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Volume first used for poetry and notes by an unidentified Civil War soldier, then either sold or given to Hoyt's father, who used it briefly for farm accounts. It was then taken up by Anna Hoyt and used for poetry, arithmetic calculations, and various notes and sketches.

This volume was produced by Peter McGivney as a gift for his sister, Julia A. McGivney. Its entries are largely copies of popular song lyrics and some poetry. Many focus on sentimental themes like remembrance, familial relationships, love, death, and religion. A few patriotic titles were included. Peter McGivney elaborately decorated and illustrated the volume with paintings, pencil drawings, pen-and-ink embellishments, printed scrapbook die-cuts, and calligraphic titles and borders. He drew numerous patriotic images, including American flags, shields, eagles, Union soldiers, and a portrait of George Washington. Flowers, leaves, birds, and landscapes feature prominently, along with depictions of women. He drew several illustrations of hands holding calling/visiting cards filled out with the names of friends and family members. One watercolor illustration of an African American man accompanies the lyrics of a minstrel song.

This volume was produced by Peter McGivney as a gift for his sister, Julia A. McGivney. Its entries are primarily copies of popular song lyrics and some poetry. Many focus on sentimental themes like remembrance, familial relationships, love, death, and religion. Some patriotic titles are also included. Titles like "Little Low Cabin" and "Half Way Doings" were likely minstrel songs, and include racist dialect. One is accompanied by a watercolor painting of an African American man in striped pants and a blue overcoat standing at a table with a Bible on it and a whitewash bucket on the floor.

Peter McGivney elaborately decorated and illustrated the volume with paintings, pencil drawings, pen-and-ink embellishments, printed scrapbook die-cuts, and calligraphic titles and borders. He drew numerous patriotic images, including American flags, shields, eagles, Union soldiers, and a portrait of George Washington. Flowers, leaves, birds, and landscapes feature prominently, along with depictions of women. He drew several illustrations of hands holding calling/visiting cards filled out with the names of friends and family members.

• "The Lady’s Yes," by Elizabeth Barrett Browning
• "Write Me a Letter [from] Home," by Will S. Hays
• "[Darling] Minnie Lee," by Dexter Smith
• "Ella Ree," by Charles E. Stewart
• "God Bless My Boy at Sea," by T. Brigham Bishop
• "Little Robin, Tell Kitty," by Frank Howard
• "Killarney," by E. Falconer
• "Sunny Days," by Edwin Ransford
• "Remember Me," by M. W. Balfe
• "We Parted by the River Side," by Will S. Hays
• "The Last Rose of Summer," by Thomas Moore
• "Lottie Lee," by C. T. Lockwood
• "Kiss the Little Ones," by W. F. Wellman, Jr.
• "Kiss Me Mother E'er I Die," by W. Dexter Smith, Jr.
• "To a Beloved Woman," translated from Sappho
• "Driven from Home," by Will S. Hays
• "Bessy O'er the Lea" [e.g. "Darling Bessie of the Lea"], by George Cooper
• "Our Own," by Margaret Elizabeth Sangster
• "[When] The Corn is Waving, Annie Dear," by Charles Blamphin
• "A Woman's Question," by Adelaide Anne Proctor
• "Daisy O'Lynn," by M. H. McChesney
• "I'll Remember You Love in my Prayers," by Will S. Hayes
• "Don't be Angry With Me, Darling," by W. L. Gardner
• "The Good Bye at the Door," by J. E. Carpenter
• "Love On," by Eliza Cook
• "Sweet Genevieve," by George Cooper
• "When the [Autumn] Leaves are Falling," by J. E. Carpenter
• "Mother, Is the Old Home Lonely," by Arthur W. French
• "The Golden Side," by Mary Ann Kidder
• "Wait Till the Moonlight Falls on the Water," by Sam Bagnall
• "The Bells of Shadow" [e.g. "The Shandon Bells"], by Francis Mahony
• "Annie of the Vale," by G. P. Morris
• "My Pretty Jane," by Edward Fitzball
• "Silver Threads among the Gold," by Eben E. Rexford
• "When I Saw Sweet Nellie Home," by John Fletcher
• "Come Like a Beautiful Dream," by George Cooper
• "What Will I Do Without Thee," by Elmer Ruan Coates
• "Star of the Evening," by James M. Sayles
• "The Good Bye at the Door," by J. E. Carpenter
• "Memory Bells," by Henry Tucker
• "I Love the Merry Sunshine," by J. W. Lake
• "Every Home has Lost a Darling," by George Cooper
• "Wilt thou say Farewell Love," by Thomas Moore
• "A Sweet Face at the Window," by W. C. Baker
• "Faded Flowers," by I. H. Brown
• "The Blind Girl," by Joshua Swan
• "What Will I Do Without Thee," by Elmer Ruan Coates
• "Why Was I Looking Out," by Claribel
• "God Save the Flag," by Oliver Wendell Holmes

