Collections : [University of Michigan Special Collections Research Center]

The Hobohemia Collection contains materials from 1905-1997. The materials are original correspondence and manuscripts, photographs, serials, pamphlets, ephemera, clippings, and realia. The collection centers around soap box culture, radical thought, and open forums for free speech in Chicago that were popular from mid-1910’s to the early sixties. Jack Sheridan and to a much greater degree, Slim Brundage and The College of Complexes, are the main focus of this collection.

The Hobohemia Collection is composed of personal and business correspondence, manuscripts, business records, serials, ephemera, photographs, and clippings. It revolves around Jack Sheridan, an active Dil Pickler, and Slim Brundage, founder of the College of Complexes, as well the business workings of the College. The Jack Sheridan series (.5 linear feet), includes correspondence with professional peers and friends, family letters and correspondence, several of his manuscripts, personal records, and related news clippings. Correspondence includes Jack Conroy, liberal labor writer and activist, and John Quinn Brisbon who was an activist and in later years ran for VP and President representing the Socialist Party USA. Notes and plans for a "handwriting" TV series in which Jack would analyze viewers’ handwriting and response from the showing of one segment are included also. Family correspondence includes exchanges with Jimmy Sheridan, Jack’s twin brother and hobo, letters from James Sheridan, Jack’s father, to his family, dated 1917 and 1943, and documents from a federal INS investigation.

Manuscripts include a dedication to the reopening of the Dil Pickle Club in 1944 and a tribute to author and fellow Dil Pickler Max Bodenheim who was murdered. Poems to Jack Sheridan by Max Bodenheim and J. Q. Brisbon and poems by Jack Sheridan for Ben Reitman and in tribute to Hobo College are also part of this series. Personal records include school and service records, a letter of reference, parental certificates, and a copy of a US Treasury document denying Jack Sheridan as a merchant seaman.

The Slim Brundage series (11.66 linear feet), is comprised of personal and business correspondence, and material relating to family, Slim’s manuscripts, and material about the College of Complexes. Correspondence is listed by name and also chronologically. Personal correspondence includes that with writer Carl Sandburg (1937), an important Pickler, Thornton Wilder (1937), and hobo poet Axel Dragstedt.

Business correspondence relates to Slim’s workmen’s compensation regarding a fall he took as a painter and problems obtaining social security benefits. There are also letters to editors regarding submission of manuscripts and some subsequent responses.

Manuscripts comprise 3.5 cubic feet of this series. They include poetry, plays, articles, speeches, radio shows, and books. Most are undated and unsigned but the style consistent. Many of his short essays, or Ravings, are included here. The layout for his only book publication, Ravings of a Manic Depressive, is included. This book was a disappointment for Slim because of its hurried and sloppy assembly. Some manuscripts exist under differing titles; Slim also writes under the pseudonyms Malarkey McCarthy, Manuel Labor, and Casa Pintura.

Family material holds correspondence from Slim to his brother and children, his colorful autobiography which claims his place of birth as an insane asylum and a scrapbook compiled by his daughter, Anna Brundage, which coincides with the establishment of College of Complexes. The scrapbook also contains photographs of the family.

Materials on Margaret Brundage, who married Slim in 1927, include papers on her divorce from Slim in 1933 (official 1939) and custody of their only child, Kerlyn. There is a letter from Margaret to her lawyer explaining how Slim fit into Kerlyn’s life. Personal records and memberships include Slim’s union membership cards and certifications.

Materials under Kay Brundage, to whom Slim was married in 1940, includes correspondence with Slim regarding his painting accident in New York and recuperation, letters from her mother which shed light on Kay and Slim’s financial situation, flooding in Missouri, and the Truman administration. Other material relates mainly to her involvement, and to a lesser degree, Slim’s involvement, in the administration and activities of the Chicago Repertory Theatre and Child Guidance Center.

The College of Complexes subseries includes Business Records. These are marketing promotions such as the Miss Beatnik Contest, extensive business records which include donations to various pro labor and community organizations, mailing lists, IWW support, potential openings of College of Complexes locations in New York and San Francisco, and a large assortment of check stubs, ledgers, daily records, gate receipts, and steno pads recording College of Complexes daily monetary transactions.

Business Records also include correspondence and documents from the US Internal Revenue Service, the Illinois Internal Revenue Service, various vendors to whom Slim owes money, and lawyers regarding the dissolution of Slim’s business partnership with Margaret due to their divorce. There is a letter from Ann Landers and a letter to Hugh Hefner.

The Curriculum files contain typed monthly schedules of speakers enlisted for the College of Complexes. It was traditional to include essays by Slim known as Ravings into each Curriculum. Ephemera contains humorous items such as the Schizo Certificate, Slim’s business card from Mexico, a "pickup" card, play money, and certificates issued to speakers. There are newspaper articles that cover the Beats and the Miss Beatnik contest.

The Other Forums/Events/Organizations series (.75 linear feet), briefly addresses other open forums of the period. Slim and Kay Brundage were longtime Wobblies in the Council for Union Democracy. There are several essays that were written by Slim while committed to this organization as well as general member correspondence and business materials. Materials on the Dil Pickle Club include ephemera such as Volume 1, Number 1 of the Dil Pickler, a pamphlet of writings with the Dil Pickler Lending Library, as well as a small pamphlet with lecture schedule. Druid Society materials include a certificate establishing Jack Sheridan as a witness to the appointed trustees of the Druid Society.

The Writings by Others series (.5 linear feet), contains typed and some handwritten manuscripts by people active in Slim’s circle and the College of Complexes. The Anthology of Love is a collection of poetry written by others that Slim hoped to have published. Almost every poem has an attached typed commentary by Slim. There are handwritten poems by Max Bodenheim on truth and beauty and a guestbook for the Guild of Young Writers, 1932. There are writings by Kay Wood, who married Slim in 1940, John Krzton, "World’s Foremost Authority on Garbage" who reviews Slim’s Ravings, and Malarkey McCarthy, pseudonym for Slim Brundage.

The Serials series (.5 linear feet), contains literary publications from as early as 1905, The Crank, to 1960, The Tab. Amazing Stories and the Washington Square News contain articles by Jack Sheridan. The Tab contains photos and an article about the Miss Beatnik contest held at the College of Complexes in New York.

The Pamphlets series (.25 linear foot), contains materials that may have been used for reference by Jack Sheridan or Slim Brundage. Roger Payne’s The Hobo Philosopher, priced at 10 cents, explains how he can "maintain himself, working as a hobo, in about one day a week, instead of the usual six." The Isle of Mona is a Druidic fantasy written by Francis Lambert McCrudden, who corresponds with Jack Sheridan.

The Photographs series (.125 linear foot), contains many photographs that relate to the collection. Interior photographs of the College of Complexes, circa 1950’s, as well as photographs of Meta Toeber and Franklin and Penelope Rosemont at the 1997 COC Reunion. There are photos of Margaret and Slim Brundage, Slim’s son, Kerlyn, Slim in the hospital, and Slim’s well recognized portrait as housepainter. Photographs of The Place (San Francisco), its manager, Jack Langan, and photographs of Jack Sheridan’s family are among others. Several are unidentified.

The Newsclippings series (.125 linear foot), is arranged primarily by decade and relates to social protest, the free press, labor, unions, Cuba, and the Socialist Party.

The Ephemera series (.5 linear foot), is arranged by decade, subject, and title. There are flyers and bulletins on labor, Cuba, Vietnam, civil rights, post war housing, IWW, the March on Hunger to City Hall, and an Irwin Corey for President button. This material may have been used as reference by Slim for his writings and education. There is also a folder that contains many actual copies of The Curriculum, 1953-1990.

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.

Correspondence, informational flyers, conference records, and ephemera relating to the activities of the Household Workers' Rights Project, a grassroots group organized in 1979 in San Francisco to promote the rights of domestic workers.

The bulk of the collection is correspondence. Maupin and other organizers of HWR corresponded with domestic workers, lawyers, politicians, and related activist organizations to provide domestic workers with legal assistance, training, job referrals, and other vital resources. Of note are the organizers' two-year correspondence with the office of California assemblyman Art Agnos, as well as their correspondence with Carolyn Reed and other lead organizers of the NCHE. Agnos promised to help the organization further improve Wage Order No. 15, while the NCHE provided financial and other assistance to the HWR project as it got off the ground. Maupin co-led a workshop at an NCHE conference in Memphis, Tennessee in 1980.

Also included are various forms and surveys, often in English and Spanish, distributed to domestic workers to help them find jobs and provide feedback about their experiences.

This collection contains material related to Detroit-based German-American physician, writer, and proponent of cremation Hugo Erichsen. It includes correspondence from European and American writers. Some of the correspondence is in response to Erichsen's survey on writers' methods, which he prepared for his 1894 book "Methods of Authors"- Harriet Beecher Stowe's response is included here, among other writers.

This collection contains correspondence and photographs primarily related to Erichsen's 1894 book, "Methods of Authors", and includes a variety of European and American authors' responses to his survey on writing habits. The collection includes a brief survey response from Harriet Beecher Stowe and a letter from Henry Wadsworth Longfellow.

The Human Rights Party Papers consist of correspondence, writings, administrative materials, teaching materials, notes, reports, and photos regarding the life and works of Benita and Gabe Kaimowitz and Edward and Victoria Vandenberg, all of whom were active members of the Human Rights Party in Ann Arbor in the 1970s.

The correspondence series largely consists of correspondence to and occasionally from Ed and Victoria concerning their personal and professional lives. Items groupings correspond to the creators' original order.

The campaign materials series comprises legal documents, ad copy, expenses, ephemera, and photos related to Benita Kaimowitz's 1973 bid for Ann Arbor mayor and Ed Vandenberg's 1986 candidacy for probate judge.

The teaching materials series includes lesson plans, assignments, student work, student evaluations, reading lists, and correspondence relating to Victoria and Ed Vandenberg's and Benita Kaimowitz's work as teachers. Both Benita and Ed taught courses at Community High School, a public alternative school founded in 1972 in response to the popularity of the Youth Liberation movement in Ann Arbor.

The Ed Vandenberg legal work series contains materials related to Ed's career as an attorney and ombudsman.

In the Office of Ethics and Religion series are administrative materials, correspondence, notes, ephemera, and proposals created by or submitted to the eponymous office. Ed Vandenberg served for a time as president of the Office of Ethics and Religion, and participated in many of the office's forums, conferences, and iniatives. Many of the materials in this series pertain to the University Values Program and the debates it facilitated concerning research into recombinant DNA technology.

The conferences series primarily consists of documents related to the 1977 "Narcissism in Modern Society" conference held at the University of Michigan and hosted in part by the Office of Religion and Ethics. It also includes statements and notes about attendees from the 1965 International Conference on Alternative Perspectives on Vietnam, which was co-sponsored by the predecessor to the Office of Ethics and Religion. Lastly, the series contains of a handful of documents related to various teach-ins in the 60s and 70s.

The topical files series is composed of groupings of files, largely collected by Ed Vandenberg, related to political and philosophical topics that did not fit neatly elsewhere in the collection. Files contain a variety of items, including essays, articles, newsletters, and ephemera.

The last item in the collection is a spiral-bound notebook used as a communication log for the Kaimowitzes' communal home.

This collection includes recordings of interviews conducted by Cecil D. Eby for his book Hungary at War: Civilians and Soldiers in World War IIas well as photographic transparencies 3.5 in floppy disks with book files, and copy of the book.

The collection comprises 44 audiocassette tapes with recordings of interviews conducted by Cecil D. Eby for his book Hungary at War: Civilians and Soldiers in World War II, published by the Pennsylvania State University Press in 1998. Most interviews are in Hungarian, some are in English. The interviews are accompanied by an alphabetical list of names of interviewees and dates, which can be matched with the index at the end of Eby's book. A copy of the book is also included in the collection, along with 5 floppy disks with data relating to the project, and transparencies featuring photos dating from the war appearing in Eby's monograph.

Cassette tapes in Box 1 have been reformatted, and CD access copies are available.

The Ira Deutchman Papers represent the creator's ongoing career in the film industry, including his personal interests, teaching, and work as a production company executive for Cinecom and Fine Line Features as well as work with directors John Sayles, Alan Rudolph, and Robert Altman. The collection includes extensive catalogs and programs from film conferences and festivals around the world.

The Ira Deutchman Papers were donated to the University of Michigan Special Collections Library Screen Arts Mavericks and Makers Collection in 2015. The collection encompasses Ira Deutchman's 40 year career in independent film making as a producer, production company executive, and educator.

The Ira Deutchman Papers are arranged into sixteen series: Personal, Production Companies, Film and Project Files, Film Organizations, Film Miscellaneous, Film Scripts, Film Conferences and Seminars, Film Festivals, Books, Film Catalogs, Theatre, Artifacts/Memorabilia Oversized, Audio and Moving Image, Digital Media, and Posters

This collections contains materials related to US modernist author William Faulkner, including manuscripts, photographs, correspondence, and event documents.

The Irwin T. and Shirley Holtzman William Faulkner Collection (Special Collections Research Center, University of Michigan) series pertains to the establishment and exhibition of the Holtzman Faulkner Collection at the Special Collections Library at the University of Michigan. It includes business and personal correspondence, display case diagrams and notes, brochures and informative notes for various exhibitions of the collection, and lists of donated Faulkner materials. The Irwin T. Holtzman Faulkner Papers series covers Holtzman's business correspondence and documents relating to his collection of Faulkner materials. Correspondence is arranged alphabetically, with additional folders of research notes. The majority of the Faulkner Conferences, Seminars, and Events series is comprised of event-related ephemera, such as maps, schedules, registrant lists, itineraries, tour books, and flyers. The series also includes some conference-related correspondence, speech drafts, clippings, planning notes, invitations, and abstracts of presented papers. The Faulkner Works series covers Faulkner's literary and artistic publications, and is divided into three subseries: Correspondence, Manuscripts, and Scripts and Treatments. The Correspondence subseries collects outgoing letters sent by Faulkner to agents and other writers, and are all single-page photocopies, unless otherwise noted. The Manuscript subseries is comprised of printed or photocopied reproductions of drafts of short stories, novels, and Faulkner's last will and testament. The Scripts and Treatments subseries contains typescript drafts of film and television treatments of Faulkner works, scripts written or revised by Faulkner, and scripts based on or relating to Faulkner works. Many of these scripts and treatments have manuscript annotations, and some are accompanied by promotional still photographs. The Rowan Oak, Lafayette County, and Oxford, Mississippi series is primarily comprised of ephemera and photographs depicting Faulkner's home and the surrounding area. The photographs in this series are predominantly professional, with identification on the reverse, though there are some annotated amateur snapshots and prints, as well. The Photographs and Portraits series includes photographs of conferences and exhibits, professional portraits and snapshots of Faulkner and various family members, snapshots of Irwin T. Holtzman and the Holtzman Faulkner Collection, and movie. All images in this series are in black and white, unless otherwise noted. Many of the photographs have annotations by Irwin Holtzman and/or the photographer, on the reverse, describing the images. Irwin Holtzman is pictured in many of the photographs in the Conferences and Exhibits subseries. The Works about Faulkner series contains original and mechanically-reproduced copies of manuscript works about Faulkner and his writings, and are arranged alphabetically by author. The Ephemera series is comprised of various materials that have either images or mention of Faulkner, including exhibit and library brochures, greeting cards, bookmarks, a sticker, and a book jacket for The Sound and the Fury. Also included are materials related to the issuance of the United States Postal Service's William Faulkner commemorative stamp. The Book Publishers and Dealers series contains catalogs, promotional materials, sample book covers and dust jackets, arranged in alphabetic order by publisher or dealer name. The Articles and Clippings series consists of newspaper and magazine articles about the life and works of Faulkner selected and retained by Irwin Holtzman, and is divided into broad topical headings. The Audiotape series includes two sound recordings of television broadcasts about Faulkner. The Realia series contains various artefacts depicting Faulkner, including textiles, plaques, artwork, and housewares. Some items in the Photographs, Works about Faulkner, and Rowan Oak, Lafayette county, and Oxford, Mississippi series have accompanying correspondence and descriptive notes from dealers or donors.

