Collections : [University of Michigan Special Collections Research Center]

Don Werkheiser was a teacher, writer, and philosopher-reformer active in the last half of the 20th century. He is best described as an individualist anarchist and libertarian. Most of his writings center on the philosophy of Mutual Option Relationship, which he developed and promoted throughout his life. It is multidisciplinary in its nature but based mainly on principles of equal rights and freedom of the individual. The eight linear feet of papers consist primarily of Werkheiser's writings (in the form of notes, drafts, and finished typescripts), correspondence with friends and colleagues, and related ephemera. A small number of photographs, materials documenting Werkheiser's interests and activities, and works by associates of Werkheiser are also present.

Don Werkheiser, like many of his peers, received little recognition for his ideas and efforts during his lifetime, even among the relatively small circle of individualist anarchists within which he interacted. The papers consist mainly of various iterations of his Mutual Option Relationship philosophy and methodologies for realizing it, as well as his thoughts on the numerous social, economic, and political problems that he saw in contemporary American society. There is also correspondence with friends and associates in his intellectual and ideological sphere. The ephemera in the collection--consisting of newspaper clippings; pamphlets; and extracts from periodicals, books, and monographs, are significant because of their subject area (mainly freedom of speech), their relative obscurity, and also Werkheiser's extensive annotations. These materials are supplemented by a very small number of photographs.

The Don Werkheiser Papers (8 linear feet) have been divided into six series: Writings, Correspondence, Other Activities, Works by Others, Photographs, and Ephemera. Originally included with the Don Werkheiser Papers was a large collection of books and pamphlets by Theodore Schroeder, an important influence on Werkheiser, as well as published works by other authors. These have been removed and cataloged separately.

There is a significant amount of material in the Don Werkheiser Papers having to do with Theodore Schroeder. In addition to championing free speech causes, Schroeder developed a system of psychological thought which he named "evolutionary psychology." He was also interested in erotogenic interpretations of religious practices, and his writings on this topic generated much controversy in his day. Werkheiser was profoundly influenced by evolutionary psychology and other areas of Schroeder's thought, especially his advocacy of free speech. This is indicated not only in Werkheiser's own writings, but also in his substantial files of material by and about Schroeder and in a small amount of correspondence between the two, and between Schroeder and others. (As a point of clarification, Schroeder's evolutionary psychology appears to be entirely unrelated to the discipline of the same name established by Leda Cosmides and John Tooby in the 1990s.)

There is also a substantial amount of material related to the School of Living (mainly the one in Brookville, Ohio) and the ideas associated with it: decentralism, cooperative living, monetary and tax reform, alternative education, permaculture, wilderness and farmland preservation, and the environment. Its founders, Ralph Borsodi and Mildred Loomis, are also well-represented in the collection--particularly Loomis, who was a close friend of Werkheiser's. (As another point of clarification, the School of Living's journal-newsletter, Green Revolution, is unaffiliated with--and even in direct ideological opposition to--the Green Revolution in agriculture begun in the mid-1940s that encouraged large-scale chemical applications as a means to boost agricultural productivity.)

Other important influences on or associates of Werkheiser represented in the collection are Georgism and Henry George (on which Werkheiser wrote extensively), Laurance Labadie, Ralph Templin, and Arnold Maddaloni. There is also some material by the science fiction writer Robert Anton Wilson.

Politically and socially radical underground newspaper founded in Detroit, Michigan, in 1965. The tabloid reflected an anarchist-libertarian philosophy during the 1970s under the influence of the "Eat the Rich Gang," which included editors Peter and Marilyn Werbe. Throughout the 1980s, the Fifth Estate continued to cover local issues and events, along with critiques of modern industrial society and articles covering the radical environmental movement. In 1999, the "Alternative Press Review" described the paper as an "anti-technology, anti-civilization, anarcho-primitivist quarterly."Collection consists of correspondence, business and office records, submissions for possible publication, clippings, flyers, posters, and photographs documenting the activities of the Fifth Estate primarily from the mid-1980s to the early 2000s. Financial documents, advertising, subscription and book orders, as well as legal documents regarding lawsuits are included. Correspondents include Bob Black, Peter Werbe, Marilyn Werbe, David Watson, John Zerzan, Lorraine Perlman, and editor (2002- ) Andy Smith (also known under the pseudonyms Sunfrog, Anu Bonobo, and Andrew Smith). The bulk of the audiovisual and digital media relate to Peter Werbe's Late Night radio show that dealt with similar topics as Fifth Estate.

