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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 Nixon family papers document the lives of several branches of the Nixon family, including settlers in southern Ohio and women attending Mount Holyoke Female Seminary and Charlestown Female Seminary.

The Nixon family papers consist of 88 items: 84 letters, 3 legal documents, and a ledger. The materials cover the period between 1800 and 1889, with the bulk clustered around 1800-1851. They primarily concern the family's settlement on land in southern Ohio in the 1810s and 1820s and the education and social lives of Warren Nixon's daughters in Massachusetts in the late 1840s.

Thomas Nixon, Jr., and his attorney, Rufus Putnam, wrote most of the correspondence of 1800-1817, which relates to taxes and land values in southeastern Ohio. Several documents concerning the land also date from this period. Beginning in 1818, letters from Warren Nixon, Otis Nixon, and Richard Nichols describe clearing and planting in Morgan Township, Ohio, as well as their everyday lives there. Warren looked down on his neighbors, calling them "a poor ignorant lazy set of beings as ever inhabited the world," and disapproved of their religious practices --"the old women & girls will pretend to preach… and jump round a while and then fall down as if they were dead" (June 22, 1818). In many letters they described their hardships; these included the neighbors stealing their horses (December 3, 1819), the low prices paid for their crops (July 13, 1822), and widespread disease (August 10, 1823). Responses from Thomas Nixon, Jr., advised patience and frugality.

By the 1830s, Warren had returned to Massachusetts, and only Otis Nixon remained in Ohio. Otis wrote the majority of letters during this period to Warren and other relatives. In a letter of May 14, 1841, he described the events in Watertown, Ohio, leading up to William Henry Harrison's election: "We have had Harrison women and Harrison boys, tippacanoe poles, log cabins and hard cider in abundance besides dinners I don't know how many & balls not a few. Many have supposed that Gen Harrison lived in a log cabin and drinked hard cider and therefore would be an uncommon friend to the poor, but such was not the fact." Otis' later correspondence also gives details of his crops, farm buildings, and events within his immediate family circle.

Between 1846 and 1851, the focus of the collection shifts to several of the daughters of Warren Nixon and Salome Rice: Selina (1825-1916), Marcella (b. 1827), and Laurella (b. 1820). The sisters exchanged a series of letters concerning family news, church matters, Charlestown Female Seminary, and Mount Holyoke Female Seminary. In her letter of January 25, 1847, Marcella, a Baptist, worries that the "far off Western wilds" are filling with "Roman Catholics… undermining the minds of the young with their false religion." On April 13, 1848, while at Mount Holyoke, she gave an account of Mary Lyon's attitude toward missionaries: "Her whole soul is bound up in the missionary work and she would have her pupils cherish it as she does." Only five items represent the period after 1851. These include several letters from Otis Nixon and his son, George, updating the family on their health and endeavors.

The Northwest Territory collection contains approximately 100 miscellaneous items relating to the settlement and surveying of the Northwest Territory, as well as the social and military history of the region.

The Northwest Territory collection contains approximately 100 miscellaneous items relating to the exploration and settlement of the Northwest Territory, as well as the region's social and military history. Although the territory existed from 1787 to 1803, the materials span 1755 to 1822 and include both correspondence and documents.

• Two letters by John Armstrong providing news of Fort Hamilton in Ohio (January 14, 1792; January 19, 1792).
• Letter from Isaac Shelby to Charles Scott concerning the recruitment of the Kentucky Volunteers, who are to be sent to Fort Jefferson (September 18, 1793).
• A letter by Andrew Marschalk describing the cutting of a road from "Lormies" (Fort Loramie, Ohio) toward St. Marys, Ohio (March 18, 1796).

Also included are several military returns and warrants for arrest.

The Olga and Jesse Smith collection is made up of photographs, correspondence, and other materials revolving around this couple's work at the Ironwood and Ponca Schools for Native Americans, in South Dakota and Oklahoma, respectively.

The Olga and Jesse Smith collection is made up of photographs, correspondence, and other materials revolving around this couple's work at the Ironwood and Ponca Schools for Native Americans, in South Dakota and Oklahoma, respectively. The largest portion of the collection dates during their time at Ironwood School, 1909-1912, and the Ponca School, 1912-1914.

The centerpiece of the Smith collection is a photograph album, apparently kept by Olga Smith. Consisting of 304 mounted snapshots, this album is divided roughly into two parts: photos from South Dakota and photos from Oklahoma. The first images were taken in and around the Rosebud Reservation in South Dakota. Their subjects include the Ironwood and Upper Cut Meat Day Schools, portraits of school children and other male and female members of the Lakota tribe, Native Americans in tribal costumes and on horseback, an excursion to the Badlands, and other subjects. Photographs taken in Oklahoma include views of the Ponca School and its school children, and other portraits.