Isaac E. Ronch was a Yiddish writer, teacher, and journalist active in Jewish immigrant circles in Chicago and New York from the 1920s through the 1980s. Ronch was also a good friend of artist Marc Chagall. This collection includes correspondence, writings, and books documenting Ronch and Chagall's friendship, as well as publications, manuscripts, correspondence, photographs, ephemera, and clippings relating to Ronch's own life and works.

The Marc Chagall Materials Series is made up of records documenting Chagall and Ronch's friendship. The donor, Ronch's son, included a handful of books about the history of Jewish arts and identity in Russia to contextualize Chagall's work with Itzik Feffer, which led to his first meeting with Ronch.

The Landsmanshaften Book Series includes a signed copy of the book Di Yiddishe Landsmanshaften foon New York (The Jewish Landsmanshaften of New York), as well as papers relating to the creation of the Landsmanshaften book.

The Writings Series consists of Ronch's creative and journalistic writings. Books include books of prose and poetry, primarily written in Yiddish. Ronch's two serialized novels are preserved as compilations of newspaper clippings placed in composition books.

The Collected Publications Series is made up of three publications (or photocopies of publications) found in Ronch's papers: a 1902 issue of the periodical Di Yiddishe Familie, which includes an article by Sholem Asch, the 1982 Bulletin of the Reuben Brainin Children's Clinic in Tel Aviv, and photocopied pages of a Holocaust Memorial/Yizkor Book for Konin that includes likely relatives of Ronch under the surname Ronchkovski.

The Correspondence Series consists of a single postcard from Sol Liptzin, a scholar of Yiddish and German literature.

The Photographs Series includes photos of Ronch with his students at the Chicago shul where he taught, photos of Ronch giving lectures at Camp Kinderland and Camp Lakeland, and photos of Ronch with as-yet unidentified colleagues sometime in the 1930s.

The Clippings and Ephemera Series comprises newspaper clippings and ephemera relating to Ronch's activities or colleagues, as well as a obituaries for Ronch.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The New York City Star (first two issues)

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

Jill Boskey's The Split at The Liberated Guardian

Pamphlets and other materials from The Committee of Returned Volunteers

This collection contains correspondence and circular letters related to antiquarian and Shakespearean James Orchard Halliwell-Phillips (1820-1889). Most of Halliwell-Phillips's papers are located at the Folger Shakespeare Library in Washington, D.C.

This smal collection contains correspondence and circular letters related to antiquarian and Shakespearean James Orchard Halliwell-Phillips (1820-1889). It pertains primarily to the development of his work in Shakespeare studies, especially on Shakespeare's biography. Most of Halliwell-Phillips's papers are located at the Folger Shakespeare Library in Washington, D.C.

Materials related to the trial known variously as the Chicago Seven/Eight Trial or the Conspiracy Trial, which took place in Chicago between 1969 and 1970, gathered by Jenny Stiller. Stiller, at the time a Michigan Daily reporter, attended the trial and took detailed notes. After the close of the trial she interviewed members of the media and wrote a book called "The Movement" based partially on these interviews. The bulk of the collection is Stiller's own writing, including her notebooks and unpublished manuscript. Collection includes six notepads, the book manuscript, Stiller's press passes, and a statement from attorney William Kunstler.

Collection includes six notebooks' worth of Stiller's handwritten notes (five from the trial, one from her interviews with members of the press following the interview), her press passes, a typed statement by defense lawyer William Kunstler, and her typed manuscript with handwritten annotations.

Dates for each notebook are listed below. Note that Stiller was present at the beginning and end of the trial only. Her notes do not include the day Bobby Seale was bound and gagged in the courtroom or the day his case was separated from the others. Her notes do include the sentencings for contempt of court but not for the conspiracy and incitement charges.

Artwork, ephemera, journals, and underground publications (samizdat) related to protest movements in Ukraine.

Artwork, ephemera, journals, and underground publications (samizdat) related to protest movements in Ukraine, particularly the 2013-2014 Euromaidan protests and the 2010-2013 Feministychna Ofenzyva marches on International Women's Day.

The publications file includes a variety of samizdat publications, including a 2013 script called the "October Project," a book of poems by Vasyl Lozynsky coupled with a samizdat poetry chapbook cut from a National Geographic cover, cover art for the zine Freaker Unltd., and 13 issues of Lystok, an underground poetry publication produced in Kyiv. The journals file includes two issues of Spilne and "Circling the Square: Maidan and Cultural Insurgency in Ukraine," a literary journal special issue about Maidan.

The art exhibitions series includes exhibition guides and catalogues from nearly 30 years of art exhibitions in Ukraine. The exhibitions feature a range of Ukrainian artists and cover subjects like feminism, censorship, and the history of Ukraine's artistic movements.

The conference proceedings are from a 2017 conference held in Zaporizhzhia, Ukraine to address the movement to preserve Soviet-era modernist architecture in the face of decommunization laws.

The ephemera folders include stickers, artwork, and pamphlets created by Ukrainian artists. The majority of these are from the 2011 Feminist Offensive on International Women's Day.

The artwork series includes a protest poster meant to accompany the exhibit guide in Box 2, Folder 1, signed and printed posters collected by the Izolyatsia Cultural Center, and a calendar featuring contrasting photos of Kyiv past and present.

Finally, the inventory series contains the detailed item-level inventory Zychowicz sent with the materials, as well as an inventory created by the processing archivist to show where the numbered items in Zychowicz's inventory have been placed in the collection.

This collection contains the correspondence between David Belin and numerous influential Jewish philanthropists, writers, rabbis, and officials of Reform Jewish organizations on the topic of Jewish Outreach. It also contains writings, speeches, articles, newspaper clippings, and published materials about Jewish outreach topics. Well-represented subjects include conversion to Judaism, outreach to intermarried couples, rabbinic officiation of marriages between Jews and non-Jews, Jewish population studies, anti-Semitism in late 20th century United States, and Zionism in the Reform Judaic movement.

The David Belin Jewish Outreach Papers measure 19.1 linear feet and date from 1970-1999. This collection consists primarily of papers related to Belin's leadership in promoting Reform Jewish outreach. The collection is arranged in six series: Correspondence; Organizations; Manuscripts, Typescripts, and Notes; Topical Files; Publications; and Audiocassettes. The Correspondence series consists of letters Belin exchanged with major figures within Reform Judaism. This series includes a rich exchange of ideas, opinions, plans, writings, and reports. The Organizations series reflects Belin's accomplishments while an officer and member of the boards and committees of several Jewish organizations. The Manuscripts, Typescripts and Notes series reveals Belin as an accomplished writer and speaker and also includes many writings and speeches by others. The Topical Files series includes newsletters, newspaper clippings, pamphlets, and other publications that Belin filed according to subject. Topical files that pertain to specific organizational activities are filed in the Organizations series. The Publications series consists of journals, magazines, and monographs about Judaism in general; materials published by individual organizations are included in their respective Organizations series. The Audiocassettes series includes 17 audiocassettes. Some are recordings of Belin, while others are recordings of convention speakers, board meetings, interviews, and commercially produced educational tapes.

The arrangement within each series follows the filing system used by Belin wherever possible. Belin filed most of his correspondence by the organization it concerned. Thus the Correspondence series consists of correspondence in general while the Organizations series includes the correspondence about organizational matters--although there is considerable overlap. Each organization also has topical files and publications that Belin filed according to the related organization. The exception to this rule is that all manuscript/typescript speeches and writings by Belin and others has been separated into a separate Manuscripts, Typescripts, and Notes series. This has permitted the writings and speeches to be arranged alphabetically by author. Correspondence that accompanied a typescript has been kept with it.

J. Herbert Newport was a designer of automobile bodies from the 1930s through the 1970s, employed designing custom bodies for Duesenberg automobiles as well as bodies and parts for companies such as DuPont, General Motors, Studebaker, and Nash. The collection documents his design work through drawings and photographs and the Duesenberg phenomenon, which continues to the present day with car collecting and restoration, through correspondence, photographs, advertisements, and ephemera, drawings, and various research materials.

The Newport collection has been divided into eleven series: J. Herbert Newport, Correspondence, The Duesenberg, Duesenberg Models, Ephemera and Print, Photographs, Albums, Drawings, Painting, Audio Materials and Realia.

Correspondence, manuscripts, A/V materials, journals, artwork, and realia from the life and works of Postbeat poet Jim Cohn.

The correspondence series is made up of letters Cohn sent and received throughout his career. Cohn sorted the correspondence according to the person he was corresponding with, making special room for his two primary correspondents, fellow poets David Cope and Randy Roark.

The ASL Poetry and Poetics, Beat and Postbeat Studies, and Disability series contain records of Cohn's research, writings, and work related to each subject. Similarly, the Research Notebooks contain materials related to Cohn's archival research about poets Paul Blackburn and Ezra Pound.

The Audio Files and Books in Print files series are papers relating to Cohn's recordings and publications, respectively. Related A/V materials were placed in the A/V series, while published books were separated for cataloging.

The Education, Juvenilia, and Photographs series contain papers, photography, and artifacts from Cohn's personal life from childhood through the 2000s.

The Editor/Co-editor and Publisher series consist of magazines that Cohn helped edit or publish, as well as files related to the same.

The Manuscripts series contains Cohn's manuscripts, organized by genre.

Fine Arts includes two of Cohn's art projects, making paper and printing poetry on Tibetan prayer flags.

The Promotional Materials series includes papers relating to Cohn's public career and self-promotion, as well as performance reviews from a former job. The Interviews series contains both interviews of Cohn and interviews with other poets conducted by Cohn.

The Teaching Guides series are papers related to poetry workshops Cohn has taught.

The Museum of American Poetics series consists of printouts of various sections and updates to the website over the years.

Finally, the A/V materials series largely consists of CD and tape recordings of Cohn's spoken word music poetry. Also included are CD backups of the MAP website, recordings of Allen Ginsberg, and Ann Waldman's 2003 film, "Makeup on Empty Space." Please reach out to the Special Collections Research Center for information about accessing these materials.

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

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

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

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

Joan Blos is a writer of children's literature who lives in Ann Arbor, Michigan. She is best known for her novel A Gathering of Days: A New England Girl's Journal, 1830-32, which in 1980 won the American Library Association's Newbery Medal.(1) Blos has written several other works of historical fiction as well as picture books for younger readers. The collection documents her career as a writer through items including development materials, correspondence, manuscripts and illustrations of both published and unpublished works.

The Joan W. Blos papers span the years 1971 through 2007 and are made up of some personal materials with the majority of the material. related to her literary works. The Personal series includes correspondence, manuscripts by students and others, and articles, announcements, events information, and awards not related to a specific literary work.

The remaining series are designated by book title and appear in publication order. Unpublished works follow published works and are listed in order of conception. Titles in the collection are: Just Think!; A Gathering of Days; Martin's Hats; Brothers of the Heart; Old Henry; Lottie's Circus; "Pioneers" (in Michigan Traditions); The Heroine of the Titanic; A Seed, a Flower, a Minute an Hour; Brooklyn Doesn't Rhyme; The Days Before Now; The Hungry Little Boy; Nellie Bly's Monkey; Bedtime!; Brother's of the Heart (a dramatization); Hello Shoes!; Letters from the Corrugated Castle; Bringing The Jackson Home; Thisca!; Brave Sisters, Fighting Women; When Times Square Was New; The Applesauce Tree; The Happy Park Day; Old Henry II; Samuel Foote's Nonsense; She's Busy!; The Scribble Scrabble Surprise; Rhymes and Reason; Bathtime; and Ker-choo! A Wintertime Story. Within each title series are several possible subseries:

Development Materials include items such as news clippings, photocopies of articles and stories, early handwritten and typed notes by the author, travel information, postcards, maps, brochures, and library request slips.

Correspondence is primarily with editors, publishers, and some illustrators. This section also includes corresponding manuscripts and drafts that have been edited by the author or editor.

Manuscripts are arranged chronologically and include correspondence from an editor or publisher.

Articles and Announcements include newspaper clippings, programs, announcements, reviews, advertisements for book signings and other promotional events, and interviews.

Events and Awards achieved by the author during her career.

Realia includes items such as playbills for the dramatization of Brothers of the Heart and a handmade quilt inspired by Brooklyn Doesn't Rhyme.

Illustrations, Artwork, and Publication Materials relate to the production of the corresponding title. Examples include mock-ups, color proofs, and unbound signatures for several of the picture books.

Audiotapes include a reading of A Gathering of Days , interviews, and Blos' Newbery acceptance speech for A Gathering of Days.

Study Guides include those associated with the dramatization of Brothers of the Heart.

The Blos papers provide a rich resource for scholars of children's literature along several different avenues. Blos' painstakingly thorough research process is evident in the almost two boxes of materials from her Letters from the Corrugated Castle. One is able to gain an understanding of Blos' creative process through the evolution of the manuscript for this piece of historical fiction. Nellie Bly's Monkey and The Heroine of the Titanic are longer picture books both researched and written as historical fiction. In addition to text, these materials, among other picture books in the collection, provide valuable insight into the collaborative process between author and illustrator. Correspondence between Blos and her editors and publishers provides a window into the business of children's book publishing over the span of Blos' writing career.

