Collections : [University of Michigan Special Collections Research Center]

Henry Buck graduated from the University of Michigan in 1858 and was granted an M.A. degree in 1861. He was admitted to the bar and practiced law briefly in Grand Rapids. He joined the 51st Illinois Infantry Regiment of Volunteers, becoming an acting First Lieutenant on June 15, 1862, and was placed in command of his company about January 15, 1863. On September 19, 1863, at the Battle of Chickamauga, he was killed instantly with a shot in the head. The letters and diary are entirely concerned with his experiences and observations while serving with the Union Army. A biography of Buck, and his obituary, are included in the papers.

Within this collection is Buck's diary (the original, damaged by a bullet), a transcribed copy of the diary (hand unknown), Buck's letters home to his family in Ypsilanti, his obituary, a map of the Battlefield of Stone River, and his officers' bars (indicators of rank).

American political figure in the late 19th and early 20th centuries; appointed Governor General of the Philippines in 1901; 1906-1907 served as the ambassador to Japan; appointed Secretary or War under President Theodore Roosevelt from 1908-1909. Collection includes correspondence, household budgets, invitations, letters of reference, documents, clippings and photographs reflecting aspects of Wright's diplomatic career in the Philippines, Japan and the United States. The bulk of the collection covers Luke and Katherine Wright's lives during their appointment to the Philippines, 1900-1906. Of particular interest are letters from Theodore Roosevelt, William Taft and Leonard Wood.

The collection is arranged in three series: Philippines, Japan and the United States. Under each main series are sub-series of correspondence, documents, clippings and photographs. The majority of material is from the Philippines series. The Philippines series consists of correspondence, documents, clippings and photographs. The majority of correspondence consists of incoming and outgoing letters to Wright with the bulk of letters dating from 1900-1905. Many of the letters are requests for jobs from a variety of military, personal and political contacts from Tennessee and letters of introduction. Letters of interest include correspondence from Theodore Roosevelt, William Taft and Leonard Wood. Included is a typed letter signed by President Theodore Roosevelt informing Wright he would replace Taft as Governor General of the Philippines. The documents sub-series include field reports from various civil government servants in areas outside of Manila. Clippings include an undated supplement from the Manila Times Newspaper. In the photographs sub-series a photograph of the three Philippines Commissioners Luke Wright, William Taft and Henry Ide is included along with two albums of photographs of various events and places in the Philippines. Album One includes interior and exterior views of Malacanan Palace, Wright's official residence in Manila. Album 2 is an assortment of 65 pictures of Philippine landscapes, architecture and indigenous peoples. The Japan series reflects the one year Wright spent as Ambassador to Japan. Correspondence includes letters addressed to his wife Katherine Wright. The documents sub-series include a variety of calling cards or visiting cards as well as invitations to a variety of social and political events. In the clippings sub-series, a scrapbook filled with newspaper articles from various sources highlight Wright's career as the ambassador to Japan. Many articles discuss the topic of Wright's resignation amid a climate of anti-Japanese racism in California. The United States series is the smallest series consisting of one letter dating from 1883, receipts, and the book cover only of the Annual Report of the Secretary of War from 1911.

Photographs, correspondence, ephemera, and trophies relating to the Thompson family of Detroit. While most of the material relates to the elder Thompsons (Mamie L. and W.A.) and their work with the NAACP, there is also a scrapbook highlighting the accomplishments of their son, Arthur L. Thompson, the first black medical officer in the Navy. Highlights include both formal portraits and informal family snapshots, correspondence related to the NAACP (including a signed letter from Walter White), and trophies the elder Thompsons received in recognition of their service. Most material dates from the 1920s-40s, with smaller amounts of material up to the 1960s.

The collection is approximately 2.25 linear feet. The bulk of the collection is photographs, both in albums and loose, totaling more than 400 photos. Some are posed, formal shots and others are informal snapshots or Polaroids taken between the 1920s and the late 1960s. A small number of photos (presumably of the Thomspsons' ancestors) predate the 1920s. The photos mostly depict the home lives and recreation of the Thompsons and friends. Awards recognize the Thompsons' contributions to the NAACP and fundraising efforts. Correspondence and newspaper clippings are limited to one sparse folder apiece, and again mainly concern the activities of the Detroit branch of the NAACP. Also included is the guest book for an "Interracial Fellowship party" hosted by the Thompsons in December of 1950 and a scrapbook documenting their son's military career.