• "Fair Maid of Perth"
• "Arabella Dolora"
• "A little Puss"
• "Rebecca at the Well"
• "E Pluribus Unum"
• "Excelsior"
• "The French Iron Clad Solferino"
• "Volcano of Turrialba (Mexico)."
• "View of Paknam on the Memam. Farther - India"
• "The Rose of Orleans"
• "The Queen of Flowers"
• "Marriot's Aerial Steam Carriage. 'Avitor.'"
• "Love in Winter"
• "Dressing for the Masquerade"
• "William Penn first Settler of Pennsylvania 1675"
• "The Tambourine Player"
• "Love in Summer"

The Starbird family papers contain the incoming and outgoing correspondence of three of the Starbird siblings: Solomon and George, who served in the Civil War in the 127th New York Infantry and 1st New York Mounted Rifles respectively, and Marianne, who operated a struggling art school in New York City.

The Starbird family papers contain approximately 345 items, spanning ca. 1845 to 1864. The Correspondence series contains approximately 331 letters, arranged chronologically, with undated items at the end; the letters cover 1848 to 1864. Thirty letters in the collection predate the Civil War; these primarily concern the schooling and careers of the Starbird siblings, Marianne Starbird's health, social visits, religious observations, and various family matters. The bulk of the collection centers on the years 1862 to 1864, when Solomon and George served with the 127th New York Infantry and the 1st New York Mounted Rifles, respectively. George wrote to Marianne quite frequently during his service, at which time he was mainly stationed in Virginia and North Carolina. He participated in a number of skirmishes in southern Virginia, as well as the Siege of Suffolk, but otherwise did not see much heavy fighting. His outgoing letters, as well as those he received from fellow soldiers, are notable for their frankness about camp life and the war experience, as well as for their content regarding African Americans. Solomon Starbird wrote less frequently to his siblings, but produced very lengthy letters, which cover numerous topics, including the war camp activities, and duties.

The war-era letters open with a discussion of George's enlistment in the 1st New York Mounted Rifles, including his own rationale for enlisting (July 30, 1862). George's early letters primarily document his daily activities at Camp Dodge in Suffolk, Virginia, and a few skirmishes nearby. He frequently gave accounts of his participation in scouting parties and pickets, as well as his pastimes during quiet periods. Among the skirmishes in which he participated are one near Blackwater, Virginia (October 5, 1862); an attack by "bushwhackers" (December 28, 1862); and a skirmish at Providence Church (December 29, 1862) near Windsor, Virginia. He also gave a lengthy description of being fired on during a picket, when, at the same time, a sergeant was mortally wounded (January 15, 1863). In a letter of September 2, 1862, he described the capture of 112 Confederate prisoners on their way to Richmond, and noted that they were given coffee and generally treated well by their Union captors. He also mentioned the explosion of ordnance stored at Yorktown, Virginia, (December 17, 1863) and the search for a Confederate spy near Williamsburg (January 16, 1864).

George's letters are especially significant for the attention that they give to African Americans. He found himself in frequent proximity to slaves near Suffolk, Virginia, where he recorded their stories and noted the assistance that they provided to his company. On October 10, 1862, he recounted a conversation with the slave whom he paid to wash his clothes and cook sweet potatoes for him. The "old negro" told Starbird about his master, Nathaniel Redden, a member of the Congress of the Confederate States. Redden had left Suffolk, but tried to persuade his slaves to stay on his plantation by telling them that northerners would work them three times as hard as southerners and deny them food. According to the unnamed slave, Redden also told him, "Lincoln is going to take you to Cuba and sell you off to pay off his soldiers." In another letter, dated October 25, 1862, Starbird told his sister about a slave Tom, who "lays awake nights heaps worrying for fear the rebels have carried off his wife he left down in Carolina." Starbird also noted the work performed by contraband, such as building stables (January 15, 1863), and the assistance given to Union troops by African Americans, which included giving them corn and making them coffee (October 14, 1862).