The Fifth Estate Records document the activities of the Fifth Estate newspaper, one of the oldest underground newspapers in the United States. The records date primarily from the mid-1980s to the early 2000s. The record group has been divided into eight series: Historical, Correspondence, Publishing Material, Business and Office Records, Topical File, Miscellaneous Anarchist and Social Protest Ephemera, Photographs, and Audiovisual and Digital Media. There is a good deal of overlap among the series due to the work processes of the staff at the Fifth Estate and the lack of organization among the various accessions received by the library.

Holly Fine was a dancer and performer with the traveling vaudeville production, the Marcus Show, in the 1930s. The collection documents Fine’s relationship with entertainer Danny Kaye, as well as the Marcus Show itself. Includes correspondence, vaudeville programs and promotional material, photographs, scrapbooks, printed material and drawings. The correspondence includes approximately 0.5 linear feet of letters written from Kaye to Fine.

The Holly Fine and Danny Kaye Papers document the relationship between Fine and Kaye, as well as the 1930s traveling vaudeville production, The Marcus Show. The papers have been divided into six series: Correspondence, Vaudeville, Printed Material, Photographs, Scrapbooks, and Drawings and Artwork.

Naomi Long Madgett is a prominent poet, educator, and editor, recognized for her significant contribution to African-American letters. Since 1972 she has run, single-handedly, Lotus Press, which publishes poetry by African-Americans and others. The collection documents Madgett's career and the operation of Lotus Press, through correspondence, manuscripts (both by Madgett and by authors published by Lotus Press), ephemera, audiovisual material, and photographs.

The Naomi Long Madgett Papers document the prominent career of Ms. Madgett as a poet and a teacher, and her operation of Lotus Press, which Madgett has run single-handedly for more than 30 years. Thus, the collection makes a good source of insight both into Madgett's own writing and aesthetic sensibility, and into the cultures of lyric poetry and African-American letters in the latter decades of the 20th Century. The bulk of the material covers the 1980s, the 1990s, and the first few years of the 21st century, with Madgett's activities in the 1970s being fairly well represented as well. From the correspondence collected here a vivid picture emerges of Madgett's relationships with some of the authors whose work she published--such as James Emanuel and Gayl Jones--as well as with other authors, such as Gwendolyn Brooks. In addition, correspondence and ephemera evidence the growth of Madgett's own reputation, documenting her many professional activities, awards, and honors over the years. While manuscripts by Madgett herself do not comprise a large part of the collection, the fortunes of one of her most famous poems, "Midway," are documented in detail, and an unpublished autobiography ( Pilgrim Journey) provides an extensive synthesis by the author of her own influences and career (a section of which has been published by Gale's Contemporary Authors' Autobiography Series). Finally, the collection provides a close look at the daily operation, from its inception, of a small literary press.

The Naomi Long Madgett papers have been arranged into nine series: Personal, Writings, General Correspondence, Workshops and Events, Author Files, Business Records, Ephemera, Photographs, and Audiovisual. Books published by Lotus Press, as well as other books and periodicals from Madgett's library, have been catalogued individually and are shelved by call number in the Special Collections Library. Within the collection, however, much material is available from the production of certain Lotus Press books; see below Writings and Author Files.

Nicholas Delbanco (1942-), came to the University of Michigan in 1985, from Bennington College and Skidmore College, and has served as Director of the MFA Program in Creative Writing and as Robert Frost Collegiate Professor of English Language and Literature.He has also served both as Director and Chair of the Avery Hopwood and Jule Hopwood Awards Program. He has published over twenty-four books (novels, short stories, non-fiction, and textbooks), as well as many essays, reviews, and articles, and edited selected works of his friends and mentors, John Gardner and Bernard Malamud. The Nicholas Delbanco Papers includes correspondence, manuscripts, personal materials, professional records, and clippings. The correspondence is a rich collection of personal and professional letters exchanged over many years with fellow authors, publishers, and literary agents. Several manuscripts in various stages are also included.