The Mirisola Mirisola Papers collection consists of 5 boxes and comprises materials produced during the first 15 years of his career (1989 – 2004). An inventory of the collection was made available by the author.

Marcus Graham was the pseudonym of Shmuel Marcus (1893-?), Rumanian-born editor of the anarchist journal Man!, which was published from 1933 to 1940. His papers include letters from Michael A. Cohen, Frederick J. Gould, Bolton Hall, and Henry J. Stuart, and two essays by Steven T. Byington, "Why is a War?" and "Benjamin Ricketson Tucker," all marked for apparent publication in Man!, a letter from Max Metzkow enclosing an anarchist leaflet about the Homestead Strike circulated shortly before the trial of Alexander Berkman, and a letter from D. Alonso concerning the Comite pro Libertad de Prensa Marcus Graham and translating a Graham pamphlet into Spanish. (http://www.lib.umich.edu/labadie-collection/archives-and-manuscripts-g-l)

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

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

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

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

This collection is comprised of a typescript carbon copy of Maria C. Lanzar-Carpio's doctoral dissertation, titled "The Anti-Imperialist League" (University of Michigan, 1928), and three letters to Lanzar-Carpio. This is part of the larger Lanzar-Carpio Collection, which also includes the Herbert Welsh Papers as well as the Erving Winslow Papers.

These four items include a typescript carbon copy of Maria C. Lanzar-Carpio's doctoral dissertation, titled "The Anti-Imperialist League" (University of Michigan, 1928), and three letters to Lanzar-Carpio.

The letters in the Mark Holtz Correspondence collection, addressed to Holtz from various locations in Russia, are from seven Russian political dissidents who had received money and the promise of reading material from Holtz, an American teacher living in Los Angeles. The letters give brief descriptions of the authors' desolation, illness, and great financial need. Writers are Lev L. Blomets, Andrei N. Kalachev, V. Khudolei, A. A. Kolemasov, Anatoli Konse, Raia V. Shulman, and Nikolai Tushanov.

The letters, all addressed to Holtz from various locations in Russia, are signed holographs from seven Russian political dissidents who had received money and the promise of reading material from Holtz. The letters give brief descriptions of the authors' desolation, illness, and great financial need. Writers are Lev L. Blomets, Andrei N. Kalachev, V. Khudolei, A. A. Kolemasov, Anatoli Konse, Raia V. Shulman, and Nikolai Tushanov.

The collection is organized in alphabetical order by name of correspondent. All the documents are in Russian, but partial translations into English are included.

Mrachnyi, a Russian immigrant anarchist, who at various times went by the surnames Clevans, Klavansky, and Mratchny, was editor of Freie Arbeiter Stimme in the 1930s. The papers consist of correspondence relating to personal matters and editorial work, three radiograms reporting on the Spanish Civil War, some miscellaneous documents, and six circulars and one manifesto of the Association Internationale des Travailleurs. Contains letters from many leading anarchists including Emma Goldman. The papers are in English, French, German, Italian, Russian, Spanish, and Yiddish, with the Russian and Yiddish items accompanied by translations.

The collection consists primarily of personal and editorial correspondence, and also includes documents and circulars from the Association Internationale de Travailleurs (International Workingmen's Association). The correspondence mainly concerns the international anarchist movement and the anarchist, anti-Fascist role in the Spanish Civil War. Mrachnyi was known to most of the correspondents under the pseudonyms Mraschnyi or Mratchny, but he also used his original name, Klavansky, in Europe and Clevens in the United States. His wife used the name Johanna Clevens, reverting to her maiden name, Boetz, after their divorce.

The papers are in English, French, German, Russian,Spanish, and Yiddish. Translations of most of the Russian items were provided by Charles Gilbert. Articles received for publication in Fraye Arbeter Shtime (Freie Arbeiter Stimme) have been removed to the FAS collection.