During the 1930s, and possibly longer, John E. Pokorny was employed by Ford Motor Company as an assistant to Harry Bennett in personnel and security matters. Whether as part of his job or on his own time, Pokorny collected information on supposed subversive organizations in the Detroit, Michigan, area and, for Ford, investigated Communist infiltration oflabor unions. John Pokorny collected most of the materials in this collection to document supposed subversive activities in the Detroit area and in the United States in general. This collection largely reflects Pokorny's collecting practices and not his personal papers; hence, the collection is arranged similar to a subject file. The folders are arranged alphabetically by subject or name with most of the material dating from the 1930s. Most of the original folder titles have been maintained from Pokorny's original arrangement. News clippings comprise a majority of the contents of the collection and most of these are photocopies of the originals. The collection also contains printed materials (leaflets, brochures, flyers), some manuscript material, and a few photographs.

John Pokorny collected most of the materials in this collection to document supposed subversive activities in the Detroit area and in the United States in general. This collection largely reflects Pokorny's collecting practices and not his personal papers; hence, the collection is arranged similar to a subject file. The folders are arranged alphabetically by subject or name with most of the material dating from the 1930s. Most of the original folder titles have been maintained from Pokorny's original arrangement. News clippings comprise a majority of the contents of the collection and most of these are photocopies of the originals. The collection also contains printed materials (leaflets, brochures, flyers), some manuscript material, and a few photographs. In a few instances, cross-references have been made within the collection, e.g. between the National Labor Relations Board and Edward Burke. Any reference was indicated on a piece of8.5"xl4" paper in the front of the folder. There are possibly even more cross-references than are formally indicated; however, the subject matter and organizations represented in the collection overlap to a degree and it would be very difficult to make note of every instance. Therefore, one who is interested in a specific topic is advised to look through other folders that may be somewhat related. A case in point is the American Coalition. Although the group has a specific folder heading under Aliens (meaning immigrants), more papers originating from the group can be found in folders such as Govermnent - Legislation, Politics (I). There are some materials that deem a specific mention or more explanation. The folder on Civil Liberties contains flyers/leaflets, letters, meeting minutes from various groups, such as the Professional League for Civil Rights, Civil Rights League, National Federation for Constitutional Liberties, and the National Emergency Conference for Democratic Rights. Much of this relates to Detroit-based activities. The third folder on Communism contains 2 lists of suspected Communists in the Detroit area in 1932. Each is about 40 pages long. This folder also has correspondence from 1931 to 1933 to and from the hnmigration and Naturalization Service on the activities of "aliens" and suspected Communists. In his position in the Personnel Dept. for the Ford Motor Company, Pokorny received a number of letters from men seeking employment, often after having served in the military. These materials are located in the first and third folders for the Ford Motor Company. The folder Government - Court Bill contains information on the 1937 idea to increase the number of U.S. Supreme Court justices from nine to fifteen. The folder entitled "Military" relates mainly to the Michigan Military Area of the U.S. Army and the reserves. The Michigan United Auto Workers folder contains 6 photographs of individuals, although only two of them are identified. An additional variety of photographs can be found in Box 2. These depict: fires in Detroit (8); Niagara Falls; a photo of two unidentified men; the crashed plane of Major Resonatti, Italian Ace; John Philip Sousa's burial, March 10, 1932; a 1932 fire at the National Soldiers Home (Dayton, OH); and several copies of the installation of officers of the National Sojourners picturing Pokorny and other members. A newsprint copy of this last photograph can be found in the folder Pokorny Personal. This folder also contains correspondence from organizations with which he was involved, greeting cards, his Army commission certificates, and programs from events.

John Frederick Finerty was an Irish-American lawyer who served as legal counsel for Pres. Eamon de Valera in the Irish Republican bond litigation, was active in various organizations in support of Irish independence, and served in defense of various causes and clients, including Sacco and Venzetti and the Rosenbergs.The Papers deal primarily with the Irish bond issue.

The Finerty Irish Papers reflect John F. Finerty's long-standing interest in and involvement with Irish political events and social movements, particularly during the 1920s when the Irish Free State was created by the British Parliament. Finerty supported the Irish cause in the United States on both a professional and personal level. He was strongly pro-Republican and his early associations with various Irish government officials resulted in close friendships that lasted for decades. Among the primary correspondents are Eamon de Valera, prime minister and president of Ireland, and Sean T. O'Ceallaigh, co-founder of the Sinn Fein organization and later president of Ireland. Finerty served as de Valera's legal counsel in the Irish bond litigation in the 1920s, records of which comprise a large portion of the papers (see Series I). He was also active with the American Association for the Recognition of the Irish Republic (AARIR), serving as president in 1922-23.

There is a fair amount of personal correspondence, most of which is filed in the Irish General Correspondence series and the Miscellaneous Subject series. Scattered issues of the Irish Bulletin and the Daily Bulletin, and single issues of magazines and newspapers that were of interest to Finerty are also present, in addition to published proceedings of the Dail Eireann, 1919-22 (3 vols.).

The papers include a variety of types of material--correspondence, memoranda, telegrams, legal documents and briefs, court transcripts, pamphlets, photographs, receipts, Congressional bills and resolutions, and newspaper clippings. Of special note are the matchbox and codes Finerty used to smuggle messages to de Valera when the latter was incarcerated in Ireland in 1923. The main concentration of materials in the 40-year span of the collection date from the 1920s and the 1950s. The intervening years are sparsely represented. The papers have been divided into four series: I. Irish Bond Litigation, 1919- 1935; II. American Association for the Recognition of the Irish Republic, 1920- 1923; III. Irish General Correspondence, 1921-1966; and IV. Miscellaneous Subject Files, 1921-1957. For the most part, the organization and folder titles used by Mr. Finerty have been retained, as has his chronological arrangement. Access to an individual correspondent's name is available through an alphabetical list.

The Finerty Irish Papers reflect only Finerty's professional involvement with de Valera and the Irish bond litigation, and on a personal level, his interest in Ireland and matters of Irish concern in this country. Other famous court cases in which he played a role are not documented in this collection. His American Papers are at the University of Oregon.

The John G. Claybourn Pictorial Review of the Canal contains 8,276 black and white photographs of the work done to build the Panama Canal, and its locks and infrastructure, under the jurisdiction of the United States government between 1907 and 1947. The photographs, taken by Ernest "Red" Hallen, official photographer of the Canal Zone for 30 years, also include images of workers, officials, foreign dignitaries, and numerous visitors.

The Claybourn photograph collection contains 8,276 black and white photographs of the work done to build the Panama Canal, and its locks and infrastructure, under the jurisdiction of the United States government between 1907 and 1947. The images capture the excavation and dredging of the Isthmus of Panama and the equipment used to accomplish these tasks; the construction of the locks; the development of the cities of Colón, Balboa and Gamboa; dignitaries, administrators, politicians, and visitors such as Samuel Gompers (Volume 12); infrastructure designed to improve the wuality of life; and events such as mudslides and fires. Photographs of barges, dredging boats, tugboats, ocean-going cargo and historical ships, naval vessels and submarines are also documented passing through the locks.

The 24 cloth-covered post binders that comprise the collection contain, in addition to photographs, maps and introductory typescripts written by John Claybourn. Each volume also opens with a "Table of Contents" listing the number of photographs, and brief or detailed caption information. As a supervising engineer, and later, Dredging Division Superintendent for the Canal, Claybourn compiled this material to complement his annual reports to Canal administrators. Despite the fact the Canal was considered complete in 1914, and that year is documented in volume 8, Claybourn continued compiling these binders for the remainder of his career, ending with a total of 24 volumes. Although the Canal was considered complete, for another 16 volumes, the photographs document the neverending tasks of improvements, disaster clean-up, and infrastructure development to handle a growing population.

Most, if not all, of the photographs were taken by the official photographer of the Isthmina Canal Commission, Ernest "Red" Hallen (1875-1947). In addition, there are a number of formerly classified aerial photographs taken by the United States Navy, a number of which show a munitions/armory location along the Canal.

Papers of John Gantt, microfilming pioneer and head of Photoduplication at the University of Michigan Graduate Library, including reference file on products and equipment used in the microfilming and other reproduction processes.

The John Gantt papers consist of product literature, equipment brochures and manuals, reports, articles, and scattered correspondence. A small amount of material concerns the work of the Photoduplication Service, but the bulk of the collection is a reference file on products and equipment relating to microfilming and other copying processes. Included is information on developing machines, printers, enlargers, film processors, exposure controls, cameras, readers, cabinets, boxes, filters, films, microfiche, and document retrieval systems.

Some of this material is arranged by company and some by subject.

Two typed reports by General John J. Pershing on his expeditions in the Philippines. The first is of an expedition along the West shore of Lake Lanao from Camp Vicars to Marshui (May 15, 1903). The second is a typed report on an earlier expedition along Lake Lanao on Febuary 20, 1902.

This collection consists of one folder containing typed reports, prepared by John J. Pershing. The first is of an expedition along the West shore of Lake Lanao from Camp Vicars to Marshui (May 15, 1903). The second is a typed report on an earlier expedition along Lake Lanao on Febuary 20, 1902.

The John L. Schock Papers document Schock's military service, imprisonment, and his death in the Philippines during WWII. The collection includes personal documents, educational records, and professional achievements from childhood to adulthood.

The Correspondence series consists of letters from Schock to his family, including a series of 19 postcards used as stationary and written during a trip to Japan before the outbreak of war; details of his capture; 9 postcards (8 original and 1 photocopy) sent from prison camps; and telegrams to his mother on Mother's Day.

Letters from others to his family provide information regarding his well-being while imprisoned and his death on the Hell Ship "Brazil Maru."

Government correspondence consists of letters from the War Department, Army Service Forces, a member of Congress, and Information Circulars from the Prisoner of War Information Bureau on how to send mail to POWs. A handwritten note from Schock found at Bilibid along with a letter from the War Department detailing its discovery is included. The note was designed for some kind of Japanese radio broadcast, possibly as propaganda. Liberating soldiers found it among other items left at the camp at the end of the war. Of note is a telegram from the Secretary of War, informing the family of Schock's death.

The Miscellaneous subseries contains a notebook, photographs, clippings, a small badge, and various documents. The small, spiral bound notebook was recovered in Cabanatuan where Schock buried it along with the Busuanga Mine badge. The notebook contains phonetic translations of Japanese words and phrases; notes on treatment and care of specific POWs; ledger entries of "pay" to POWs; and notes on POW diet and how it was supplemented.

There are several yearbook page fragments; one photograph of Fort Mills, Philippines before the fall of Bataan; one unidentified negative; and a limited number of local newspaper clippings where Colonel Schock is mentioned.

Also included are assorted documents - bank records related to property sale, a letter of recommendation, and certificates related to Schock's education, military service, and professional activities, including diplomas, professional awards, military certificates, and report cards.

The John Sayles Papers consists of documents, images, artwork and graphic material related to the noted filmmaker's life and career. Also included are the papers of Sayles' partner and producer, Maggie Renzi.

The John Sayles series includes material related to Sayles' personal life and acting career as well as interviews and articles unrelated to specific projects.

The Sayles as Actor subseries consists of photographs, correspondence, scripts, and other materials related to Sayles's work in projects directed by others. Many of the photographs include actor David Strathairn. Articles and Interviews include articles and book reviews written by Sayles, and interviews with Sayles which are not focused on a specific project, although some project-specific clippings are mixed in.

The Events and Festivals subseries contains invitations, programs, photographs, and other material related to film festivals, readings, and public appearances. The photographs span several decades, and include portraits of Sayles alone, and Sayles with Maggie Renzi.

The Maggie Renzi series contains Ms. Renzi's notebooks and journals arranged chronologically.

The Writings series contains drafts, notes, photographs, research, and other materials associated with Sayles's work as a writer of novels, movies, stories, essays, and articles.

The Notebooks series, which includes iterations of Sayles's works, provides insight into his creative process. The series is organized by the title information provided by Sayles on the notebook covers. Projects are grouped together whenever possible. Individual notebooks may contain multiple projects, or a particular project may be documented in more than one notebook.

The notebooks include drafts of narratives; dialogues for screenplays, short stories, and novels; and drafts for a few articles featuring Sayles. Research materials include notes made during the research process. Most of the notebooks are written in English, however some, particularly those related to Los Gusanos and Men with Guns (Hombres Armados), are in Spanish.

Materials that are specific to movies and screenplays include song lists, casting information, cues, drawings, and stage directions. There are examples of birds' eye set views for some of his produced works. One of the A Moment in the Sun notebooks contains drawings of horses related to research on harnessing and horse anatomy. Aspects of daily life, such as grocery and to do lists, are included.

The Sayles Scripts are organized in five different series; Rewrites, Produced, Television, Unproduced, and Producer. The materials, organized by project, include drafts, scene breakdowns, notes, correspondence, storyboards, photographs, song lists, character lists, and miscellaneous documentation.

The Legal series contains court documents and materials associated with two lawsuits brought against John Sayles. Virginia L. Towler versus John Sayles et al. involved copyright infringement in the screenplay of Sayles' s 1992 film Passion Fish. Karen C. Herzog versus Castle Rock Entertainment, a California partnership et al. involved copyright infringement in the film Lone Star. The series includes witness binders, trial notebooks, photocopied legal briefs, evidence, transcribed testimonies, motions, memoranda, and official court documents used by legal representation for both the defendants and plaintiffs. Sayles and his partners were cleared of wrongdoing in both cases and the appeals that followed.

The Return of the Secaucus 7 series consists of materials from the 1979 film, written and directed by John Sayles, about the reunion of seven college friends who met when arrested on the way to a protest. The actors include Bruce MacDonald, Maggie Renzi, Adam LeFevre, Maggie Cousineau, Gordon Clapp, and Jean Passanante.

The Legal subseries holds documentation on licensing and syndication; organization and dissolution of the production company Salispuedes; and bankruptcy of the rights holding company, Cinecom. The Business and Financial subseries contains correspondence, royalty reports, expenses, agreements with cast and crew, and tax forms. Movie dialogues and undated scripts, including an annotated version, can be found in the Scripts subseries.

Instances of potentially offensive language, release forms, and actors' headshots and resumes, including Adam LeFevre and Mark Arnott, are documented in the Product and Post-Production subseries. Publicity and Distribution includes information on rights film library rights, foreign and domestic rights, and a number of advertisements. The Articles and Reviews subseries contains domestic and foreign newspaper clippings, articles, film reviews, and radio transcripts. Slides, negatives, contact sheets, publicity stills, taken on the set and behind-the-scenes can be found in the Photographs subseries.