This photograph album is valuable in its entirety, and for many of its outstanding individual images. Some of the most impressive photographs are casual portraits of Native Americans, snapshots of a Catholic "Indian Funeral," views of school buildings and grounds, and Native American rituals and encampments. The album also provides insight into what the Smiths deemed important enough to photograph and retain.

The collection also contains 39 loose photographs and images, including tintypes, real photo postcards, picture postcards, a cyanotype, studio portraits, and other miscellaneous photographs. These include family photographs, portraits of Native Americans (some in full regalia), Ponca and Ironwood schools and schoolchildren, images of Native American women cooking out-of-doors, a Rosebud Reservation hotel, a cemetery at the St. Francis Mission, and a several commercial picture postcards of locations on reservations in Oklahoma and North Dakota. See the Additional Descriptive Data for a more thorough list of subjects and names represented in the photograph album and loose photographs.

A small group of 10 letters accompanies the Smith collection. These include six letters and postcards from Olga to her parents and sister at Anderson and Graysville, Indiana, 1909-1910. Two of Olga's letters provide extensive details on life in Cut Meat on the Rosebud Reservation in February 1909. These letters describe the surrounding area, the school, the responsibilities of the Smiths' students, interactions with Native Americans, language barriers, the daily routine, and carriage and train travel. One of these two letters was printed in an Indiana newspaper. In the remaining four letters, Olga provides further insight into life on the reservation, pleads with her parents to visit, and offers advice on how to smuggle a child onboard a train without paying their fare. Smiths' daughter Mildred wrote a letter to her grandparents, in which she discusses her pets and expresses hope that they will come to visit (dated June 1909). Finally, two 1912 letters from Ironwood students to Jesse Smith in January 1912 discuss their chores and school attendance, and a single telegram to Jesse Smith in October 1914 regards his transfer to "Kiowa Schools," Oklahoma, to serve as supervising principal.

A selection of miscellaneous materials completes the Olga and Jesse Smith collection. Six of these nine items relate to the Smiths' school administration and their own efforts to learn and retain Sioux names and vocabulary. These include pages of typed names, titled "Indian Names That is Good for the Soul and Body," and "Sioux Indian Words from Memory"; two pages hung in the Ironwood school by Olga Smith, which list the female students cleaning and sewing responsibilities for two weeks; and a 55-page typed list of Native American names (possibly students). This last item contains approximately 1,450 names. Other miscellaneous materials include a commencement program for Olga Byrkett's graduation, 1898; a card with a hand-drawn teepee and tent which advertises a Progressive Dinner Party given by the Mission Ladies at Colony, Oklahoma, December 1916; and a Grand Secretary's Certificate for Jesse W. Smith, Master Mason, Ponca, Lodge No. 83, December 1924.

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 Peet family papers contain correspondence and documents relating to everyday life in New England, politics, and the War of 1812.

The Peet family papers contain 27 letters, 3 legal documents, and 3 financial records, dating from 1789-1831, though the correspondence covers only 1807-1813. Don Carlos ("Carle") Peet, Luna Peet Sperry, and Anson J. Sperry wrote the bulk of the correspondence from Manchester, Vermont, to their father, Samuel Peet, and brother, Roily Peet, in New Milford, Connecticut. The letters primarily concern family news, including accounts of Luna's declining health prior to her death in 1810, purchase of land, and the birth of children. In a letter of February 12, 1812, Carle Peet noted Anson Sperry's remarriage and described his new wife. In other letters, he described everyday activities, such as farming and clothes-making.

Two of the letters concern politics and the War of 1812. In the first, August 16, 1812, Carle noted the organization of a volunteer company in Manchester, and criticized it as "nothing more than an out side show of pretended patriotism," and its captain as elderly and overweight. In the second letter, he described elections for Congress and expressed disillusionment with the outcomes (December 20, 1812). Anson Sperry wrote the final letter in the collection (September 20, 1813), in which he pleaded to Samuel W. Peet to assist his sick son, Carle.

The Documents and Financial Records series contains six items. The first two documents, dated December 10, 1789, and June 26, 1791, assured payment by Joseph Peet to Samuel W. and Elnathan Peet for support of their widowed mother, Sarah, and allowed her use of specific areas of Joseph Peet's home. Also included are receipts for the sale of a parcel of land in 1799 and for state taxes paid by Samuel W. Peet in 1809, as well as a record of the distribution of Sarah Averill's estate. The link between the latter item and the Peet family is unclear.