Documents and correspondence detailing Martha Vicinus' involvement in the New University Conference (NUC).

The Martha J. Vicinus papers date from 1968 to 1976 (primarily 1969 to 1972) and measure 1.25 linear feet (4 Hollinger boxes). The papers detail only Vicinus' involvement in the New University Conference, its programs, publications and meetings. Arranged alphabetically into one series, the collection includes incoming and outgoing correspondence, position papers, reports, minutes of the organization, pamphlets and related newspaper clippings.

Some of the file folders concern the organizational workings of NUC. These include National Office, National Committee, and Executive Committee. Others consist of reports and papers on subjects of interest to NUC, notably Child Care, the Peoples' Peace Treaty (Vietnam), and the reform of course grading. Of note are the folders for the Modern Language Association relating to the efforts of Vicinus and other NUC members to organize radical caucuses and thereby affect the decision-making process in this and other professional organizations.

The Martin Sostre Collection (1923-2013; bulk 1967-1976) consists of correspondence, flyers, drawings, newspaper clippings, court records, pamphlets, newsletters, photographs, and handwritten notes pertaining to activist Martin Sostre. The collection contains original material created by Sostre, as well as material collected by others while he was incarcerated.

The Martin Sostre Collection (1923-2013; bulk 1967-1976) consists of correspondence, flyers, newsletters, pamphlets, newspaper clippings, articles, photographs, court documents, legal notes, and original drawings. Series 1, the Martin Sostre Papers, contains materials created by Sostre; these include drawings, legal documents with handwritten notes, published letters and articles, photographs, familial certificates, and newsletters Sostre wrote or edited, and documents on behavioral modification in prisons. Series 2, Correspondence, contains newsletters, informational mailings, petitions, and correspondence from various chapters of the Martin Sostre Defense Committee. Series 3, Flyers, contains demonstration and promotional flyers. Series 4, Court Records, contains affidavits, depositions, and court proceedings related to Martin Sostre. Series 5, Articles, contains newspaper clippings and photocopies, and other written material such as case studies, a thesis, and magazine articles.

The Mary Hays Weik Papers include correspondence with anti-nuclear activists world wide, public officials, concerned citizens, and Weik's family; newsletters and articles on nuclear power, civil rights, neighborhood improvement in Cincinnati in the 1950s, and right-wing and anti-communist organizations; other writings by Weik; legal documents on nuclear power plants in New York; research notes; newspaper clippings; and subject files. Also includes the correspondence, 1950-1954, of Caroline Urie, who, like Weik, was a leader of the American branch of the International Registry of World Citizens.

The papers document Weik's involvement in the world government movement after World War II and the antinuclear movement of the 1960's and 1970's. The bulk of the collection dates from the 1950's to the 1970's; there is little material or information on Weik's life and work prior to 1950. The correspondence file is rich in its documentation of a small but dedicated group of individuals who made up an informal network of international antinuclear activists.

The collection consists of a single diary in which two successive generations of women chronicle the upbringing of their own daughters.

The collection consists of a one-volume diary written by two generations of women about their respective daughters. The diary begins in 1858 with Mary Heald writing about the birth of her own daughter, Mary. Entries continue through the first year of the younger's life, and details not only her growth, but also the elder Mary's experiences raising one child and grieving the early death of her son.

Entires recommense in 1905, when the younger Mary begins chronicalling the young-adult years of her then 10-year-old daughter Madeleine. Mary describes Madeleine's maturation for the next five years and includes some brief notes from Madeleine, as well as her own writing.

Consists primarily of manuscripts of unpublished biographies, plays, and short prose. Correspondence with many prominent journalists, historians, novelists, and other early 20th century literati includes both criticism of Phelps's writing and general discussion of the writer's craft. Accompanied by research materials, photos, and illustrations for several works including her only published book, Kate Chase, dominant daughter (New York: Thomas Y. Crowell Company, 1935); 1 scrapbook; and 1 record book showing the dates manuscripts were sent to and returned by publishers.