Included in the Lianna series are materials from the 1983 film written and directed by John Sayles. The Correspondence subseries includes fan mail. The materials in the Legal subseries relate to copyright, licensing, and contracts. The Business and Financial records contain documentation related to the Winwood Company. The Scripts subseries includes notes for scenes, draft scripts, and dialogues.

Product and Post-Production is comprised of call sheets and daily production reports. The Publicity and Distribution subseries contains information related to film distribution, press kits, and international publicity packets. Articles and Reviews consists of domestic newspaper clippings, film reviews, and articles from foreign publications. Photographs, slides, negatives, contact sheets, and publicity stills, taken on the set and behind-the-scenes, are found in the Photgraphs subseries.

The Baby It's You series consists of material from the 1983 film written and directed by John Sayles, starring Rosanna Arquette, Vincent Spano, Joanna Merlin and Jack Davidson. Set in the 1960s, it follows the relationship between a high-achieving student and a working-class boy who dreams of being the next Frank Sinatra.

The Legal subseries contains a report on copyright for home video distribution of the film. In the Scripts subseries there are several drafts as well as a release dialogue script. Production and Post-Production contains the deal memos for the direction, development and production of the film. The Publicity and Distribution subseries contains press releases in English and Japanese as well as correspondence regarding home video and screening rights for the film.

The Articles and Reviews subseries is comprised of magazine and newspaper reviews and advertising, and two folders of radio and TV review transcripts. Of note is the Photographs subseries containing prints and negatives for a number of publicity stills, a posed crew photo, several behind the scenes photographs, and a set of publicity stills with attached captions from Paramount Pictures.

The Brother from Another Planet series consists of material from the 1984 film written, directed, and edited by John Sayles. The film, starring Joe Morton, tells the story of an alien who lands in Harlem, where he is chased by bounty hunters from his home planet. In the early 1990s, planning began to make the film into a television series, but it was never produced.

The Correspondence subseries consists of letters from legal professional Marsha Brooks, from Colton, Weissbert, Hartnick, Yamin, & Sheresky, representing The Brother from Another Planet. The Legal materials deal with copyright research, title search, incorporation, and dissolution papers for A-Train, the corporation Sayles created for the filming and production of the film. The Business and Financial subseries includes fiscal documentation, cost and profit statements, tax information, bills, invoices, and receipts for production and distribution.

Both the television and film versions of the project are included in the Scripts subseries. Television scripts include a notebook with dialogue, character information, and scenes. Additionally there are multiple drafts of scripts for the unproduced show written in 1991-1992. Holdings for the film include a draft from 1983 and a continuity and dialogue script. The Music and Scores subseries consists license agreements for music used in the film, as well as information about the soundtrack.

The Production and Post-Production subseries holds correspondence regarding permissions for music, video game, and poster use, as well as contract information for the cast, crew, director, producers, Screen Actors Guild , and the Writers Guild of America. Handwritten notes outlining various aspects of production (e.g., reports, schedules, call sheets, and television cuts) are included.

The Publicity and Distribution subseries details the domestic and foreign promotion and release of the film. There are public relations and press materials, film advertisements, and license agreements for screen and on television. Additionally, this section holds foreign rights information organized by country, correspondence, invoices, notes, producer reports, and license agreements. Legal materials related to a distribution dispute in Australia are included.

Awards, Events, and Festivals holds a limited amount of material related to exhibition of The Brother from Another Planet at film festivals. The Photographs subseries contains stills, contact sheets, negatives, and slides taken during filming. There is a note in the Publicity stills and negatives folder referring to a binder with additional materials, which is not available.

The Matewan series contains documents from the 1987 film written, directed and edited by John Sayles , and produced by Maggie Renzi and Peggy Rajski. The production company was Red Dog Films. The cast includes Chris Cooper, Mary McDonnell, James Earl Jones, Will Oldham, David Strathairn, among others. Tthe series contains a large amount of material related to a complex rights and fees dispute.

Contained in the Correspondence subseries is fan mail, requests for clips, and letters relating to the creation of the Matewan documentary Them That Work. The Legal subseries holds original contracts relating to financing and distribution of the film, as well as correspondence assembled for a film rights lawsuit.

There is a lengthy Business and Financial subseries, with documents relating to the formation and dissolution of Red Dog Films and the Matewan Limited Partnership, film financing agreements, budget and revenue reports, and Screen Actors Guild residuals. Also included are documents relating to Cinecom's involvement with the film, including original agreements, ongoing correspondence, and bankruptcy documents. The Business and Financial subseries contains correspondence, ranging over fifteen years, related to the rights and fees dispute.

The Scripts subseries includes drafts and revisions, some with annotations or notes; several dialogue and shooting scripts; script breakdowns by scene; and a descriptive backstory for the character of Hickey. Music and Scores consists of lyrics written by Sayles for the song Fire in the Hole, cue and breakdown sheets, and lyrics for a Matewan Rap composed by a cast member.

The Production and Post-Production subseries includes background research, storyboards drawn by Sayles, cast and crew deal memos, paperwork from the Writers Guild of America, schedules and call sheets, a production binder, and credit and subtitling information. Correspondence and paperwork relating to restoration work on the film in the early 2000s is included, as well as notes and permits relating to special effects, especially the large shootout at the end of the film. Of special note is a partial diary kept by Maggie Renzi during the early days of filming. Publicity and Distribution subseries contains drafts of advertising tag lines, several press packets, a report on Australian publicity, and invitations and advertisements for early screenings of the film.

Of note is the Articles and Reviews subseries, which includes published interviews, articles, and international and domestic reviews of the film. There are a number of articles from West Virginia newspapers discussing the casting and filming, interviews with local residents regarding the finished film, advertisements and features from various union publications, and academic papers written about the film.

Awards, Events and Festivals contains posters and invitations from several screenings held as benefits for various unions, as well as invitations and programs from various film festivals, including the Waterford Council of Trade Unions Celebration. There is also an award from the Political Film Society for Best Film on Human Rights. The Photographs subseries contains print and negative stills, cast and crew group shots, and on-set candids, as well as a large number of slides, some of which were intended for use as publicity sets. There is an all-female group shot highlighting the large number of women on the crew.

The materials in the Eight Men Out series are related to the 1988 film written and directed by John Sayles, starring John Cusack, Clifton James, Gordon Clapp, Michael Lerner, Christopher Lloyd, John Mahoney, Charlie Sheen and David Strathairn. Based on Eliot Asinof's 1963 book of the same title, the film is about the 1919 Black Sox scandal in Major League Baseball.

The Legal subseries contains a copyright research report as it related to the similarly titled book. Business and Financial contains agreements related to Asinof's book option, financial reports, and documentation on the effect of the bankruptcy of Orion Pictures Corporation the film's distributor.

The Scripts subseries contains different versions of the script titles, such as Black Sox, Take Me Out to the Ballgame and Eight Men Out. The Production and Post-production subseries contains pre-production memos detailing arrangements for locations, transportation and other pre-shooting details. Publicity and Distribution documents Orion Pictures Corporation's analysis of audience reactions to the film through screenings, surveys and questionnaires. Included is a press kit with movie stills and production information.

The majority of material in Articles and Reviews is from domestic newspapers and magazines reviewing and discussing the film and John Sayles as a director. There is an article written by John Sayles, titled "Dick Stuart," about first baseman baseball player Richard Lee Stuart who played on various baseball teams from the 1950-1960's. The Awards, Events and Festivals subseries contains a plaque from the Indianapolis Indians baseball team dedicated to John Sayles. Many of the scenes from the film were filmed at the Bush Stadium in Indianapolis, Indiana. The Photographs subseries contains slides and publicity stills and production stills taken by photographer Bob Marshak and Cincinnati Enquirer photographer Annalisa Kraft. Oversize Material includes a newspaper facsimile of The Chicago Daily Tribune and a photograph of the original 1918 White Sox team.

The Casa de los Babys series holds materials from the 2003 film written and directed by John Sayles, and the short story by Sayles on which the film was based. Starring Maggie Gyllenhall, Daryl Hannah, Marcia Gay Harden, Martha Higareda, Susan Lynch, Vanessa Martinez, Rita Moreno, Mary Steenburgen, and Lily Taylor, the story focuses on the experiences of six American women who moved to South America to adopt babies.

The Correspondence subseries consists of memos, emails, and faxes related to terms and agreements, scenes, costumes, music, and promotion. It also contains personal notes to John Sayles. Some items are in written in Spanish. Business and Financial records include limited accounting materials and a copy of the film's budget.

The Scripts subseries contains research and drafts of both the film and short story. The Research materials include correspondence, articles related to adoption, child organ trafficking, and illegal adoption practices. The Short Story subseries holds communication regarding submission to Zoetrope and manuscript drafts.

The Production and Post-Production subseries contains a mixture of Spanish and English language documents. These include handwritten notes from John Sayles to cast members regarding costumes and shooting; Director/Editor Agreement; Screenplay Purchase Agreement; release forms for John Sayles' appearance on Dinner for Five; songs he contributed to the film, and photographs and interviews. Production and scene breakdown documents provide information related to casting, locations, shooting schedules, camera directions, scouting information, and annotated scripts. The Cast and Crew materials contain a confidential cast list, crew list, and contact list, as well as articles and interviews related to the work of Daryl Hannah and Maggie Gyllenhall. Music and Scores contains liner notes written by John Sayles about the soundtrack for the film.

The Publicity and Distribution subseries includes information related to screenings and festivals, press events and schedules, interview itineraries, the box office campaign, and the DVD release. Included is a draft outlining the work of John Sayles. Articles and Reviews provides materials published in newspapers, magazines, and online. The folders titled National Breaks, National Features, National Reviews, Toronto Press, and Online all came from the IFC publicity binder.

The City of Hope series consists of material from the 1991 film written, directed and edited by John Sayles and produced by Maggie Renzi. The production company, Esperanza Inc, was established for this film. The cast includes Vincent Spano, Stephen Mendillo, Chris Cooper, Joe Morton and Angela Bassett.

The Legal subseries contains a mix of legal and production correspondence, memos, and notes on the law firm letterhead of Morrison & Foerster , because John Sloss served as both lawyer and executive producer for the film. The Business and Financial subseries includes production loan documents and several drafts of the loan agreement between Esperanza Inc. and the Interstate Bank of California.

The Scripts subseries contains multiple drafts of the screenplay, including the first draft with annotations and subsequent revisions. Also included are the treatment, production notes, and a collection of revision pages. Music and Scores holds licensing agreements for the songs titled Oh Marie , Buona Sera , and Fearless . Other documents include composer agreements for Mason Daring.

Production and Post-production documents of note are the various drafts of storyboards , drafts of cast and crew contracts, deal memos, union contracts, and production agreements. Notes by John Sayles on characters and scene breakdowns and a notebook that belonged to producer Sarah Green are included. Publicity and Distribution materials consist of letters sent to sales agents for domestic and foreign distribution of the film; information on press tours and schedules ; status reports for interviews in print publications and television shows, and publicity during the 1991 Cannes Film Festival.

Articles and Reviews includes clippings, copies, and faxes of published interviews, articles, and reviews from both international and domestic news sources. The first folder in the series, a collection of fax cover sheets separated from the articles they reference, serves as a list of articles and reviews related to the film. The General folders are sub-divided according to their arrival at Special Collections: 20 Kit / Leigh Harris; 22 Precious; and 23 Luther / Tom Wright. Press Clippings are organized by the title of the publication. The remaining folders are organized chronologically.

In Awards, Events and Festivals there are two certificates from the 1991 Hawaii International Film Festival: one for Best Political Film, and the second for Best Film Promoting Democracy. The Photographs subseries holds publicity stills and slides, along with a crew photograph.

The Passion Fish series contains materials from the 1992 film written, directed and edited by John Sayles and produced by Maggie Renzi. The cast includes Mary McDonnell, Angela Bassett, Alfre Woodard, David Strathairn. The production company established for this film is Atchafalaya Film Inc.

Some of the documents in the series (e.g., production binders and notes, legal documents , etc.) have numbers stamped on the lower right hand side of the page. The numbers are part of a legal system used in the Virginia L. Towler versus John Sayles, et al., case of copyright infringement. Other documents. labeled with blue Defendant's Exhibit stickers, were used as evidence during the trial. Additional information regarding lawsuits involving John Sayles can be found in the Legal series. The Legal subseries contains 53 folders of correspondence. Because John Sloss was both the main legal counsel and executive producer for the film, the legal correspondence folders are a mix of legal and production content.

The Business and Financial documents include loan documents between Fuji Bank and Atchafalaya Film Inc, as well as information on WGA compliance, Motion Picture & Video Tape Editors of the International Alliance of Theatrical Stage Employees, and the industry health fund and pension plan.

The Scripts subseries contains the first draft, as well as subsequent revisions of Passion Fish with the previous title the Louisiana Project. Also included is the script at a glance breakdown copy as well as television/soap opera scenes for the film. The majority of documents in Music and Scores are licensing agreements for the film soundtrack. Also included are agreements for composer Mason Daring.

Production and Post-Production materials include cast and crew contracts and agreements, day performer daily contracts, deal memos, and several drafts for actress Mary McDonnell's contract. The final full shooting schedule identifies scenes, location, cast, extras and prop information.

The Articles and Reviews subseries holds clippings from newspapers and magazines, and press packets compiled by marketing firm Cline and White. The Publicity and Distribution subseries include various drafts of the agreement for general distribution and home video distribution, along with information on film rights. The general publicity folders contain status reports from Cline and White about interviews in print publications and television shows. In Awards, Events and Festivals there is correspondence regarding invitations, applications and logistics to attending film festivals in Toronto, Berlin, Cairo, London and Havana. Photographs contain publicity stills, a cast and crew photograph, slides and negatives.

The Secret of Roan Inish series consists of materials from the 1994 film written, directed and edited by John Sayles and produced by Maggie Renzi. The largely Irish cast includes John Lynch, Susan Lynch, and Jeni Courtney. The film, a coming-of-age story that combines Irish folklore with the area's striking scenery, follows a young girl as she moves back to her rural seaside home village in Ireland and learns more about her family's myth-laden history.

In the Correspondence subseries are several letters and agreements with Rosalie K. Fry, author of the popular book The Secret of Ron Mor Skerry, on which the film is based. After Rosalie K. Fry's death in 1992, her family members, lawyer and book agents continued to correspond with producer Sarah Green. The correspondence outlines Ms. Green's efforts to obtain rights to the book in order to make the film. Various drafts of option agreements can be found, along with responses from Rosalie K. Fry.