The Phoenix family papers contain correspondence and documents relating to the firm Phoenix, Ingraham & Nixon and its failure in 1811, resulting in Alexander Phoenix's imprisonment for debt. They also include 11 letters from Harriet Beecher to Elizabeth Phoenix, dating to the late 1820s and 1830s.

The Phoenix family papers consist of 67 letters, 32 legal documents, 10 financial records and receipts, 2 drawings of land lots, and a printed bill. The materials span 1776-1884, though the bulk centers on the periods between 1808 and 1814, and 1826 and 1833. Early letters and documents relate primarily to the firm Phoenix, Ingraham, & Nixon. They include a letter from Alexander Hamilton to Nathaniel G. Ingraham, denying him financial assistance because of other obligations (March 5, 1801); the firm's articles of agreement (February 15, 1803); and 27 letters written by Nathaniel Ingraham to Alexander Phoenix concerning business acquaintances and hardships faced by the company, and its eventual bankruptcy (1810-1811). A document of October 11, 1811, gives a full account of the firm's losses.

Between November 1811 and March 1813, nearly all of the 20 letters and documents relate to attempts to free Phoenix from debtors' prison; his attorney, Silvanus Miller, wrote many of them. Also of interest is a manuscript, dated November 1811, containing copied extracts from letters by Phoenix during his imprisonment. In several of the letters, he criticized Albert Gallatin, the Secretary of the Treasury, and discussed other political matters. A copy of a congressional act of March 3, 1813, documents the release of Phoenix and several associates.

Of note is a series of 11 letters written to Phoenix's daughter, Elizabeth, by a young Harriet Beecher in the late 1820s and early 1830s. Many of the letters are undated, but can be traced to this period based on their postmarks. Beecher and Phoenix had been schoolmates at Hartford Female Seminary around 1823, and in her letters, Beecher frequently reminisced about their time at the school, including how strange she must have seemed to the other girls, and discussed mutual friends. Much of Beecher's correspondence is very introspective in nature, and consists of her religious and philosophical thoughts, including a recommendation that Phoenix read the works of Joseph Butler in order to develop her argumentation. Several of the later letters include postscripts written by Catharine Beecher, Elizabeth's teacher in Hartford. A letter of June 11, 1833, mentions their plans to open a "small school" in Cincinnati, where they had moved with their father, Lyman Beecher. Overall, the letters shed light on Harriet Beecher's intellectual and religious development during her young adulthood.

Several items postdate 1836; two of these relate to the estates of Alexander Phoenix and Shearjushub Bourne, a relative of Edgar Ketchum. Two other documents, located in the "Miscellany" series, illustrate land lots.

The Pulteney Malcolm papers contain correspondence and logbooks related to the Royal Navy service of Admiral Sir Pulteney Malcolm. The correspondence is composed primarily of letters Malcolm wrote home to his wife and sisters, while he was stationed in America during the War of 1812. The logbooks contain records of his service in America, in the Napoleonic wars, and at St. Helena, where he was in charge of the blockade of the island during Napoleon’s exile.

The Pulteney Malcolm papers contain 46 items relating to the service of British admiral Sir Pulteney Malcolm, including 43 letters, 3 logbooks bound together in one volume, Malcolm’s service statement, and a miscellaneous document with descriptions of the British attempt to take New Orleans. Most of the items date from 1814-1817.

The correspondence series primarily consists of letters Malcolm wrote to his wife Clementina (and a few to his sisters) from 1814 to 1815. At the beginning of this period, Malcolm was stationed with his fleet at Bordeaux, during the immediate aftermath of Napoleon’s initial abdication and exile. In his letters, he discussed the end of the war with the French, his opinions of the city, major events, and important people. He wrote about his attempts to pacify his captains, who were angry about discovering their assignment to America by reading about it in the newspapers and by hearing about it from other officers (Letters #4 and #5 [May 1814]). By June 1814, Malcolm and his flagship, the Royal Oak, had set out for America, where they would provide naval support for the British forces. His letters from this period document major events from the last part of the war, including the capture and burning of Washington, the Battles of Baltimore and New Orleans, and the peace negotiations. His letters also document his opinions of fellow officers, including Admiral Alexander Cochrane; his desire for peace and to return home; and his views on America. While sailing from Bermuda to the United States, Malcolm wrote: “the Americans will be inclined to Peace, but there is a set of turbulent men amongst them, that will not listen to reason. I believe that a Republick to be great must like the Romans be always at War in order to find employ for the disquiet spirits” (Letter #19, 3 August [1814]). The last letter from this period is from 1815, written onboard the Royal Oak as Malcolm sailed home from America. During the voyage Malcolm learned that Napoleon had just returned from exile on Elba and was once again in France.