The Nicholas Delbanco Papers were acquired by the Special Collections Library, University of Michigan, in September, 2006. Five boxes were added in November, 2009. The papers span over 40 years and include a particularly rich collection of correspondence with nearly 800 authors, educators, family members, and friends. Well known authors include, among others, John Updike, John Gardner, Joyce Carol Oates, Annie Dillard, and Raymond Carver. The correspondence traces the growth of friendships and professional relationships over many years. Other materials demonstrate the development and publication of Delbanco's manuscripts, articles, commentaries, speeches, and other writings as well as his professional careers at Bennington College and the University of Michigan. Delbanco's dedication to his students and the advancement of literature are demonstrated in his professional records, the depth of comments offered on student writings, and his active participation in associations and workshops. Personal materials include correspondence with family members, educational records, photographs, and journals from his early years.

The Nicholas Delbanco Papers are divided into six series: Name and Topical, Writings, Personal, Professional, Computer Disks, and Clippings. Books and serial publications have been separated from the collection to be catalogued individually.

The Name and Topical series contains 10 linear feet, Boxes 1-10, of mainly correspondence with fellow authors, academians, literary agents, and publishers. Topics relevant to the collection, such as university and organizational correspondence or special events are also included. Relevant photographs, clippings, ephemera, manuscripts are generally kept with related names and topics although there may be overlap in the Writings Series, especially when Delbanco and his fellow authors reviewed each other's work. The series is arranged alphabetically, and chronologically within. Incoming and outgoing correspondence are not separated. Each name or topic is given a folder as long as there are at least three letters of correspondence or if the person is of significant status. Names or topics that do not meet these minimum requirements are filed by letter in the alphabet, but are not arranged alphabetically nor chronologically within. The correspondence within these folders spans the years of the collection. There are also several folders that have unidentified correspondence in them because signatures are illegible or incomplete. Identified but undated material are generally placed in the back of related folders.

The largest segments of this series include correspondence with Frederick Busch, John Updike, Jon Manchip White, Andrea Barrett, Alan Cheuse, Richard Elman, Jim Landis, and publishers such as Brandt & Brandt, Warner Books, and Paul R. Reynolds, Inc. Although Jim Landis represented William Morrow as Delbanco's editor, the importance of his friendship with Delbanco appears greater than the business relationship; because of the depth of this friendship, the correspondence is arranged under Landis' name. Correspondence with John Gardner includes correspondence before Gardner's death and then with Gardner's family after his death in 1988, after which Delbanco was assigned to be his literary executor. Other notable correspondents include, among many others, Carly Simon, Joan Didion, Annie Dillard, George Garrett, and Wallace Stegner. Any photographs of correspondents or photographs of Delbanco by the correspondents that were originally with letters remain with those letters. Delbanco initially formed many of these friendships and professional relationships in college, graduate school, as a professor at Bennington College, and through writing workshops and conferences at Yaddo, Bennington, and Bread Loaf.

The Writings series is approximately 29 linear feet, Boxes 11-40, and encompasses many but not all of Delbanco's published writings. The series contains six subseries: Fiction, Short Stories, Nonfiction, Editorial Works, Other, and Writings by Others. Titles are arranged chronologically within the Fiction, Short Stories, Nonfiction,and Editorial Works subseries. Each title may contain a variety of formats which are noted – manuscripts, corrigendas, page proofs, typescripts, mock ups, galleys, penultimates, and unbound signatures, etc. These are arranged chronologically and often are titled as such by Delbanco in his notes. Correspondence that relates directly with manuscript materials that were originally with these manuscript materials, remains in this series, while there may be complementary information in Name & Topical.

The bulk of the material in the Fiction subseries, approximately 14 linear feet, is from The Martlet's Tale, News, Fathering, Small Rain, What Remains, and The Vagabonds. It is evident in the collection that some manuscripts were written under a variety of titles before the final decision was made as to the what the published title would be. Every attempt has been made to distinguish and attach these to the final product. One example is Fathering, which was written during the creative process under titles such as "Plague Year", "Times Fool", and "Leave Taking", before settling on the final title.

The Short Stories subseries contains approximately 1 linear foot of materials, Box 25, tracing development of About My Table and four folders, mainly reviews, on The Writer's Trade, and Other Stories. Individual short stories may be found in the Other subseries.