The Legal subseries contains correspondence nd inlcudes contracts, agreements, and production documents. As both lawyer and producer for the film, John Sloss from the Morrison and Foerster law firm wrote legal memos and production notes on the same law firm stationary. As a result, the correspondence is a mix of legal and production content.

Business and Financial subseries documents financing agreements of Skerry Movies Corporation (later known as Skerry Productions), the production company created by John Sayles for the film. These agreements demonstrate the complex funding negotiations between Skerry Movies Corporation, Jones Entertainment Group, the British Broadcasting Corporation. Other sizable sections within the series include insurance for the film's production and distribution, agreements with various labor unions, and budget reports.

The Scripts subseries is made up of various drafts of the screenplay utilized before and during the film's production. Also included are supporting documents for the scripts, such as correspondence and a synopsis. Music and Scores consists of three folders which inlcude a cue list of songs, music credit drafts, and correspondence with the Irish Film Orchestra outlining their rates and scores. Production and Post-Production includes documents used during shooting of the film. Highlights include numerous storyboards, some dated and undated. There are several contracts and agreements for cast and crew members as well as agreements for Sayles as director, editor and screenplay writer. The production notebooks and binders outline each day of filming and the key events for production. The Publicity and Distribution subseries is mostly comprised of materials of various distribution agreements, including items from Skerry Movie Corporation, Alfred Haber Inc., Jones Entertainment Group, and other organizations involved with the film's release. Other significant sections include laboratory access letters, advertising materials, and television distribution rights agreements.

The Articles and Reviews subseries contains a large number of domestic and international articles published around the film's release date in 1994. Included are extensive compilations, created for Skerry Movies Corporation personnel, of reviews and features written about the film.

Awards, Events and Festivals contains a program for the Ireland Film Festival held in Japan in 1996. The Photographs subseries consists of still photographs and slides produced to publicize and promote the release of the film.

Oversize Material contains production and post-production items: a strip board, also called a production board, which is a color coded chart with information about a scene, and drawings of props, shooting schedules, and art department materials. Oversize Drawings and Paintings includes drawings, watercolor paintings, photographs, and photocopies organized according to interior and exterior depictions.

Lone Star is the 1996 film written, directed and edited by John Sayles. Producers include R. Paul Miller, Maggie Renzi, and John Sloss, who was both executive producer and lawyer for the production. The film, a mystery set in Texas, was a commercial and critical success, garnering Sayles an Academy Award nomination for Best Original Screenplay in 1997. Notable cast members include Chris Cooper, Elizabeth Peña, Kris Kristofferson, Joe Morton, Frances McDormand, Ron Canada, and Clifton James.

The Correspondence subseries contains letters to John Sayles and Maggie Renzi during the film's production and soon after its theatrical release. Spanning from 1995 to 2003, common topics include congratulations for the success of Lone Star and requests to use the film's footage for college courses.

The Legal subseries consists of documents from 1995 dealing with legal issues and demonstrating close collaboration with the production's legal representation, the Sloss Law Offices. These topics range from copyright documentation to legal research for the film's title and content.

The Business and Financial subseries chronicles the business activities of Rio Dulce, the production company established for Lone Star. Insurance documentation constitutes the largest portion, notably materials from providers Speare & Company and the Fireman's Fund. Other significant aspects from this section include materials documenting payroll, such as time cards and start/close forms, numerous drafts of the production/financing agreement, and week-by-week grosses for what ended up being one of the most financially-successful films for John Sayles as a director. The dates for these materials span from 1995 to 1997.

The Scripts subseries holds various drafts of the screenplay utilized before and during the film's production, from 1994 to 1995. Also included are supporting documents for the scripts, such as scene breakdowns and synopsis. Music and Scores include correspondence in which John Sayles and producers discuss songs to include in the film and John Sayles' notes on where each song will be used. There are several drafts of the agreement for composer Mason Daring to write, compose, adapt, orchestrate and record musical scores for the picture. Also included are licensing documents, cue sheets, credits for the music, and listings of the length of each song.

Production and Post-Production includes several drafts of contracts and agreements for cast and crew, as well as John Sayles' agreements as a director, editor and writer. There are general production binders outlining shooting schedules and a final lined script. Also included is Maggie Renzi's production binder. The majority of documents date from 1995, with a few created in 1996. The Publicity and Distribution subseries mainly contains materials related to Rio Dulce's publicity efforts from 1996, such as press kits and information regarding advanced screenings for the press. Various aspects of film distribution are documented, including information on the film's release dates and post-theatrical distribution agreements.

Articles and Reviews contains a large number of domestic and international articles, mostly published around the film's release date in 1996. Also included are press books created by Castle Rock Entertainment which extensively compile the various reviews and features written about Lone Star. In Awards, Events and Festivals the correspondence provides information on screenings of Lone Star for film festivals in various countries. Also included is the original certificate of nomination for the Independent Spirit Awards for Best Screenplay in 1997, and a program from the Xenix Film Festival that outlines screenings for a John Sayles retrospective in June 2004 in Zurich, Switzerland. The Photographs subseries contains Lone Star publicity stills along with their slides and one negative.

The 1997 film Men with Guns was written, directed and edited by John Sayles and produced by Maggie Renzi. The cast includes Federico Luppi, Damián Delgado, Mandy Potamkin, Tania Cruz, and Dan Rivera González. The plot concerns a city-based doctor in an unnamed Latin American nation who finds the rural region ravaged by violence between government and rebel soldiers. Men with Guns was filmed in Mexico and utilized Spanish dialogue with English subtitles. Released as Hombres Armados in Spanish-speaking markets, the film was originally titled Cerca del Cielo in early production. Some of the documents are in Spanish.

The Legal subseries contains a mix of legal memos and production notes written by John Sloss, who served as lawyer and executive producer for the film. The Business and Financial subseries documents the fiscal dealings of Perdido Inc., the production company created by John Sayles for the film. Invoices, receipts, correspondence, photocopies of checks, and other materials related to payments are grouped by various vendors, individuals, government offices and unions. Also included are budgets of projected costs throughout production and profit participation materials that document the distribution of payments to the film's investors after its theatrical release.

Production and Post-Production materials include various drafts of unexecuted and executed cast and crew agreements. The Mexican contracts are in Spanish. Included is correspondence with Bertha Navarro, co-producer of the film and a key Mexican contact while filming in Mexico. Of note is an approval letter from novelist and journalist Francis Goldman, author of The Long Night of White Chickens, which was the inspiration for the film.

The Music and Scores subseries documents the work of Mason Daring, music composer for the film, and Tom Schnabel, the well-known program director for world music, who created a mix of Latin-American music that was not tied to a specific country. The soundtrack was distributed by Ryodisc, Inc. Royalty statements along with correspondence and agreements can be found in the soundtrack folders.

The Publicity and Distribution subseries holds licensing agreements, long and short form agreements, distribution contracts for Sony Pictures Classics and Bravo Company, along with various materials for distributers CiBy Sales, Columbia Tristar Films, and Film Four. Because of the potential global appeal of a Spanish-language film, many of these contracts are devoted to distribution rights in Latin and South American countries. Publicity materials include the film's press kit, promotional ephemera, and correspondence regarding the trailer.

The Articles and Reviews subseries contains a large number of domestic and international articles published around the film's release date in 1997. Also included is a scrapbook of Argentinian newspaper clippings assembled for Sayles, United Kingdom articles, Spanish language articles, and a retrospective on Sayles in the magazine Banda Aparte.

The Photographs subseries consists of still photographs and negatives produced to publicize and promote the release of the film. Most are color slides the set and the film. The Oversize materials include photographic stills on black cardstock from the credits of Men with Guns and two early designs for the film's poster.

The 1999 film Limbo was written, directed and edited by John Sayles and produced by Maggie Renzi. The cast includes David Strathairn, Mary Elizabeth Mastrantonio and Vanessa Martinez. The production company was Green/Renzi Productions.

The Legal documents include bids from different law firms to represent the production company, clearances for using specific names and titles, permits, and work visas. The Business and Financial records contain budget and cost reports, insurance records, purchase orders, and invoices.

There are several drafts and revisions of Scripts, with annotations, organized according to date. Along with the revisions, there are several breakdowns of the script according to scenes or characters. Highlights of the Music and Scores subseries include correspondence between Bruce Springsteen, John Sayles, and Maggie Renzi regarding the song "Lift Me Up" written by Bruce Springsteen. Also included are a variety of contracts for musicians, music supervisors, and composer Mason Daring.

The Production and Post-Production subseries contains documentation on casting that includes resumes, headshots, and contracts and agreements for cast and crew. Some resumes are marked: hired, to interview, not hired, production assistants, and general. Included are the various agreements for Sayles as writer, director and editor of the film. Of interest is the research on Alaska, such as accommodations, location scouting, transportation, resources, children's activities, maps, restaurants and miscellaneous information about the logistics of filming in Alaska.

The Publicity and Distribution documents relate to press tours, screenings, distribution and release schedules, feedback from screenings, and estimated box office returns in domestic and international cities.

The Articles and Reviews subseries includes published interviews, articles, and reviews of Limbo from both international and domestic sources. The Domestic and International folders hold clippings of articles and reviews based on the location of the newspaper or magazine. The Press Packet folders contain faxes of groups of articles and reviews gathered and sent from marketing and public relations firms.

Invitations and correspondence about film festivals in the US and abroad is included in the Awards, Events and Festivals subseries. Three folders include invitations, logistics, and information regarding attending the Cannes International Film Festival.

Photographs includes publicity stills, cast and crew photographs, and an attached article about the filming of Limbo in Alaska which was distributed to all members of the cast and crew.

The Correspondence subseries contains 'thank you' cards sent to John Sayles and Maggie Renzi from the cast and crew after production. The Legal subseries contains copyright agreements, agreements for child actors, and visa paperwork for John Powditch, first assistant director.

The Business and Financial subseries includes documents for insurance, loans, contracts, and agreements for the Screen Actors Guild, Directors Guild of America, Writers Guild, and other unions. Of note are deferment documents for John Sayles' salary as editor and director. Sayles personally financed part of the film and deferred his payments until after the film was completed.

The Scripts subseries contains drafts of the screenplay utilized before and during the film's production. Also included are supporting documents, such as revision pages, script clearances to determine incidental copyright and intellectual infringement within the screenplay, and a synopsis. Early drafts of the script were titled Gold Coast. The majority of the materials in Music and Scores are licensing documents, legal contracts, and agreements to use music in the film. Of interest is a letter by Stephen Sondeim responding to Maggie Renzi's request for information on songs with a Florida theme.

Production and Post-production materials consist of daily production reports, lists of the day's shooting locations, cast and crew sign-in sheets, time cards, shooting schedules, script sides, camera reports, script supervisor daily reports, correspondence, and other documents relevant to the day's film shoot. Also included is documentation for the Archive Project concerning deposit of the film stock at the UCLA Film and Television Archive. Panoramic photographs of proposed filming locations, made of taped-together photographs are included, as well as the crew newsletter, and a wrap party speech written by Maggie Renzi.

In the Publicity and Distribution subseries there are contracts regulating the theatrical and home video release, promotional materials used in marketing, reports on various screenings, and grosses from the screenings of the film. Of note are the Publicity Tour materials, comprised of correspondence, schedules, and notes regarding appearances. Articles and Reviews contains newspaper clippings and printed copies from online sources and domestic newspapers, mainly arranged by state.

Awards, Events, and Festival materials document special screenings of Sunshine State, such as its premiere at the Cannes Film Festival, the US premiere in Hollywood, a showing for the entire cast and crew, and other screenings set up to publicize the film.

In the Photographs subseries are publicity stills depicting characters from the film, Sayles working behind the scenes, and a picture of the entire cast and crew. The Oversize subseries contains Florida themed sheet music.

Silver City consists of materials from the 2004 film written, directed and edited by John Sayles and produced by Maggie Renzi. The large and notable cast includes Danny Huston, Maria Bello, Chris Cooper, Richard Dreyfuss, Tim Roth, Thora Birch, Maria Bello, Billy Zane, Miguel Ferrer, Kris Kristofferson, and Michael Murphy. The film centers on a private detective, played by Huston, trying to connect the dots between a dead John Doe and the gubernatorial campaign of a George W. Bush-like politician. A hybrid political satire and murder mystery, Silver City ties together the issues of environmental degradation, immigration, and corporate influence in American politics.

The Legal subseries includes copyright documents, legal clearances for names, legal representation agreements, visa paperwork for First Assistant Director John Powditch, and miscellaneous legal documents.

The Business and Financial subseries is the largest portion of the Silver City papers, with the bulk of the items created between 2003 and 2004. The materials include a diverse selection of receipts, contracts, and other records for vendors and individuals contracted by Silver City Films, Inc. The files consist of a diverse selection of receipts, contracts, payroll reports for the crew members processed by Axium International Inc., petty cash envelopes for cast and crew. and other records.

The Scripts subseries contains drafts of the screenplay for Silver City rewritten several times during 2003. Also included are supporting documents for the scripts, such as correspondence about the scripts, scene breakdowns and a synopsis.

The Production and Post-Production subseries includes three delivery binders (binders removed) with a variety of documents to be delivered to the studio or distributor of a film at the completion of post-production. Delivery Binder 1 includes (but is not limited to) quality control reports, credits, a press kit, copyright documents, title report, music licenses and cue sheets. Delivery Binder 2 has cast and crew deal memos, extras releases, location and art department releases. Delivery Binder 3 includes dialogue and continuity lists, a shooting script and lined script. In addition, various documents on each cast member such as cast and crew deal memos, payroll information, time cards, and start and end employment forms are included. Production binder materials contain different versions of the script, shooting schedules and character breakdowns.

Music and Scores highlights include notes from John Sayles on incorporating music into the film's score by Mason Daring. The majority of files within the section are made up of forms regarding the licensing of music in the film.

Highlights of Publicity and Distribution include the Silver City Express bus tour to Santa Fe, New Mexico and Colorado Springs, Colorado along with Denver, Colorado. The tour included a screening of film, live music, and a panel discussion about political filmmaking and the 2004 presidential election. The event was produced along with Newmarket Films and the New Mexico Women's Foundation. Other documents include advertisements, marketing materials (bumper stickers, one sheets, and pamphlets in English, Italian and Swedish), and international and domestic distribution agreements and drafts.

