigan, et al. and the State of Michigan v. Craig Blazier and Lawrence R. (Pun) Plamondon. Also material related to his autobiographical writings.

The Pun Plamondon papers mostly include material related to his political activism in the late 1960s-early 1970s, legal trials, and imprisonment.

The collection includes business and personal correspondence, production materials, scripts, photographs, motion picture, and sound recordings related to Richard Wilson and Orson Welles's work in radio, theater, and film from the 1930s to the 1950s. Also included are materials related to each man's later solo careers and personal life.

The Richard Wilson-Orson Welles Papers document many aspects of the two men's creative collaboration in radio, theater, and film for the Mercury Theater and Mercury Productions. Material related to several moments in Welles's post-Mercury Productions solo work and life form part of the collection. Richard Wilson's post-Mercury Productions work is also represented. The collection includes business and personal correspondence, production materials, scripts, photographs, and audio and motion picture recordings.

Materials relating to classic films such as Citizen Kane , The Magnificent Ambersons , The Lady From Shanghai, and Macbeth are included in the collection. The original filming and 1980s-1990s reconstruction, led by Richard Wilson, of the suddenly-terminated Welles film, It's All True (1942) is particularly well-documented.

The Wilson-Welles collection has been divided into seven series: Orson Welles; Richard Wilson; Mercury Theatre/Mercury Productions; Sound; Motion Pictures; Realia; and Bill Krohn: It's All True (1993).

The three primary series: Orson Welles, Richard Wilson, and Mercury Theatre/Mercury Productions have been largely organized by production type (e.g. Theater, Radio, and Film) and then chronologically by project. Completed films, theatrical productions, and radio broadcasts are dated according to their first public showing or general release date. Unfinished or unreleased projects are dated according to the year in which most of the work on the project took place.

Correspondence and business papers for each project are located together under the project name. An important exception to this organizational scheme was necessitated by the fact that Welles frequently worked on several projects simultaneously and a single letter or memo may address several projects. Sets of memos and correspondence are filed with the project to which they are most closely related. Notable examples of overlapping projects and sets of memoranda that address at least two films are Macbeth and Othello (much of the information related to Othello is actually in correspondence in the Macbeth files), and The Magnificent Ambersons and It's All True (much of the information related to The Magnificent Ambersons is contained within the It's All True files).

The Richard Wilson and Orson Welles series also contains material related to both men's families and personal lives.

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

Correspondence, writings, research, and collected materials of Vittorio Re, Chief Chancellor of the Italian Consulate in Detroit, and noted author and lecturer on the history and experiences of the Italian-American community in Detroit and the state of Michigan.

The Vittorio Re collection includes personal and professional papers, as well as collected materials, related to Mr. Re's position as Chief Chancellor of the Italian Consulate in Detroit, and his research and writings on the Italian community in Michigan and Detroit. The collection is especially rich with material about life and activities of Italian communities in Michigan, prominent Americans of Italian decent, as well as discrimination and stereotypes faced by the members of Italian American community. The papers are arranged in the following series: Correspondence and Notes; Papers, Speeches, and Research; and Collected Materials.

William Bolcom (born 1938) is a composer and pianist. Joan Morris (born 1943) is a mezzo-soprano. They were both members of the University of Michigan School of Music faculty. Bolcom and Morris have given numerous performances since 1973. They have also recorded albums of classical and popular songs. Performance files include programs, itineraries, newspaper articles and reviews of each performance, and contracts. There are also files relating to the University of Michigan student production of Mina & Colossus as well as Barnum's Nightingale; original scores to Bolcom's compositions, including McTeague, Casino Paradise, and A View from the Bridge; topical files relating to awards, competitions, and other activities and interests; and physical and digital audiovisual materials.

The papers of William Bolcom and Joan Morris document Bolcom's work as a composer and performer as well as Bolcom's and Morris's collaboration in performing and recording American popular songs and classical music. There is also some material relating to their academic work at the University of Michigan, notably a 1988 production of a student opera, Mina & Colossus. The papers include programs, itineraries, and correspondence relating to performances, manuscript and published scores, topical files, audio and visual material (including sound recordings), and photographs.