The three logbooks in the collection are bound together into one volume. The first logbook, kept from June 1, 1814-May 28, 1816 on the H.M.S. Royal Oak, includes accounts of the bombardment of Fort McHenry during the Battle of Baltimore, and provides a daily record of naval support for the British army during the Battle of New Orleans. The second logbook, kept from June 13-July 25, 1815 on the H.M.S. Tartarus, documents the period Malcolm spent commanding a squadron in the North Sea, while giving naval support to the Duke of Wellington before Napoleon’s final defeat. The final logbook, from the H.M.S. Newcastle, March 28, 1815-August 16, 1817, deals primarily with the blockade of St. Helena, during Napoleon’s exile to that island. The volume also contains two watercolor drawings, two pen and ink drawings, a pencil sketch, five charts, two plans and four maps. Maps within the collection include several maps of the Chesapeake Bay region, as well as two maps of St. Helena. A map of the island of St. Michael, and a second of the American coastline are housed separately within the Map Division.

Other documents include an 1812 supply order from Rear Admiral George Cockburn to Captain Ross of the H.M.S. Marlborough; an incomplete document entitled “Chapter 21” that concerns the British attempt to capture New Orleans; an 1830 letter from Malcolm to Secretary to the Admiralty John W. Croker, in which Malcolm addressed the situation, pay, and unemployment of secretaries to admirals; and a service statement for Malcolm, which details his entire career in the Royal Navy from 1778 to 1837, including ranks, dates, ships, and notes on actions.

This is a miscellaneous collection of letters to and from members of the Howe family, including British army officer William Howe, British naval officer Richard Howe, and their families.

The Richard and William Howe collection contains 48 miscellaneous single letters and documents, spanning 1758 to 1812. The correspondents were various members of the Howe family, including William Howe, Richard Howe, Mary Hartopp Howe, Mary Juliana Howe, and Louisa Catherine Howe. Brought together over several decades, the group of materials includes miscellaneous items related to military operations, as well as a number of family letters. A handful of items concern the Seven Years War and American Revolution, and over half of the collection postdates 1783. See "Detailed Box and Folder Listing" for a full inventory of the items, including abstracts of each letter.

The Richard Oswald collection contains three of Oswald's memoranda ("Plans for Russian Conquest of the North-West Coast--1781," "London, 9th August 1779--General Observations, Relative to the Present State of the War," and "Supplement to the Papers of August 1779 Relative to the State of the Present War") and three letters to and from Oswald concerning the Revolutionary War.

The Richard Oswald collection contains three memoranda and two letters written by Oswald, as well as a letter written to Oswald by William Pulteney, all spanning 1779-1783.

Volume One contains two memoranda of 1779: the 72-page "General Observations, Relative to the Present State of the War" and its continuation, the 33-page "Supplement to the Papers of August." In the former, Oswald anticipates a prolonged conflict (p. 25: "…if we wish to have a good Peace, we ought to prepare for a long War.") and speculates on the relationship between the Americans and French ("…I am of opinion that we have a much better chance of making France tired of the Contest by taking of America, than of recovering America by dint of our attack upon France." [p. 9]). He also suggests that the British "break the Internal Union amongst these Colonies by Dismembering one part from the other" (p. 27), and recommends that this be accomplished by expeditions into Georgia and South Carolina. In the "Supplement," Oswald doubts the value of "be[ing] so tenacious of every Individual part of these possessions as to suppose that the preservation thereof, in the Interim of this War, may not cost more than it is worth" (p. 2). He also comments further on the French, and emphasizes the necessity of taking possession of Charleston, South Carolina, in order to defeat the Americans (p. 9).

Volume Two of the Richard Oswald collection contains a 1780 letter from William Pulteney announcing the surrender of Charleston, South Carolina, and two letters by Oswald to unspecified recipients. In the earlier of the two letters, dated November 16, 1782, Oswald described the willingness of the Americans to continue fighting ("America would carry on the War with Eng'd for 50 years rather than subscribe to…evidence of their own iniquity…") and treaty negotiations concerning the treatment of Loyalists. In the later letter, dated January 8, 1783, he discussed the conflict over rights to cod fishing in Newfoundland. Also included is a memorandum written by Oswald and dated April 12, 1781, suggesting the formation of a Russo-British alliance in order to attack Mexico and California, and thereby challenge Spain in the New World. The 19-page document, entitled "Plans for Russian Conquest of the North-West Coast--1781," presents the unusual idea as an inexpensive way of "cripling [sic] the power of the Bourbon Family for ever."