George provided descriptions of camp life, including the soldiers' enjoyment of the barracks at Camp Suffolk, their roughhousing, and their heavy drinking. In a letter of January 1, 1863, he noted that the officers got "beastly drunk" and could barely stay on their horses; indeed, several had fallen and could not perform their duties later in the day. He also described a soldier who was nearly 60 years old and had dyed his hair and beard to appear young enough to enlist (February 9, 1863). Other topics covered in his letters include the lack of pay to the soldiers (January 18, 1863), his duties (which included compiling the monthly returns, November 5, 1863), and the hiring of substitutes (August 18, 1863). He also called his fellow soldiers a "Hard Crowd" and described their vicious brawls with one another (August 9, 1862).

George received correspondence from friends in other regiments. One man in particular, Jesse Kimball, who called himself "Barnes," wrote very frankly about the sex available to soldiers from white and black women. He mentioned rampant venereal disease (March 3, 1863), whores in Virginia (November 17, 1863), and sex with girls in his hometown (March 11, 1864).

Solomon Starbird wrote less frequently, but his letters tended to be long, rambling, and filled with details of camp life. On January 23, 1863, he wrote to Marianne concerning the lack of pay to soldiers and the slovenliness of the privates. In his letter of August 21, 1863, he described a military gathering on Folly Island and Union positions in South Carolina. In other letters he gave accounts of being fired on during picket duty (September 30, 1863) and Christmas celebrations in camp (December 22, 1863). A talented sketcher, he included in a letter of October 8, 1863, a penciled map of Cole's Island, South Carolina, labeled with the "old fort;" the 127th Regiment's camp; and the surrounding marshes.

Marianne's letters to her brothers are notable for their accounts of the administration of a struggling art school in New York City during the period. On March 8, 1863, she described her studio and enclosed a flier for the school. In another letter, she shared the necessity of supporting herself by painting portraits, though her greater talent lay in other areas (March 29, 1863). Her later letters reveal increasing health problems, and the difficulty of attracting pupils (February 22, 1864), as well as her attendance at a Sanitary Commission Fair in Brooklyn (February 7, 1864).

The Essays and Poetry series contains 14 essays and poems covering 92 pages. Marianne wrote many of these items, and submitted them in the 1840s to a Norridgewock, Maine, journal called the Social Repository. Of particular interest is an essay, likely written by Marianne, entitled "My School Days," which describes the small schoolhouse that she had attended as a girl. Also included are poems on the topics of love, autumn, the death of a mother, and friendship, and a piece by "C.B.E." entitled "The Mission of Woman." The latter defends the education and ambitions of women and notes that their rightful place in life is as "the equal, not the toy of men," but urges them to dismiss "the sneers, the prejudice, the conventionalities of the world."

A stalwart of the Moravian community in Salem, N.C., Christian Ludwig Benzien was connected in spirit and blood with some of the most prominent of American Moravians. The Benzien manuscript is a complex document comprised of occasional poetry, hymns, and songs written largely, but apparently not exclusively, by Christian Ludwig Benzien.

The Benzien manuscript is a complex document comprised of occasional poetry, hymns, and songs written largely, but apparently not exclusively, by Christian Ludwig Benzien. A Moravian minister, the son and step-son of ministers, Benzien was also a talented poet in German, and his work shows the evidence of a highly developed literary and musical aesthetic, deeply interconnected with an equally highly developed spiritual devotion.

Most of the works were written in celebration or commemoration of special days set aside throughout the year, including Christmas and New Years, birthdays, childbirths, arrivals and departures, Lord's Suppers, and Love Feasts. The volume provides insight into the Moravian religious world view, and perhaps even more into their social and familial relations through sensitive depictions of the nature of friendships between men (and women), family members, and members of church organizations -- particularly the various choirs with which Benzien was associated.

The manuscript appears to have been transcribed in about 1810-1815 by Dorothea Sophia Bötticher, and is written in two hands, entirely in old script German.

Winning manuscripts of the University of Michigan's Avery Hopwood and Jule Hopwood Prizes, a creative writing scholarship program at the University of Michigan. The manuscripts, dated 1931-2019, are bound in volumes according to the corresponding competition category, and accompanied by an author index.