The Nonfiction subseries, Boxes 26-35 with additional materials in oversize Boxes 45-48 and 50, contains material primarily from Beaux Arts Trio, and two textbooks, The Sincerest Form: Writing Fiction by Imitation, and Literature: Craft and Voice. The Beaux Arts Trio was inspired by Delbanco's father-in law, Bernard Greenhouse, a cellist for the original trio.

The Sincerest Form: Writing Fiction by Imitation, a teaching textbook, was a project undertaken with students from Delbanco's English 417 and Strategies in Prose classes. Materials for this textbook include student critiques, opinions, and exercises for the purpose of learning the basics of writing fiction through imitation, "to encourage the students to develop a much more careful and critical eye when reading" (Instructor's Manual, Box 31), and at an advanced level, "to develop what they learn in class into serious critical essays" (Instructor's Manual, Box 31). Student papers, their releases for usage, and Delbanco's comments in response to their writings are included with these materials.

Literature: Craft and Voice is a three volume textbook written in collaboration with Alan Cheuse, covering works of fiction, poetry, and drama by various masters and commentaries on them. The textbook includes "nonfiction accounts of the process of composition (memoirs by playwrights, letters by poets, essays by short story writers, etc.) in which the authors discuss the problems posed and artistic challenges met." (Prospectus, 2003, Box 33).

The Editorial Works subseries contains approximately 1 linear foot, Box 35, of materials for which Delbanco served as editor. These include works by John Gardner, a colleague at Bennington College, who was killed in a motorcycle accident in 1982, at the age of 55. Delbanco was a great admirer and good friend of Gardner and his family. There are only a few materials relating to Stillness and Shadows, but there is overlapping information and also correspondence in Name and Topical (Gardner, John), reflecting Delbanco's and Gardner's relationship and the trust held by Gardner's family for Delbanco's handling of Gardner's unfinished manuscripts.

In materials relating to Talking Horse: Bernard Malamud on Life and Work, which was a collaboration with Alan Cheuse, there are correspondence, drafts, and an introduction by Delbanco regarding published and unpublished prose by Bernard Malamud. Malamud was Delbanco's mentor at Bennington College; other materials demonstrating Delbanco's and Malamud's relationship are contained in Name & Topical.

The Other subseries, approximately 4 linear feet, Boxes 35-39 and oversize Box 50, contains a variety of materials such as essays, short stories, commentaries for a WUOM radio program with Alan Cheuse, early writings from the late 1950s and early 1960s, articles for various magazines and newspapers such as Travel Holiday and Harper's, reviews on Delbanco's writings, reviews by Delbanco, and unidentified writings. Autobiographical and biographical materials are also located here as well as interviews with, Kurt Delbanco, Bernard Greenhouse, and Amy Tan. This subseries contains some materials for which it is undetermined whether publication occurred.

The Manuscripts by Others subseries, 1 linear foot of materials, in Box 40, contains writings by Robert Boyers, an article by Thomas and Andrew Delbanco (brothers of Nicholas), Jim Landis (friend and editor at William Morrow), and Stewart O'Nan, fellow author. These writings were submitted to Delbanco for his professional review; the reviews are included here.

The Personal series encompasses 1.5 linear feet of a variety of materials, Boxes 40-41, that pertain to Delbanco's childhood, education, and family. There is correspondence with his brothers, mother, father, uncle, and grandmother; also, marriage telegrams, birthday cards, and get well cards addressing his hospital stay and surgical procedure due to heart problems in 2003. Materials collected while at Fieldston, Harvard University, and Columbia University include correspondence, yearbooks, publications, ephemera, and writings. There are limited marriage, financial, and selective service records. Fifteen folders contain photographs of family, friends, travel, and professional portraits. A diary and handwritten journals contain notes and writings dated 1958 through 1966, with some undated material also. In oversize Box 50, inside Sketchbook #2, is a story written and signed by Delbanco as a very young child.

The Professional series contains 3.5 linear feet of material, Boxes 42-45, divided into subseries: Bennington College, Skidmore College, University of Michigan, Associations and Workshops, and Ephemera.