This collection is comprised of correspondence, research notes and related materials, and short prose. It is arranged into four different series.

This collection is comprised of various administrative materials created or gathered by the Mattachine Society's Regional Council in Detroit. These materials were created and/or gathered between 1957 and 1995, with the bulk of the material coming from 1959-1960.

The collection contains primarily administrative material surrounding the daily business of the Detroit Area Council of the Mattachine Society. The Administrative Series is the largest series in the collection and includes budget information, meeting minutes, membership information, workshop materials, and a copy of the Daughters of Bilitis Policy. The series also includes a file of holograph notes, most of them undated and un-signed, though it is likely that they are in Hal Lawson's hand. The Administrative series also includes a Correspondence sub-series, with a folder of Lawson's incoming and outgoing correspondence that is both personal and professional in nature. There is also a folder of official correspondence from the Detroit Area Council. The Printed Material Series includes a few articles, primarily on homosexuality, and copies of newsletters from numerous councils of the Mattachine Society, across the Country. The series also includes a folder of flyers, magazine subscription forms and advertisements on various programs and topics of pertinence to society members. The Typescripts Series includes a small number of press releases, and several articles. The article from Between the Lines, written in June, 1995, is an interesting historical look at the Society and its actions during the 1950s.

The Mayela Rodriguez Latinx Library Cartonera Collection consists of over 70 cartonera-style readers spanning 3 linear feet in 3 record center boxes that were created out of reclaimed materials in a series of workshops to address the lack of a distinct Latinx collection within the University of Michigan libraries. Led by Mayela Rodriguez (University of Michigan MFA, 2019), participants created cartoneras from crowdsourced materials such as book chapters, articles, and other forms of written works, as well as designed the covers of the cartonera readers to create "The Latinx Library." The collection includes published and original work from workshop participants, students in Latin American and Caribbean Studies, and Mayela Rodriguez. Published works originate predominately from Latin American/Latinx authors with significant themes such as culture and indigeneity, Latinidad and feminism, Latin American/Latinx history and politics, and Latinx identity.

The Mayela Rodriguez Latinx Library Cartonera Collection consists of over 70 cartonera-style readers spanning 3 linear feet. The collection was created as part of a project led by Mayela Rodriguez to address the lack of a distinct Latinx collection within the University of Michigan Library system. Referred to as "The Latinx Library," the cartoneras were created by participants in a series of workshops in 2019 using crowdsourced materials featuring fiction, poetry, articles, recipes, artwork, and more predominantly from Latin American and Latinx authors and scholars in English and Spanish. There are additional cartoneras within the collection created by students from Latin American and Caribbean Studies who have included original works. In addition, Mayela Rodriguez created several cartoneras within the collection. Major themes of the cartoneras include culture and indigeneity, Latinidad and feminism, Latin American/Latinx history and politics, and Latinx identity.

The Michigan Central Railroad Police Department Mugshot Photographs Collection contains 112 mugshots and accompanying police intake records for suspected members of the Communist Party USA.

The Michigan Central Railroad Police Department Mugshot collection contains 112 mugshots and accompanying police intake records for suspected members of the Communist Party USA. A number of these photographs come from the 1932 Ford Hunger March, with others coming from the GM Fisher Body plant strike in Flint in July 1930. Other individuals were arrested by the Flint Police department throughout the 1930s, and several were affiliated with specific investigations, as noted on the intake forms.

Of particular note is the arrest record of William Z. Foster in New York in 1930. Foster served as the secretary of the Communist Party, campaigned for Governor of New York in 1930, and ran for President of the United States in 1924, 1928, and 1932. Other notable members include Joe Sgovio who was deported to Russia, where he died; and Will Geer, who played the grandfather on 1970's television program The Waltons. While most of the mugshots are of men, two depict women (Marion Simon and Stella Marie Harrison).

Also included in the collection is a folder of historical information on the photographs, collected by the donor and housed with the collection.