Articles and Reviews contains photocopies of newspapers and printouts from newspaper websites. The articles and reviews are organized according to international and domestic newspaper publications, with the majority from domestic publications. The domestic publications are organized according to state.

The Awards, Events and Festivals subseries includes invitations to attend political fundraisers and film festivals, such as the Cinema Arts Centre in Huntington, New York and the Bush in 30 Seconds political advertising contest sponsored by MoveOn.org voter fund. Also included are pamphlets and programs from domestic and international film festivals.

The Photographs subseries consists of contact sheets, slides, and cast and crew group photographs. One folder includes photographs intended for publicity materials labeled "rejected by producer Maggie Renzi".

Oversize Materials includes publicity and distribution materials, such as concept art for publicity posters.

Honeydripper, the 2007 film written, directed and edited by John Sayles, is centered on a blues club in 1950s rural Alabama, and features traditional rhythm and blues music and original songs. The actors include Danny Glover, Charles Dutton, Lisa Gay Hamilton, and Gary Clark, Jr.

The Correspondence subseries holds handwritten letters and emails between the filmmakers (John Sayles and Maggie Renzie) and several individuals who worked with them on the film. The Legal materials, demonstrating close collaboration with the legal representation of the production company, cover the film's copyright status and various signed legal certificates. The Business and Financial subseries consists of payroll for cast and crew, account payments, invoices organized by company name, petty cash envelopes, and a variety of accounting reports, including posting, closing and payroll reports.

Numerous drafts and master copies of Scripts, utilized before and during filming, are accompanied by supporting documents (source material, notes from Sayles, plot outlines, synopses, and related correspondence) used to write the scripts. The Music and Scores subseries consists of materials regarding the songs used in the film, information on the film's musical actors, and agreements with Rhino Records regarding the soundtrack.

The Production and Post-production subseries documents John Sayles' roles as director, screenwriter, and editor of Honeydripper and Maggie Renzi's work as the film's producer. Dating from 2004 to 2006, pre-production materials include items regarding casting, research of 1950s culture, location scouting in Alabama, and paperwork between Honeydripper Films and the various labor unions (notably the Screen Actors Guild, Directors Guild of America, and International Alliance of Theatrical Stage Employees). Materials created and utilized during production incorporate a variety of schedules and calendars, including call sheets and shooting schedules. Reports summarizing daily progress provide detailed insight into various aspects of filming, such as the daily production reports, day out of day reports, and camera reports. The Post-production materials provide audio reports and cue sheets that demonstrate the technicalities of the automated dialog replacement (ADR) process and sound engineering. The wrap book and producer Maggie Renzi's production binders combine documents from all phases of production, providing an overview of the making of Honeydripper.

Publicity and Distribution materials document the planning, creation, and accumulation of publicity materials. The majority of the subseries consists of materials for the musical tour of the Honeydripper All-Star Band, a group of the film's musical cast that toured and performed at major music festivals in 2007 to promote the film. Articles and Reviews contains international and national press, including reviews of the film, interest pieces on the cast and John Sayles, and articles about the Honeydripper All-Star Band musical tour.

The majority of the Awards, Events, and Festivals relates to the exhibition of Honeydripper at dozens of film festivals and noted screenings around the world. Correspondence between Sayles's staff and festival representatives, flight and hotel information, daily schedules, festival programs, and local articles about the screenings make up the volume of the materials regarding each festival. The awards materials offer insight into the process of applying for major film awards and the proceedings after a nomination. Award ceremonies include the Academy Awards, the Independent Spirit Awards, and the NAACP Image awards for which Honeydripper received two nominations.

The Photographs subseries contains photographic production materials from 2006 used during production and post-production for continuity purposes.

The Amigo series consists of material from the 2010 film written, directed, and edited by John Sayles. The actors include Joel Torre, who also co-produced the film, Chris Cooper, Garrett Dillahunt, DJ Qualls, Yul Vazquez, Bembel Roco, and Rio Locsin. The film is set in 1900, during the Philippine-American War, and filmed on location in Bohol, Philippines. The majority of the cast and crew are from the Philippines. Some of the post-production work was done in the Philippines.

The Legal documents contain copyright and license agreements. The turnover documents in this section consist of records for the Baryo Amigo Continuity Project (formerly Baryo Living Museum Project) in Toril, Maribojoc, Bohol, Philippines. Sayles donated the movie set structures and costumes to the city council of Toril to help create a museum about Philippine village life in the 1900s. The Business and Financial materials consist of invoices, payments and wire transfers to individuals and companies in the Philippines.

The Scripts subseries reflects the changing titles and inspiration for the film. The screenplay, formerly titled Baryo, was inspired by Sayles's book A Moment in the Sun. Some scripts are both in English and Tagalog. Music and Scores includes cue sheets and musician contracts as well as sheet music examples based on 19th century Philippine songs.

Production and Post-Production materials consist of background research for the film. Topics include 1890s U.S. media and politics, first-hand accounts of various wars, basic history of the Spanish-American and Philippine–American wars, historical prisons and execution methods, and Philippine life and industry. Other documents relate to the cast and crew, including US/Philippine travel arrangements, contracts, and individual folders for the main cast members. There are large production and director's production binders, production and post-production schedules, editor's logs, sound and camera reports, and information on costumes and props, including a folder of maps. Post-production documents include information on video and audio packages, subtitling, and MPAA ratings.

The majority of the Publicity and Distribution subseries is made up of correspondence and agreements relating to various US and international distribution companies. Also included are draft and finalized press kits, information about initial screenings, and travel and schedule information for many promotional interviews. The Articles and Reviews include a large press book with collected newspaper, web and radio interviews with Sayles, as well as clippings from US and Philippine newspapers and film festival literature.

Correspondence, travel arrangements, and schedules relating to five international film festivals where Amigo was screened can be found in the Awards, Events and Festivals subseries.

Go for Sisters includes documents for the 2013 film written, directed and edited by John Sayles and produced by Edward James Olmos. The cast includes Lisa Gay Hamilton, Edward James Olmos and Yolanda Ross.

The Business and Financial documents include purchase orders and a check register organized in alphabetical order.

The Production and Post-Production documents contain script notes and camera and sound logs which were part of a general production binder. The binder was removed but the documents kept in original order. Of interest are Shoot Day documentation that outlines activities for each day of shooting, and includes sections of the script, wrap report forms, personal release forms, script supervisor reports, sound reports, time sheets, crew call sheets, and actors' production time reports. The Locations folders contain contracts, permits, maps, and call times at specific locations. Wrap Book folders contain memos, call sheets, cast day reports, cast and crew lists, contacts lists, information on credits, extras and their contracts, and other production documents used at the end of the production.

Publicity and Distribution contains a 4x6 publicity card for Go for Sisters. In Awards, Events and Festivals, a program for the Morelia International Film Festival in Mexico is included along with an invitation for Maggie Renzi to attend a dinner held during the festival. John Sayles was invited as a special guest and Go for Sisters was screened. The Photographs subseries contains miscellaneous continuity photographs and behind the scenes pictures taken by stills photographer John Castillo.

The Audio/Moving Image series consists of audio and video recordings in various formats. The Moving Image subseries includes clips, interviews, electronic press kits, and dailies from Sayles' films. The Audio subseries includes music, interviews, and sound tracks.

Digital Media... consists of diskettes and hard drives containing scripts, business and financial documents, program disks, and images.

The Jonathan Demme Papers consist of materials related to Demme's extensive filmography from 1970-2008, including "The Silence of the Lambs". Materials are arranged chronologically by project, and cover most aspects of pre- and post-production, as well as publicity and related awards. As of November 2023, only the "Silence of the Lambs" series has been processed and made available. Additional series will be completed at a later date.

The Jonathan Demme Papers consists of approximately 150 linear feet of materials from 1970-2000. Materials include correspondence, legal and business documents, and photographs, as well as extensive documentation of film production, including pre- and post-production phases. In some cases, awards and publicity materials are also included.

The "Silence of the Lambs" series consists of approximately 13 linear feet. The material follows the project through the phases of production, and includes many drafts of the final script and novel adaptation, as well as extensive pre-production and location scouting information.

As of November 2023, only the "Silence of the Lambs" series has been processed and made available to researchers.

This collection contains the papers of Jon Bekken, who holds a PhD in Communications and has been a faculty member at Albright College. Bekken has served in the past as general secretary-treasurer of the Industrial Workers of the World (IWW) and as editor of the Industrial Worker. He is on the editorial team of the Anarcho-Syndicalist Review, a magazine founded in 1986 as the Libertarian Labor Review. The bulk of the papers consists of records from the Libertarian Labor Review. The collection also includes scholarly articles by Bekken and others, documentation of his contested termination from the University of Central Arkansas in the early 1990s, and papers related to the general topic of anarchism and state of the movement.

The bulk of the papers consists of records from the Libertarian Labor Review, a journal in which Bekken contributed to and helped establish. The collection also includes scholarly articles by Bekken and others, documentation of his contested termination from the University of Central Arkansas in the early 1990s, and papers related to the general topic of anarchism and state of the movement. Dates of the collection's materials range from 1972-2016, with a bulk of the material dated between the mid-1980s and mid-1990s.

The collection, which spans 1870s-1960s (bulk dates 1880s-1930s), chiefly includes correspondence with fellow workers in the labor movement, publishers and writers for anarchist, socialist, and labor journals, and a wide circle of friends, some letters being also addressed to Mrs. Labadie, manuscripts of his articles, speeches, and poems, photographs, and personal documents. The Family series also contains a folder of correspondence relating to the donation of this collection to the University of Michigan Library. Joseph Labadie's activities within the labor movement in Detroit, his anarchist philosphy, as well that of the many correspondents he had, and early Detroit history is welldocumented in this collection.

The collection, which spans 1870s-1960s (bulk dates 1880s-1930s), chiefly includes correspondence with fellow workers in the labor movement, publishers and writers for anarchist, socialist, and labor journals, and a wide circle of friends, some letters being also addressed to Mrs. Labadie, manuscripts of his articles, speeches, and poems, photographs, and personal documents. The Family series also contains a folder of correspondence relating to the donation of this collection to the University of Michigan Library. Joseph Labadie's activities within the labor movement in Detroit, his anarchist philosphy, as well that of the many correspondents he had, and early Detroit history is welldocumented in this collection. The Joseph Labadie Papers are separated into three series: Correspondence (Incoming); Family (correspondence between family member, outgoing correspondence, autobiographical notes, journals, family histories, biographies, scrapbooks, etc.); and Works (Labadie's titled and untitled essays, articles, columns, letters to the editor, and poetry). The Correspondence consists of 4.25 linear feet of incoming letters, mainly to Joseph Labadie. The files are arranged alphabetically (see Boxlist) with folders for principle correspondents interfiled with general alphabetical headings. Letters from Herman Kuehn to Labadie comprise .25 ft. and are kept in a separate box. The Family series consists of correspondence between family members, both immediate and extended, copies of some of Jo Labadie's outgoing correspondence, autobiographical notes, labor and other organizational membership cards, biographical notes and character sketches by Agnes Inglis, copies of legal briefs for a civil case Jo and Sophie were involved in with a relative, descriptions of Bubbling Waters, the Labadie's summer and retirement home, photocopies of Jo's scrapbooks, his account book and address books, a journal, and materials relating to the donation of Jo's materials to the University of Michigan. The Works series consists of titled essays, untitled essays, miscellaneous fragments of Labadie's writings, drafts of letters to the editors of various newspapers, drafts of his long-running column, "Cranky Notions," and his poetry. The last item in the collection is a videotape copy of a silent feature film made in 1925 on location at the Labadie's property at Bubbling Waters. Some reels of the film are not included, but the forest fire scene is believed to have been filmed at Bubbling Waters. This is the last known extant film relating to the Labadie Family. More information on the film is available upon request.

The Joseph T. and Marie F. Adler Archive of Holocaust and Judaica Materials contains material related to Judaism, Jewish culture, and the international Jewish community, largely during the 20th century. A large portion of the collection relates to the Holocaust and its aftermath, as well as anti-Semitism in general.

Several monographs from Mr. Adler's library have been retained with the collection. Photographs are scattered throughout the collection.

The Josiah Warren Papers comprises correspondence chiefly relating to the use of Warren's stereotype invention, the Equity movement, the cooperative society he founded in Modern Times [now Brentwood] N.Y., his philosophy of land ownership, and his journal, The Periodical Letter; lectures notes; and an article. Also printed leaflets.

The twenty-eight items in the Warren papers comprise correspondence to and from Warren, chiefly relating to the use of Warren's stereotype invention, the Equity movement, the cooperative society he founded in Modern Times (now Brentwood), New York, his philosophy of land ownership, and his journal, The Periodical Letter. There are also lecture notes, and an article, as well as some printed leaflets. It should be noted that many of the letters are difficult to read, as they are written on both sides of very thin paper.

Novelist, University of Michigan graduate; includes correspondence, typescripts, notes, screenplays, interviews, and print material, such as reviews, interviews, and announcements, mostly relating to her works Ordinary People and title Second Heaven.

The Judith Guest collection consists of correspondence, typescripts, notes, screenplays, interviews, and print material, such as reviews, interviews, and announcements. The papers are divided into five series: Correspondence; Promotional material, reviews, interviews; Serials; Speeches; and Works, which contains the Ordinary People and Second Heaven subseries. Guest's initial correspondence with Viking regarding the manuscript for Ordinary People, which may be found in the Correspondence series, is particularly evocative of the excitement surrounding its publication.

The Promotional material, review, interviews; Serials; and Speeches series consist of ephemera relating to Guest's career as a writer including numerous clippings of biographical profiles and book reviews. These series also document some of the author's professional and promotional activities, such as publication tour interviews and speeches.

The emphasis of the collection is on Guest's creative process in writing Ordinary People and Second Heaven, which comprises the Works series. Many drafts of both novels are included, with editorial and authorial marginalia and corrections. The metamorphosis of the bestselling Ordinary People into a screenplay is well documented in Guest's attempt, followed by screenwriter Alvin Sargent's final shooting script.

Comprise correspondence, including series of letters from Ferdinand Freiligrath, Clara Neymann, and Mathilde F. Wendt; correspondence and documents relating to Der Pionier, with many letters relating to his efforts in 1862 to prevent confirmation of Col. L. Blenker as Brig. Gen. in the U.S. Army; manuscripts of his Gedichte and Erlebtes, and other works including poems, lectures, and articles; personal documents; and family papers including those of his father, Joseph Heinzen, and of his wife, Henriette Schiller Heinzen, including the Schiller and Moras family papers. Other correspondents include L. Bamburger, H. von Ende, H. Erichsen, K. Röser, J. A. Sprague, and F. H. Zitz.