The Bennington College and Skidmore College subseries' include mainly class notes, professional correspondence relating to his academic positions, clippings, and thoughtful, detailed reviews of student work by Delbanco.

The University of Michigan subseries includes class notes, professional correspondence relating to Delbanco's academic status, clippings, lecture notes, certificates of awards and honorary degrees, and over 40 folders containing Delbanco's commentaries on student works, both at undergraduate and graduate levels. Comments on students' works provided by Delbanco are referred to as "comments"; year end evaluations of classes by students are referred to as "class evaluations". Some students are Hopwood Awards winners. There is commentary in this subseries between Delbanco and Elizabeth Kostova regarding her work for the MFA Program and debut novel, The Historian, which won an award for best Novel in Progress through the Hopwood Awards Program, and went on to be purchased for 2 million dollars by Little Brown and Company in 2004.(See Fiction, Comments, 2002.) Also included are speeches and correspondence regarding the Hopwood Awards Program.

The Associations and Workshops subseries contains correspondence, applications, meeting and agenda documents, ephemera, judging and recommendations notes and documents, and fellowship and grant awards information. Bennington Summer Writing Workshops (with photographs), Bread Loaf Writer's Conferences, Pen/Faulkner, the National Book Foundation, the Woodrow Wilson National Fellowship Foundation, and the NY Writers Institute are highlighted.

The Ephemera subseries contains flyers and pamphlets that relate to Delbanco's appearances, readings, and publications. There are also catalogues of trade publications and in oversize Box 50, 6 posters.

The Computer Disks series contains unidentified 3.5" and 5.25" floppy disks.

The Clippings series is arranged by decade and contains articles and reviews written about and by Delbanco from the New York Times, Chicago Tribune, Ann Arbor News, etc. Reviews and articles can be found with related subjects as well throughout the collection in related files.

The Orson Welles – Oja Kodar Papers includes scripts, production documents, photographs, and other materials from Orson Welles's work in film and other media. General correspondence, topical files, papers related to Oja Kodar, and personal materials also make up a portion of collection. The bulk of the papers date from the 1960s to the 1980s with a smaller amount of material from the 1930s-1950s. The Additions to the Welles-Kodar Papers series, acquired in 2015, complements the scripts, correspondence and photographs already held, but also include annotated typescripts of drafts for a planned memoir, additional on-the-set photographs from films, television, and other projects, personal photographs, and documents from collaborations between Welles and Kodar.

The Orson Welles - Oja Kodar Papers primarily document the creative activities of Orson Welles during the last two decades of his life. The papers also contain a smaller amount of materials from the 1930s through the early 1960s. The materials in this collection were obtained from Oja Kodar, his companion and creative collaborator from the 1960s until his death in 1985. Additional papers were acquired in 2015 and are described below in the Additions to the Welles-Kodar Papers series.

The Welles-Kodar Papers have been divided into thirteen series: Theater, Radio, Film, Television, Other projects, Magic, Name and topical, Personal, Oja Kodar, Sound, Motion pictures, Realia, and Articles and clippings. Though much of the collection was loose and unordered, any parts of the collection that were grouped or organized by Welles, his assistants, or Oja Kodar have generally been kept in their original order. The loose, unorganized papers were then arranged according to the patterns that seemed exist in the material that was organized. Essentially, the current organization of the collection is an attempt to more fully implement the organizational schemes that Welles and Kodar were employing in the collection.

The first five series (Theatre, Radio, Film, Television, Other projects) represent the bulk of the collection and are arranged by project. For example, all materials relating to Citizen Kane including correspondence, photographs, and production documents, are kept together, physically and intellectually. The projects are then ordered chronologically. For example, immediately after the Citizen Kane (1941) materials are materials related to Welles' next project, The Magnificent Ambersons (1942). There are two exceptions to this project-based arrangement, where two groups of materials were kept together by production company (Astrophore and Roprama Film). Researchers should also note that Welles often worked on several projects at once so a memo filed, for example, under F for Fake (1974), may touch on Blind Window , which he was working on in roughly the same time period. Browsing through material from projects that occurred during the same general time period may therefore be a useful search strategy for researchers.

The Magic series, consists of a small amount of magic books, scripts for tricks, correspondence with magicians, and playing cards, reflects Orson Welles' strong, life-long interest in magic.