1931-2019 winning manuscripts of the University of Michigan's Avery Hopwood and Jule Hopwood Prizes competition (also known as the Hopwood Awards). The manuscripts are bound in volumes according to the competition category for each year (e.g., "Undergraduate Short Fiction," "Drama," "Summer Awards," etc.) The collection is accompanied by an author card index. Cards within the index are arranged in alphabetical order by last name and include information about the manuscript title, competition category, competition year, the number of the volume that contains the manuscript, and the awarded prize amount.

This collection consists of a copy of Woodworth's last will and testament, 1895; privately printed copy of pamphlet of his "Poems" (1900), and letter written upon his return to Grayling, 1901.

The Edwin Wright letters are 28 letters written between Jan. 14, 1862, and July 14, 1865, by Edwin Wright, a soldier in the 9th N.Y. Cavalry. The letters were written from various places in Virginia and Washington, D.C., and describe life as a Union solder. Also included are short poems written by Loanda Lake, composed on the letter's envelopes, and one small photograph of Wright.

This collection consists of 28 letters written between Jan. 14, 1862, and July 14, 1865, by Edwin Wright, a soldier in the 9th N.Y. Cavalry. Twenty-six of the letters were to Loanda A. Lake in Charlotte, N.Y., and Hammonton, N.J. Two letters and a photograph (carte-de-viste) were sent to Miss Lotte Carle in Leon, N.Y. The letters were written from Washington, D.C., and various places in Virginia (Arlington Heights, Sperryville, Stafford Court House, Culpepper, Point City, Shepherdstown, White House Landing, and Winchester). Two of the letters have illustrated letterheads. One has the Capitol Building with the caption: "THE HOUSE THAT UNCLE SAM BUILT" (in brown ink). The accompanying envelope (in blue ink) depicts a mounted soldier with the U.S. flag flying in front of a camp (Jan. 14, 1862). The second letterhead (in black ink) depicts the Capitol Building (Oct. 8, 1863).

The early letters describe daily life (lining up at the "Colorline", caring for their horses), living conditions (acquiring a stove, the arrival of "Sibley Tents"), listening to brass band music, and food (drinking coffee that was available 3 times a day, but tea only once a week; cutting down a "bee tree" to get honey). He talks of the dullness of camp life leading to desertions (March 4, 1862), and he much prefers scouting to standing picket duty or carrying dispatches, which often result in his separation from his regiment when they go into battle. He describes the forbidden fraternization of Union and Rebel pickets. "... we would meet them halfway between the lines and exchange papers and have a chat, etc. and after a while shake hands and each return to his post" (July 22, 1864). He writes of bitter winters in Virginia, with half of their horses dying in February 1863, and men suffering from frozen feet in January 1865. He describes his regiment forming a line to stop a stampede of fleeing Union soldiers on the road to Centerville (Sept. 10, 1862), and capturing a recently made flag from one of A.P. Hill’s North Carolina units. "...on it was printed all the battles in which they had participated. The latest date was the battle of Cold Harbor" (Aug. 6, 1864). He writes of being "brushed" on his left side and forefinger by a twelve pound shell (July 18, 1864) and in an August 23, 1864, letter tells of his disobeying an order to withdraw so that he could stay at the side of a dying friend and bury him. Brief mention is made of the execution of a member of his regiment (March 3, 1864).

Worth noting are the 14 very short poems that Loanda Lake jotted on the envelopes of Edwin Wright’s letters. As was customary, Loanda often wrote the date that she answered his letters on the envelopes. Below that notation, she sometimes wrote very short poems about the weather.

"And snow upon the ground

But every body seems alive

And so keeps tramping around"

The longest poem is six lines (March 20, 1865). The shortest one is a single word, "Wind", below a whimsical double loop, representing the wind (March 3, 1864). In addition to Loanda’s short poems, a single longer poem that Edwin sent to her is included: a parody of "The Lord’s Prayer" -- "Our Father who art in Washington Uncle Abraham be thy name... give us this day our daily rations of Crackers and Pork and forgive our Short Comings as we forgive our Quarter Masters...".

This collection also includes 1 carte-de-visite of Wright.

The Emily A. Bellair autograph album contains signatures and poetry of many of Emily's acquaintances in the early 1860s. Emily Bellair was from Detroit.

The Emily A. Bellair autograph album contains signatures and poetry of many of Emily's acquaintances throughout the early 1860s. She received the book, whose decorative cover bears the title "Wreaths of Friendship," from W. E. Gentle, who inscribed a two-page letter proclaiming the pair's friendship. Family members also contributed autographs and poetry, including several poems dedicated specifically to Emily that explored themes of friendship and parting. Her brother, Albert F. R. Arndt, wrote a poem from Cairo, Illinois, after he had "gone off to the seat of War." (March 16, 1862). The final page contains a copy of "Auld Lang Syne," as well as several shorter poems that are darker in mood than the other verses.