Heinzen, a German refugee of 1848-49, was a radical author and lecturer and, from 1854 to 1879, editor of Der Pionier. Correspondence relating to Der Pionier, his efforts to prevent confirmation of Col. Ludwig Blenker as brigadier general in the United States Army, and other matters; manuscripts of his poems, lectures, articles, and other works, including Gedichte and Erlebtes; and family papers of his father, Joseph Heinzen, and his wife, Henriette Schiller Heinzen (Schiller and Moras families). Correspondents include Louis Bamberger, Heinrich von Ende, Hugo Erichsen, Ferdinand Freiligrath, Clara Neymann, Karl Roser, Julia A. Sprague, Mathilde F. Wendt, and Franz Zitz. The papers are in German, French, and English, chiefly in old-style German cursive. Many letters are accompanied by transcriptions, translations, or summaries in English.

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

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

The Kenneth Todd Roundabouts Collection details highway interchange planning and regulations from the 1900s-2000s. The collection relates primarily to the implementation of roundabout (traffic circle) interchanges in the United States, but also includes a substantial collection of international articles and photographs, as well as regulatory information. Additional materials include articles on traffic signals such as stop signs, yield signs, and traffic lights; traffic accident statistics; and engineering documentation such as equations and diagrams.

This collection, containing materials ranging from 1896-2002, constitutes much of Kenneth Todd's work and research on roundabouts and traffic signals, particularly in the latter half of the 20th century. Included are photographs, engineering documents, and articles and reports on the safety, efficacy, and design of traffic circles and other signalling devices. Visual and audiovisual materials include reel-to-reel video and slides. The materials primarily relate to traffic management in the United States, but a significant portion of the collection consists of research on the implementation of roundabouts in the United Kingdom and other parts of Europe.

Scripts, newspaper articles and research, CDs, DVDs, and ephemera pertaining to Glenda Dickerson's project for "Transforming thru Performing: re/placing Black womanly images." The original goal of The Project was to enter the Black woman's performing voice into the scholarly discourse surrounding gendered identity. Out of it was created a series of performance dialogues called Kitchen Prayers. After 9/11, Kitchen Prayers revolved around stories which spoke to the impact of war and terror on women around the world.

Scripts, newspaper articles and research, CDs, DVDs, and ephemera pertaining to Glenda Dickerson's project for "Transforming thru Performing: re/placing Black womanly images." "…the original goal of The Project was to enter the Black woman's performing voice into the scholarly discourse surrounding gendered identity. Towards that end, we began a series of performance dialogues called "Kitchen Prayers". After 9/11, "Kitchen Prayers" revolved around stories which spoke to the impact of war and terror on women around the world…" (from the exhibit listing in Deep Blue)

LAGROC (Lesbians and Gay Rights on Campus/Lesbian and Gay Rights Organizing Committee), otherwise known as LAGROC or LaGROC, was a student-led organization that advocated for increased rights for lesbians and gay men at the University of Michigan through outreach, protests, and other activism efforts during the 1980s. The collection contains materials collected by Carol Wayman and Alicia Lucksted, who were also organization members, about early lesbian and gay groups on campus and those created by LAGROC. Materials include clippings, meeting minutes, correspodnece, various ephemera such as posters, flyers, and brochures, reports, and transcripts for radio plays.

The LAGROC Collection includes materials from circa 1983-1989 in one manuscript box of approximately 0.25 linear feet.

Materials include clippings, meeting minutes, correspondence, various ephemera such as posters, flyers, and brochures, reports, and transcripts for two radio plays. They detail early lesbian and gay groups on campus and LAGROC's activities to add "sexual orientation" to the University of Michigan bylaws, advocacy and outreach efforts such as Lesbian and Gay Awareness Week, support groups, meeting minutes, and protests.

The Laurance Labadie Papers document the work and life of Laurance Labadie, anarchist writer and theorist and son of the noted labor leader and anarchist Joseph A. Labadie. The collection contains correspondence, other writings, and printed material related to Laurance's economic theory and work with the School of Living, as well as a series containing papers related to the work of Laurance's father Joseph A. Labadie.

The Laurance Labadie Papers measure 9.5 linear feet and date from 1882 to 1973. The collection documents, through correspondence and writings, Labadie's ideas on anarchism and the social problems of the time, as well as the views of many of his anarchist contemporaries, mainly from 1932 to 1972. Unfortunately, there is little material from the years before this, and little, if anything, on Labadie's family. The correspondence is especially rich for the 1930s and 1940s, when Labadie was corresponding with anarchists who had been active in the late 19th and early 20th century, and who had known Labadie's father. The papers from the 1950s and 1960s document his involvement with the School of Living, a decentralist, back-to-the-land organization that he supported. The Joseph A. Labadie papers held by Laurance are chiefly notebooks and booklets of poetry with broad subject range, and scrapbooks of news clippings about Joseph Labadie, anarchy and labor movements in the 19th century, and Walhalla, the farm of Labadie's friend Carl Schmidt.

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

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

The Lee Walp Family Juvenile Book Collection is the collection of the late Russell Lee Walp (1906-2003), an avid book-collector and Professor of Botany at Marietta College (Marietta, Ohio). Mr Walp, along with his wife, Esther "Sparkie" Walp, collected materials related to the best in 20th century children's literature, with an emphasis on well-known illustrators and their illustrations. He corresponded with many illustrators and authors, whose letters, manuscripts, and original artwork may be found in the collection. Ed Emberley and Robert Andrew Parker are the most well-represented, but Roger Duvoisin, Hardie Gramatky, Robert Lawson, and Shimin Symeon, as well as scores of other luminaries in the world of children's literature are also represented. Included in the collection are notes, bibliographies, and catalogues documenting how Mr. Walp built and used his collection to educate the public are included, along with a small amount of material related to the study and teaching of botany.

The Lee Walp Family Juvenile Book Collection contains two types of materials: information about the Walps and their collecting, and information about the illustrators and authors. Material related to Mr. Walp's collecting may be found in the following series: Personal, Book Collecting, Walp Library Catalog Cards, and Articles, Exhibits, and Lectures by the Walps. Information about the illustrators and authors is concentrated in the series Illustrators and Authors and Art, and also in Articles and Clippings, Audiovisual, Posters, and Realia. The approximately 5,000 books in the Walp Collection include a complete set of first editions of the Caldecott Medal Books, and first editions of all but three Newbery Medal-winning books. These books are cataloged separately.

The Walp Collection has material by or about over 250 children's book illustrators and authors. The two most well-represented are Ed Emberley and Robert Andrew Parker. There is also a significant amount on Roger Duvoisin, Hardie Gramatky, Robert Lawson, and Symeon Shimin.

The Leo and Mary Sarkisian Collection consists of recordings of the Music Time in Africa radio program (1966-2021), the contents of the Leo Sarkisian VOA Music Library, and related contextual documents and artifacts, including the personal papers of its creator Leo Sarkisian and his wife Mary Sarkisian. The bulk of the collection is source material for the production and broadcast of Music Time in Africa, including copies of the radio broadcasts and scripts, recordings of African music compiled for use in the show, and original field recordings made by Leo Sarkisian between approximately 1959 and 1975. Other recordings include commercially produced content in LP, 45 rpm and cassette tape formats. The collection documents the public diplomacy exercised by the United States through Voice of America programming in Africa and the wide variety of musical styles of newly independent African nations.

The Leo and Mary Sarkisian collection (220 linear feet) consists of recordings of the Voice of America's Music Time in Africa radio program (1965–2021), the contents of the Leo Sarkisian VOA Music Library, and related contextual documents, personal papers, artifacts, and musical instruments. The University of Michigan Library established the Leo and Mary Sarkisian Collection in 2018 by consolidating previous gifts and donations from the Sarkisians, long-term loans of archival materials from the Voice of America, and digital reproductions created by the University of Michigan. In 2004, Leo Sarkisian formally donated musical instruments from his personal collection to the Stearns Collection of Musical Instruments. He followed up in 2012 and 2015 with donations of personal papers and artifacts collected during travels in Africa, documented by a signed deed of gift. In 2008, the University of Michigan negotiated a Memo of Understanding with the Voice of America to digitize and make available for teaching and research 360 rare and unique audio recordings made by Leo Sarkisian in sub-Saharan Africa. In 2015, the Voice of America transferred the entire contents of the Leo Sarkisian Music Library to the University of Michigan for purposes of research and teaching. An extended Memo of Understanding between UM and VOA governs the archival processing of the loaned materials as well as permissions to digitize materials and make them available for teaching and research.

The bulk of the collection is source material for the production and broadcast of Music Time in Africa, including copies of the radio broadcasts and scripts, recordings of African music compiled for use in the show. Because Sarkisian had no mandate from VOA to create and retain an archival copy of every broadcast show, the completeness of the surviving MTIA radio shows varies. The most complete representation includes the audio recording of the full broadcast and the full script. Some instances of the show include only the musical inserts (without the host's voice) and the script. A number of complete show audio recordings lack associated scripts. Some individual scripts are not matched with surviving radio show recordings.

Among the VOA Music Library materials are recordings from Sarkisian's prior work with Tempo records, where he trained as a recording engineer. This small group of materials dates back as early as 1949, when Sarkisian began traveling in Asia (Afghanistan, Pakistan, and Bangladesh) making field recordings for the Hollywood-based label. In 1958, Irving "Colonel" Fogel, the president of Tempo sent Sarkisian to Ghana, where he made over 100 recordings and donated the tapes to Radio Ghana. He and Mary established a Tempo office in Conakry, Guinea. There in 1962, Leo met Edward R. Murrow, who was then head of the United States Information Agency. Murrow invited Sarkisian to join the Voice of America (VOA) as Music Director of VOA's Africa Program Center in Monrovia, Liberia.

Leo and Mary traveled extensively to make field recordings and launch a new radio show focused on traditional African music. Leo recounted that the Music Time in Africa radio show first broadcast in May1965; the earliest recorded broadcast of MTIA in the collection is from May 22, 1966. The geographical coverage of the collection includes 46 African countries, the US, and other locations where Sarkisian worked. The African countries represented in the collection are: Algeria, Angola, Benin, Botswana, Burkina Faso, Burundi, Cameroon, Cape Verde, Central African Republic, Chad, Comoros, Congo, Côte d'Ivoire, Democratic, Republic of the Congo, Egypt, Equatorial Guinea, Ethiopia, Gabon, Guinea-Bissau, Kenya, Lesotho, Liberia, Libya, Madagascar, Malawi, Mali, Mauritania, Morocco, Mozambique, Niger, Nigeria, Rwanda, Senegal, Seychelles, Sierra Leone, Somalia, South Africa, Sudan, Swaziland, Tanzania, The Gambia, Togo, Tunisia, Uganda, United States, Zambia, and Zimbabwe.

The collection contains evidence of Sarkisian's work through VOA's Program Center in Monrovia, Liberia, to train recording technicians and program directors at radio stations in several African countries. Notable among these were Radio Tanzania, Radio Comores, Radiodiffusion Nationale Tchadienne (Chad), Radio Dahomey, Radio Rurale (Burkina Faso), Radio Burundi, and Radio Douala (Cameroon). The VOA Music Library Tape Recordings series includes tapes sent to the VOA from these stations.

The collection documents the production of Music Time in Africa as a pre-recorded analog program. Leo Sarkisian worked primarily with quarter-inch open reel magnetic audio tape. He assembled the musical selections for each Music Time in Africa program, and composed and typed the scripts for the host to read, almost verbatim. A recording engineer interspersed the musical selections on cue and simultaneously created a full recording of the 30-minute show. The show typically followed a format that book-ended field recordings of traditional music with several commercially recorded popular songs. Traditional musical content was drawn from Leo's field recordings and other sources.

The show's theme music was composed and performed by Geraldo Pino and the Heartbeats of Sierra Leone from an original recording that Leo made of the band. The shows are remarkable for the breadth of genres represented in the programming selections and the geographical coverage of the collection. Sarkisian collaborated with composers and scholars including J.H. Kwabena Nkeita, Duro Ladipo, Bai T. Moore, and representatives of the radio stations where he trained engineers and program directors. The Voice of America broadcast Sarkisian's pre-recorded shows on Sundays at 18:30 GMT across the African continent, via shortwave radio relays. Originally the VOA was broadcast only outside the United States. Legislation signed in 2013 made the broadcasts accessible to US audiences. Today the MTIA show is one hour long and encompasses a variety of social media content including blogs and videos of interviews with guest artists.

Four hosts gave voice to Music Time in Africa during the four decades that Leo Sarkisian produced the show. Bryn Poole, the spouse of a VOA station officer in Monrovia, Liberia, hosted the program between 1965 and 1967. Miatta Fahnbulleh, a Liberian musician, served as interim host in 1968 while the VOA broadcast facilities in Monrovia relocated permanently to Washington, DC. In 1968 VOA staff broadcaster Susan Moran assumed hosting responsibilities in Washington, DC and served continuously in this role until April 1978. Leo Sarkisian recruited experienced radio announcer Rita Rochelle in 1978 to be the host and public face of Music Time in Africa, a role she filled until April 2004. Occasionally, Leo Sarkisian, dubbed the Music Man in Africa, joined the formal host in the studio to narrate the context of particular musical selections or to regale the audience with stories of his recording trips to the African continent.

In addition to announcing the songs, the scripts provide contextual information. The hosts often explain the song lyrics and describe the places, peoples, and styles (e.g. dance, lullaby, or ceremonial), or musical instruments. The scripts also include announcements of birthdays, requests, and other responses to fan mail, especially during the height of the broadcast years coinciding with Rita Rochelle's tenure as host. The MTIA shows include occasional interviews with guest performers. Under the general direction of Leo Sarkisian, ethnomusicologist Matthew Lavoie assumed responsibility in April 2004 for producing and hosting Music Time in Africa. Recast as an hour-long program broadcast from Washington, DC to the African continent via shortwave and FM signals, Lavoie's MTIA also utilized digital recording technologies to assemble the audio portions of the program from the extensive analog resources in the Leo Sarkisian Music Library at VOA.

To supplement his hosting responsibilities, Lavoie wrote a blog, "African Music Treasures," for the VOA website. The 52 currently existing blog posts compare and contrast music from across the African continent, provide biographical background on musicians, describe musical genres and instruments, and highlight aspects of Leo Sarkisian's original field recordings. The blog posts also engage other contemporaneous bloggers from Europe and the US (e.g., Likembe, Awesome Tapes from Africa, Benn Loxo du Taccu, Worldservice) in a growing discussion on the topic of African musical recordings. The blogs represent Lavoie's areas of special interest. Matthew Lavoie's blog posts remain available through the VOA website and are preserved as fixed PDF files as part of this series. The Internet Archive preserves a small selection of Matthew Lavoie MTIA shows that were uploaded by an anonymous third-party user not affiliated with VOA.