The remaining seven series (Name and topical, Personal, Kodar, Sound, Motion pictures, Realia, and Articles and clippings) contain material not generated during the making or distribution of Welles' creative projects. The Name and topical series consists of an alphabetical set of subject and name files material may range from correspondence with friends to posters from film festivals honoring or featuring Welles's work. The Name and topical series also includes correspondence with many famous filmmakers and actors and actresses. The Personal series contain photographs of Welles and materials relating to childhood friends, family, Welles's houses, and personal legal and financial matters. The Oja Kodar series includes material from her career as a sculptor, scripts she wrote, and some correspondence and personal material.

The final series: Sound, Motion pictures, Realia, and Articles and clippings, are relatively small (taken together they take up roughly 3 linear feet). Some material of note include cigar boxes on which Welles jotted various notes and a set of acetate records which seem to include a rare Welles radio performance.

The Theater series consists of a few files (about .1 linear feet) with he contents made up primarily of photographs and some programs from relatively early in his career, including the Mercury Theatre, as well as some from after he started working in film. Dates span 1934-1960.

In 2015, the library acquired the remaining Orson Welles papers in the possession of Oja Kodar. The Additions to the Wells-Kodar Papers series has been arranged into eleven series, mirroring the arrangement of the papers in the original acquisition. The series are: Theater, Radio, Film, Television, Other Projects, Magic, Name and Topical Files, Personal, Oja Kodar, Biographical Works, Clippings and Articles, and Oversize Photographs.

The Radio series consists of a few files (about .1 linear feet), related to Welles' work in the late 30's and early 1940s, including photographs, scripts, articles, and correspondence.

The Film series is the largest in the added material, comprising ca. 3 linear feet of scripts, drafts, correspondence, articles and clippings, promotional materials, and photographs. Films represented include both those directed by Welles and those directed by others in which he acted or participated. The series is arranged chronologically by film, dated according to their first public showing or general release date. Unfinished or unreleased projects are identified with an approximate date range of the years in the work took place.

The material related to the earliest films from the 1940s and 1950s consists primarily of photographs. Later unfinished films of particular interest include The Deep, Because of the Cats, The Other Side of the Wind, Crazy Weather, Assassin/The Safe House, The Other Man, The Dreamers, Big Brass Ring, and King Lear. Also included is articles, promotional materials, correspondence, and photographs from Don Quixote, filmed on and off from the late 1950's to the early 1970s. Materials are primarily related to the version which was released in 1992 after a the footage was edited and finished by director Jesus Franco, but the photographs are from the original filming.

As with drafts in the earlier accessions, Welles typically worked on scripts in sections, producing successive drafts which he then amended. The collection preserves many pages of these working drafts, which sometimes also include Welles's typed or written notes about the story and characters, along with messages to and from his typists. Minimal reorganization of the papers was done in order to preserve evidence of the process, and there are many files of "drafts" which may contain repetitions and out-of-sequence pages, filed as they were found. As Welles often worked by inserting new pages into older drafts or blending together several different versions of a scene, page numbers may not follow a logical sequence. In many cases no information about the script material was recorded before it was filed away, so dating the drafts is difficult. The dates assigned to this material are approximate. Because of the lack of identifying information on some of the material, a miscellaneous sub-series is included at the end of the series, which includes unidentified photographs and drafts of scripts.

The Television series comprises about .4 linear feet, and includes scripts, photographs, correspondence, and other materials relating to projects that were originally meant for television. This includes The Orson Welles Show, a talk show that only ever shot one episode with guests Burt Reynolds and the Muppets. Aslo included are materials related to Orson's Bag, a collection of short films including Swinging London, Stately Homes, and the Merchant of Venice, the contents of which were eventually released in 1995 as part of The One-Man Band. Other materials reflect the initial stages of a Christmas TV movie and a special for NBC.

The Other Projects series (.1 linear ft.) includes materials related to Welles' non-film related work, including advertising and vioceover work, as well as correspondence about various job offers.

The Magic series (about .5 linear ft.) includes scripts, correspondence, photographs, and other materials related to Orson Welles magic performances, including the Mercury Wonder Show, and television specials The World of Magic and Orson Welles' Magic Show. Also included are collected printed magic tricks, drafts of trick patter that he used during performances, articles and clippings, and drawings of costumes.