• "Escape of Carrara"
• "Wreaths of Friendship," depicting a ship in a stormy sea
• "The Bird Trap"
• "The Bride"
• "Kishna"
• Unlabeled: A scene with a tree-lined pond

This notebook was kept by Julia J. Bolton while a student at La Grange Female College, La Grange, Georgia. It includes seven short essays on moral philosophy, meditations, and poetry, and sentiments and poems from other students.

Julia J. Bolton's 124-page notebook begins with seven essays she wrote on eleven pages. The essays are titled: Wills, Charity, Dueling, Moral Sense, Promises, Virtue, and Slavery and include Julia's thoughts on each subject. Following that are three lists of books and two pages devoted to chemistry definitions. Most of the notebook is taken up with 56 poems written to Julia by various students, including Julia's cousin Mary E. Montgomery. These poems are mainly focused on friendship and are signed and dated, almost all from June 1852, however two are dated 1853, and one each from 1854 and 1855. Under some of the poems are notes written by Julia at a later time such as "deceased." Mixed in with the poems are Julia's meditations on love, life, womanhood, religion, reading, writers, and fishing, as well as her poetry and quotations. Two small pencil sketches are in the book, one of a bunch of grapes, and one of a heart and arrow.

The Al Parker collection includes three envelopes of photographs, sheet music, and newspaper clippings as well as a scrapbook relating to the professional and personal life of Philadelphia-based photographer and photographic supplies salesman Alfred Parker.

The Al Parker collection includes three envelopes of photographs, sheet music, and newspaper clippings as well as a scrapbook relating to the professional and personal life of Philadelphia-based photographer and photographic supplies salesman Alfred Parker.

Envelope A (photographs): includes unmounted oval portraits of Parker’s children Eda and Ray from the early 1900s; studio portraits of Eda and his wife Alice from the 1910s, two of them from the Philadelphia studio of Gilbert and Bacon; an mounted school class photo (ca. 1890s?)

Envelope B (sheet music): includes three examples of World War I songs from the Eagle Publishing Company of Philadelphia with "music by Geo. L. Robertson and lyrics by Al. Parker."

Envelope C (letters, clippings, etc.): includes a letter appointing Dr. Ray Parker head of plastic surgery at a hospital in Johnstown, PA; a magazine article on “Flood Free Johnstown”; letters and clippings about Dr. Ray Parker; article on World War II factory workers; newspaper article on Theodore Roosevelt urging U.S. entry into World War I; and a note from Christmas 1926 from Parker’s grandson Donald addressed to “Ganco."

Scrapbook: The volume (37 x 28) is cloth-bound and has 66 pages total. Materials are not arranged in any chronological or thematic order and so unrelated items often appear together on the same page.

The album begins with photographs of Parker’s family members while the next few pages focus on scenes from his professional life, including a magazine cover from April 1900 and documentation of his break with Willis & Clements in 1910. Portraits of Parker at every stage of his life appear throughout the scrapbook, though not in any chronological order. The earliest is a tintype from the 1850s that shows him as a young boy with his brothers. Many portraits and casual snapshots of Parker's daughter Eda and son Ray from their early childhood into adulthood are included, while a collection of clippings reflects Parker’s pride in Ray's success as a doctor. His delight in playing the doting grandfather is clear from the drawings Parker made for Eda’s son Donald and in the notes that Donald wrote to Parker using the nickname “Ganco.”

A handful of portraits that were taken by Parker show that he was a capable studio photographer in addition to being a successful promoter of platinum photography products while working for Willis & Clements. Requests for his opinions from Eastman Kodak Company, Photo Era magazine, and the Photographers’ Association of New England testify to his recognized expertise. Numerous portraits of Parker in the company of other well-regarded photographers of the day confirm his acceptance in that professional circle.

Many ephemeral items also help illuminate the arc of Parker's career including programs from his minstrel show days; an advertisement for his Australian window blind company; the initial offer of employment from Willis and Clements; business cards from various stages of his career; and an ad for a new camera shutter he invented. Interspersed amongst these items are letters and photographs from various colleagues and employers along with miscellaneous poems, cartoons, programs, drawings, song lyrics, newspaper clippings, and so on.