In 2012, Heather Maxwell, an ethnomusicologist with a Ph.D. from Indiana University specializing in African music, took over producing and hosting the Music Time in Africa radio show. She continues to the present day. She has maintained the MTIA-VOA blog and expanded the format of the show to include video interviews (available on YouTube). Maxwell's shows (audio or audio/video only) since 2014 to the present and her blog posts are accessible through the VOA website.

Archival processing established thirteen archival series groupings on what was a richly organic working music library of audio recordings, program documentation, and personal artifacts. The organization of the collection reflects the processes that went into producing the Music Time in Africa radio show, the administrative functions and history of Leo Sarkisian's career, and the structure of the reference library that he built and maintained at the Voice of America's headquarters in Washington, DC.

The majority of the collection consists of audio recordings in analog and digital formats. Audio recordings include complete and incomplete copies of extant Music Time in Africa broadcasts, along with the audio source materials that Leo Sarkisian used to construct the radio broadcasts. The extant MTIA radio shows are compound objects of audio recordings and typed scripts, often existing in multiple copies and multiple versions. Source media range from a preponderance of open-reel quarter-inch magnetic tapes (acetate or polyester base) to LP and 45 rpm records, cassette tapes, digital minidiscs, and CD's. Complementing the extensive audio materials are small collections of supporting documents, personal papers, artifacts, and musical instruments.

The National Endowment for the Humanities supported the digitization of the most complete versions of Leo Sarkisian's MTIA broadcasts. MTIA broadcasts produced and hosted by Matthew Lavoie and Heather Maxwell are in born digital formats as separate parts of the collection. The University of Michigan digitized a selection of unique field recordings created by Leo Sarkisian during his travels in Africa, along with distinctive portions of the source materials that Sarkisian utilized in the MTIA shows. The Internet Archives contains a small portion of Matthew Lavoie's MTIA radio shows. Heather Maxwell's radio shows (also born-digital) broadcast since 2016 are available through the VOA News website. Blog posts on Music Time in Africa and its African musical heritage created by Matthew Lavoie and Heather Maxwell are available on the VOA website.

Lester O. Kruger was a long-time 3M employee and a leader in the micrographics industry. As an active member of the National Micrographics Association and Association for Information and Image Management, Kruger helped develop national and international micrographic standards. This collection documents Kruger's career and involvement with Filmsort/3M, NMA, and AIIM.

The Lester O. Kruger Papers are divided into 8 series: National Micrographics Association (NMA), Association for Information and Image Management (AIIM), 3M, Personal, Photographs, Microforms, Printed Material, and Realia. Largely consisting of professional papers, the collection documents Kruger's work in micrographics, imaging, and standards. Included are correspondence and memoranda between colleagues, organizational correspondence and information, meeting reports and resolutions, drafts of proposed standards, presentation drafts, photographs, and microfiche. The collection contains a smaller amount of more personal material, pertaining to Kruger's career and achievements. These include: awards, plaques, a scrapbook, photographs, ephemera, and a small quantity of personal correspondence with professional colleagues. Realia related to micrography, including microfilm viewers and a medallion from an NMA conference, make up the final series in the Kruger Papers.

Formed in 1913 by Carl G. Fisher, Frank A. Seiberling, and Henry B. Joy, the Lincoln Highway Association was made up of representatives from the automobile, tire, and cement industries. The Association aimed to plan, fund, construct, and promote the first transcontinental highway in North America. The route ran from New York to San Francisco, and covered approximately 3,400 miles. The Detroit headquarters of the Association closed in 1928. This collection contains: correspondence, particularly between members of the Association and government officials; meeting minutes; reports, bulletins, and newsletters published by the Association; motorist maps of the route; and annotated editions of The Complete Official Road Guide of the Lincoln Highway. Photographs from the Lincoln Highway Association Records have been digitized and are accessible online at the Lincoln Highway Digital Image Collection (http://quod.lib.umich.edu/l/linchigh). The Digital Image Collection contains over 3,000 images including views of construction underway, towns and cities, markers, bridges, cars, camp sites, scenic views, and snapshots of Association directors and field secretaries traveling the route.

The Lincoln Highway Association Records date from 1911 to 1993 with the bulk of materials concentrated before 1930. The records are divided into five series: Official Business (1912-1941), Correspondence (1912-1929), Planning (1914-1940), Publicity (1911-1993), Publications (1915-1935), Jens Jensen Drawings (1922-1924) and Miscellaneous.

The Lincoln Highway Association archive was donated to the University of Michigan's Transportation Library in 1937. The archive was transferred to the Special Collections Library in 1992.

Communication was frequent between members of the Association as well as with officials from towns, counties, states, and the federal government. Correspondence and meeting minutes make up an important part of the collection. The Association published reports, bulletins, and newsletters to keep board members and the public aware of the Highway's progress. Maps of the driving route along with mileages were provided for motorists for navigation as were five editions of The Complete Official Road Guide of the Lincoln Highway .

Photographs from the Lincoln Highway Association Records have been digitized and are accessible online at the Lincoln Highway Digital Image Collection (http://quod.lib.umich.edu/l/linchigh). The Digital Image Collection contains over 3,000 images including views of construction underway, towns and cities, markers, bridges, cars, camp sites, scenic views, and snapshots of Association directors and field secretaries traveling the route.

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

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

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

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

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

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

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

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

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

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

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

The Lon G. Nungesser Hope for Humanity Papers, 1970-1989 comprise correspondence, drafts of unpublished and published manuscripts, ideas for research projects, family history material, publishers' contracts, placement files, and copies of his three books: Homosexual acts, actors and identities (Praeger, 1983), Epidemic of courage: facing AIDS in America (St. Martin's, 1986), and Notes on living until we say goodbye: a personal guide (St. Martin's, 1988). The papers reflect Nungesser's struggle against homophobia and particularly his battle with AIDS and coping with terminal illness. Correspondents include Dana H. Bramel, Stuart Kellogg, and Philip G. Zimbardo.

Although there is some memorabilia from his high school years and some personal mementoes, the bulk of this collection reflects Nungesser's struggle against homophobia, and particularly his battle with AIDS. The papers include published and unpublished writings, contracts with publishers, book reviews, drafts of research projects and grant proposals, correspondence, college placement files, articles and interviews, photographs, and clippings. There are two videocassettes, one of a call-in talk show with Nungesser as guest, and the other of Nungesser reading from Notes on Living until We Say Goodbye. In addition, there are two audio cassettes of radio interviews of Nungesser. The 1984 interview concerns Homosexual Acts, Actors and Identities and the 1988 interview discusses his battle with AIDS and Notes on Living until We Say Goodbye. These audio cassettes have been reformatted.

Nungesser is a prolific writer. There are several unpublished, book-length manuscripts in the papers, as well as dissertation and grant proposals and other writings. All relate to the social psychology of homosexuals, and several concern AIDS. Copies of Nungesser's three books have been cataloged for the Labadie Collection.

In April 1989, Lon began sending his correspondence and writings to the Department of Rare Books and Special Collections on computer disks. The files on these disks have been printed and those that did not duplicate materials already in the collection were interfiled. The disks are stored separately from the collection (in Case 2). Each of the printed files are labeled with the name of the file and its date of creation.

The papers have been divided into five series.

Volantini (flyers), publications, manuscripts, and flyers relating to the activities of Lotta Continua and other elements of the Italian Workerist movement at the Pirelli tire factory in Milan's Bicocca district.

The bulk of the Publications Series consists of flyers, pamphlets, and periodicals created by Lotta Continua or other leftist groups to address events at the Pirelli factory.

The Research Materials Series includes drafts of documents analyzing the Pirelli factory struggle, as well as class struggle more generally. These drafts were likely written by the anonymous collector of these materials. Also included are miscellaneous ephemera and news clippings that appear to have served as research for the draft documents.

The Louie Crew Papers document the life and writings of Louie Crew Clay (1936-2019): a gay activist, Episcopalian minister, professor, and poet. He founded Integrity, an Episcopal forum for gay rights, and best known as an advocate for the acceptance of gay people within the Episcopal Church and the academic community. Papers consist of correspondence, publications and writings, professional materials such as teaching and committee work, Episcopal church and Integrity records, and personal materials.

Louie Crew Papers has been divided into 6 series:

Series 1: Correspondence, 1947-2006: divided into outgoing and incoming correspondence, arranged by correspondent or by date. Incoming correspondence from 1962 to 1985 is arranged by correspondent and then date, while correspondence from 1986 to 2005 is arranged by date. Incoming correspondence aquired in later accretions is arranged by date.

Series 2: Publications and Writings, 1958-2015: includes articles, prose, poems and poetry volumes, sermons, manuscripts, essays, dissertations, and materials written and/or edited by Crew. Materials are arranged by publication type and then by date.

Series 3: Professional Materials, 1959-2015: documents related to Crew's career as an English professor, gay activism outside of the church, and his involvement in various organizations and conferences. The series is divided into 3 subseries: (1) Teaching Materials, (2) Organizations, Conferences, and Research, and (3) News Clippings and Secondary Materials. All are arranged by date.

Materials include Crew's involvement with the Gay Academic Union, National Council of Teachers of English Gay Caucus, National Gay Task Force, Gay People's Union, University of Wisconsin-Stevens Point, and Black and White Men Together, as well as Crew's development of open-source software programs for writing. Materials of particular significance include Crew's "Gay Bibliography,"which is a collection of pamphlets, brochures, articles, and other research on a variety of gay organizations and subjects.

Series 4: Episcopal Church and Integrity Records, 1974-2006: documents related to Crew's involvement in the Episcopal Church, including his service on the Executive Council, House of Bishops, Council for the Diocese of Newark, and General Conventions. Also included are materials related to Episcopal conferences, talks, and mission trips. Integrity Records documents Crew's founding of Integrity, a non-profit Episcopal Forum for gay rights, and includes board reports and correspondence, bylaws, and the Integrity newsletter. Also included are news articles, reports, newsletters, correspondence, and other materials sent to Crew from presidents and board members.

Series 5: Personal Materials, 1936-2014: contains diaries and appointment books, baby and wedding scrapbooks, artwork, awards and honorary degrees, family genealogy materials, and legal documents. Also included are graphs showing statistics Crew collected on himself related to manuscript publications and rejections, correspondence sent, time spent asleep, computer activity, and other personal data.

Significant materials include Crew's lawsuits regarding housing discrimination, a sexual discrimination suit against American University, and a same sex domestic partner health benefits case against Rutgers University.

Series 6: Photographs and Audiovisual Materials, 1937-2011. Photographs contain headshots and candid photos of Louie Crew and his husband, Ernest Clay. Also included are Crew's theater photos and candid shots of friends and family. Audiovisual Materials contain audiocassettes, floppy disks, VHS, and CDs of interviews, poetry readings, sermons and talks, published poems, and pdfs of Crew's websites and YouTube videos.

French activist Louis Blanc's papers consist of five manuscripts and 59 letters, most addressed to publisher Leon Escudier, and to Blanc's long-time friend, Noel Parfait (1831-1898).

The papers consist of five manuscripts and 59 letters, most addressed to Escudier, the publisher of Blanc's works, and to his friend Noel Parfait (1831-1898).

This collection details the correspondence and writings of Louis J. Berger, an avid bicycling journalist and enthusiast in the 1880s and 1890s. The collection pimarily consists of his correspondence, most of which is related to bicylicing ethusiasts and cycling clubs. The Bicycling series relates to cycling clubs and magazines, as well as newspaper clippings, song lyrics, and bicycle part receipts. Berger himself worked as the editor for the "Bearings" bicycling magazine in the early 1880s, and as the editor for "Cycling Life" after moving to Chicago in 1887.

The collection is divided into three series: Correspondence, Bicycling, and Personal Clippings and Pamphlets.

The Correspondence series (0.7 linear feet, 1882-1898) contains the bulk of the collection. The correspondence is arranged in alphabetical order by correspondent. The majority of the correspondence is to L. J. Berger. There is a note, "includes outgoing," if letters from Berger to the correspondent are included. In general, there is one letter from each correspondent.

The majority of the correspondence is related to bicycling, either the cycling clubs of which Berger was a member or the cycling magazines where he served as an editor and correspondent. The correspondents range from business acquaintances to good friends of Berger and include editors and writers for sports magazines, officers of the League of American Wheelmen (L.A.W.) and other bicycling clubs, individuals involved in the manufacturing industry related to bike production and cycling enthusiasts.

Correspondence from bicycling clubs and bicycling enthusiasts discuss road conditions and routes, compare bike models, describe club events and travels and analyze club election politics. Two of the more frequent correspondents are Thomas White (Illinois) and James W. Neil (Missouri). A portion of the letters discusses the L.A.W. organization, events and the politics associated with officer elections, most notably from William M. Brewster, E.A. Clifford and Isaac B. Potter..

Correspondence related to the cycling magazines typically discusses obtaining correspondents across the country, the topics they should write on and negotiations of payment. Correspondence includes Berger's efforts to obtain facts for articles and direct correspondents as well as the reactions of readers to the magazines. Berger was an outspoken editor and some of the reader response is in reaction to his criticism of their company or organization. L. J. Berger also wrote road books for bicyclists, and some correspondence concerns road conditions in Missouri for his book.

Bicycling (11 folders, 1885-1941) includes papers related to cycling clubs as well as a letter to Cycling Life protesting an editorial, a note on Bearings finances, a few newspaper clippings with images of bicycles, song lyrics for biking songs and receipts for bicycle parts.

The three cycling clubs represented in the collection are the Chicago Cycling Club, the Missouri Bicycling Club, and the St. Louis Ramblers. For the Chicago and Missouri clubs there are announcements for meetings, membership lists and receipts for membership dues. The majority of the material is related to the St. Louis Ramblers and includes meeting minutes, financial statements, correspondence from when L. J. Berger was the secretary and circular letters from the 48th annual meeting of the St. Louis Cycling Club that outline the history of bicycling in St. Louis in the 1870s and 1880s and discuss the changes in bicycling up until the time of the meeting in 1935. Personal Clippings and Pamphlets (1 folder, 1916-1922) contains materials collected by Berger that are not directly related to bicycling. The topics include motorcycles and automobiles, engine technology, phonographs and how to learn shorthand.