The Name and Topical Files series (approximately 1 linear ft.) contains primarily correspondence and various other materials arranged alphabetically by the name of a person, place, event, or subject. The series includes letters from directors and film executives such as Martin Scorsese and August Coppola, actors and actresses such as Charleton Heston and Charles Fawcett, close friends such as Roger Hill and Peter Bogdanovich, and some fans of Welles's work. Also included are posters, programs, and other materials related to film festivals and tributes to welles, including the Cannes International Film Festival and the American Academy of Arts and Letters.

The Personal series (1 linear ft) includes a variety of materials related to Welle's personally, rather than his screen work. This includes drafts of his writing including essays and articles about various topics, including Shakespeare and tributes and remarks about others in the film business, as well as untitled, unidentified drafts. Also in this series are works by others given to or collected by Welles including poems, short stories, and tributes. Most significant is the material from Welles' unpublished memiors, both in draft form and shorter more organized versions, along with notes, correspondence, and photographs meant for the book. Additionally, there are miscellaneous personal documents, including the notes he would write himself with lists of things that needed to be done, and notebooks with similar content as well as several doodles, one a self protrait. Correspondence with his daughters and Oja is also found in this series, as well as personal and family photographs, some from very early in his life.

The Oja Kodar series (approximately .75 linear ft.) consists of materials related to Oja Kodar's work both with and Without Orson Welles, as well as correspondence, and personal matters. The series is divided into subseries for film, writing, name and topical files, and personal. The writing and film subseries both include unpublished drafts of scripts and stories. The personal subseries included several topics related to Orson Welles' estate after his death, including real estate, legal papers related to the dispute over film rights, and Oja's eulogy for Welles. Also included are materials from her sculpture work and photographs.

The Biographical Works series (about .25 linear ft.) includes published and unpublished works about Welles written by others, including a collection of annotated correspondence, "Orson!:An Original Play", drafts of biographies by Jonathan Rosenbaum and Barbara Leaming, and a copy of The Unknown Orson Welles.

The Clippings and Articles series (approximately .5 linear ft.) is a collection of articles and clippings about Welles from various publications including magazines and newspapers. Materials are mainly arranged chronologically from before 1970 to 2014, but also included are folders of undated materials, undated clippings from Croatian/Yugoslavian publications, and photographs clipped from articles.

The Oversize series comprises two oversize boxes with oversize photographs that correspond with materials in the Film, Television, Magic, Personal, and Oja Kodar series and follows the same order. The magic subseries includes pages from a scrapbook with images from vintage magic ephemera together with images of Welles performing magic.

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.

Robert Shaye founded New Line Cinema in 1967. The company began by distributing foreign, kitsch and art house films to college campuses and eventually grew to distribute and produce films in the Hollywood industry. The archive consists of five series: Personal, Business Documents, Projects, Articles and Clippings, and Audiovisual Materials. The documents range in date from 1958-2008.

The collection is divided into five series: Personal, Business Documents, Projects, Articles and Clippings, and Audiovisual Materials. All the series contain many of Shaye’s hand-written notes from notebooks to scraps of paper in which many of his ideas are written. Along with the notes, Shaye included many Post-it notes explaining some of the content. The majority of documents for the Projects series and all the material from the Audiovisual series are from The Last Mimzy, directed by Shaye and released in 2007.

The Personal series includes correspondence between friends and business partners as well as congratulatory cards and notes. The majority of the series consists of Shaye’s speeches made during awards ceremonies, general speeches for company events, movie premiere speeches and speeches for family and friends’ events. Many documents refer to Shaye as L.E. Moko. This reference refers to Pépé le Moko, a 1937 French gangster film directed by Julien Duvivier.

The Business Documents series ranges from 1967-2008 with documents focusing on New Line and consisting of correspondence, shareholder meeting notes, and film catalogs showcasing the variety of movies available for distribution that year. A binder with information on New Line common stock and correspondence can be found in an oversize box.

The Project series highlights some of New Line Cinema’s distributed and produced films. Highlights include storyboards for Nightmare on Elm Street 4: Dream Master, produced in 1988. The majority of documents are production documents for two films directed by Shaye, Book of Love and The Last Mimzy.

The Articles and clippings section consists of personal articles about Robert Shaye as a business entrepreneur and creative director, New Line Cinema articles, and miscellaneous film reviews along with trade magazines with issues dedicated to New Line or Robert Shaye.

The Audiovisual Materials series consists of The Last Mimzy DVD’s and a CD of video clips, trailers and publicity events. The DVD’s include production footage such as alternate beginnings, B-roll footage and different edited versions of the film.

Stew Albert, a founding member of the Yippies, was a political activist, writer, journalist, and unindicted co-conspirator in the "Chicago Seven" case in 1968. The Stew Albert and Judy Gumbo Albert Papers offer insight into the lives of two activists who were involved in anti-Vietnam war protests, members of the Youth International Party (Yippies), and had ties to groups such as the Black Panther Party and the Weather Underground. The collection contains a variety of materials, including manuscripts, FBI files and court documents, photographs, slides, and negatives, artwork, audiovisual material, realia, scrapbooks, and posters.

The Stew Albert and Judy Gumbo Albert Papers offer insight into the lives of two activists who were involved in anti-Vietnam war protests, members of the Youth International Party (Yippies), and had ties to groups such as the Black Panther Party and the Weather Underground. This collection contains a variety of materials, including manuscripts, FBI files and court documents, photographs, slides, and negatives, artwork, audiovisual material, realia, scrapbooks, and posters. Besides documenting their lives and activities, the collection also offers a glimpse into an aspect of American activism in the 1960s and afterwards, including antiwar protests and the women's liberation movement. The Alberts had close ties to other prominent figures in the movement, such as Abbie Hoffman and Jerry Rubin, who are well-represented in this collection through writings, correspondence, photographs, and audio interviews.

With roughly 28 linear feet of materials, the Stew Albert and Judy Gumbo Albert papers are divided into 12 series: Manuscripts and Writings; Name and Correspondence; Personal; Topical Files; FBI Files; Court Documents; Photographs, Slides, and Negatives; Artwork; Audiovisual; Realia; Scrapbooks; and Posters. Researchers should note that books have been separated from the collection and cataloged individually.

Socialist and pacifist active in labor, civil rights, cooperative, and world government movements. The papers comprise scattered meeting minutes of various organizations, notes (some very detailed) on speeches and other social functions attended by Tekla in the Cleveland area in the 1930s, carbon copies of outgoing correspondence, and a collection of mailing lists. There is a considerable amount of print and nearprint material -- single issues of labor periodicals, newspaper clippings, for m letters, flyers, etc. The papers reflect to varying extents Tekla's activities in North Dakota as an organizer for the Civilian Public Service Union, a national organization of conscientious objectors performing alternative service during World War II; his efforts to recruit Cleveland auto workers for the Socialist Party in the late 1930s; and his membership on the national executive committee of the Socialist Party, the executive committee of the War Resisters League, the policy committee of Democracy Unlimited (ca. 1952-56), the Cleveland Congress of Racial Equality (CORE), and the Committee for a Socialist Program and Action (ca. 1959-64). Tekla was heavily involved in the cooperative movement in Cleveland and to a lesser extent in the Saskatchewan Cooperative Commonwealth Federation (CCF) in the mid-1940s.

The collection consists of material created and collected by Tad Tekla, individually and in various roles in socialist and labor organizations.The collection has been arranged alphabetically by topic.The most voluminous material includes: minutes and other records of the Socialist Party and the Socialist Party-Social Democratic Federation, ca. 1945-1958, including records relating to the Committee for a Socialist Program (founded by critics of the Socialist Party who wanted to serve as an "educational and organizational center within the Party"); records and other material relating to labor unions and labor issues, including records of the Civilian Public Service Union, 1946, and records relating to a crisis in the United Auto Workers and efforts by the Socialist Party to recuit auto workers, ca. 1939; "public meeting notes" by Tekla, which include typewritten notes and diaries relating to a wide variety of meetings and events, 1933-1955 (bulk, 1933-1936); material relating to the world citizenship movement, ca. 1945-1958; material relating to the cooperative movement, ca. 1936-1954; records of the Congress of Racial Equality (CORE), ca. 1948-1952; and outgoing correspondence, 1961-1964.