The Mike Gold (Irwin Granich)/Mike Folsom Papers date from about 1901 to 1990, and measure about thirteen linear feet. They are divided into twelve series: Correspondence (1901-1990 and undated); Writings (1904-1989 and undated); Biographical Materials (1954-1969 and undated); Individual Files (1905-1978 and undated); Periodicals (1913-1958 and undated); Newspaper Clippings (1924-1980s and undated); Events and Activities (1935 1972 and undated); Notes and Journals (1906-1962 and undated); Personal (1930s-1967 and undated); Miscellaneous (1935-1970s and undated); and Visual Materials (1923-1960s and undated).

The first series, Correspondence, contains items dating from 1901-1990, and measures 1.5 linear feet. It includes correspondence materials from both Mike Gold and Mike Folsom, as well as some materials written between two other outside parties which it seems that Folsom used in his research and writing. It also includes letters to and from Gold and his wife, Elizabeth, as well as their sons, Carl and Nick. There are a variety of prominent figures included in the correspondence, including such persons as Theodore Dreiser, Elizabeth Gurley Flynn, Joseph Freeman, Ernest Hemmingway, Walter Lowenfels, Lewis Mumford, and Upton Sinclair, along with a host of others. Of particular interest is the early correspondence between Sinclair and Gold, the H.L Mencken correspondence (on microfilm), Folsom's correspondence with Gold and other literary figures and writers in the 1960s and 1970s, and the topical folders on Gold's application for a Guggenheim fellowship in 1928-1929 and 1935-1936, and on the Estate and Papers of Mike Gold, which provides some insight into the history of the papers themselves. It should be noted that in particular during the 1960s it is often difficult to distinguish between the correspondences of Gold and of Folsom because many letters are simply addressed, "Dear Mike".

The second series, Writings (1904-1989 and undated) is the largest series at about 7 linear feet. It primarily contains manuscript and published materials by Mike Gold, including books (no manuscripts), fiction (including many manuscripts), drama (including manuscripts), poetry (including many manuscripts), song lyrics (mostly published), columns and articles (mostly published, also including some manuscripts), and other writings (some manuscripts and some published materials). Also included in the series are the writings of Mike Folsom (including manuscripts and published materials), and the writings of other people (including his wife), such as dissertations, published articles, and a number of manuscripts.

The third series, Biographical Materials (1954-1969 and undated) includes about 0.75 linear feet of materials. There are some of Gold's manuscripts for the autobiography/memoir book he was working on towards the end of his life, as well as transcripts from interviews with Mike Folsom and some notes, and a few published items relating to Gold's life. Most of the items in this series seem to have been produced by Gold and Folsom during the time they were working together on Gold's autobiography/memoir, although a few items dated earlier suggest that Gold had been working on and off on the project himself for some time before collaborating with Folsom.

The fourth series, Individual Files (1905-1978 and undated) measures about 0.25 linear feet. This series is composed of folders relating to a specific individual, including a number of prominent people as well as some lesser-known figures. The materials included in the series are mostly notes and articles, although in some cases there are other items such as pamphlets and images included in the folders. Most of the people included in the series figured prominently into Gold's life (either personally, professionally, or both), or into Folsom's own research on Gold or other proletarian writers.

The fifth series, Periodicals (1913-1958 and undated) also measures about 0.25 linear feet. It includes mostly small collections of such titles as The Flame, The Liberator, The Masses, The New Masses, The Oakland Post Enquirer, and The Scarsdale Inquirer, for which Gold wrote over a period of years or months. These contain published versions of Gold's writings (some under the name Irwin Granich) and give an idea of how his writings appeared to readers at the time of their original publication.

The sixth series, News Clippings (1924-1980s and undated) includes 0.5 linear feet of folders containing dated and undated news clippings. These appear to be items clipped by Gold (to 1967) and Folsom, sometimes used for research or to write an article, or for personal interest. A few of the folders are somewhat topical within a time frame, such as pertaining to the H-bomb and McCarthyism, but most contain articles on a variety of subjects.

The seventh series, Events and Activities (1935-1972 and undated) is about 0.25 linear feet in size. It includes materials from events Mike Gold attended as well as a number of events held in his honor, and materials from his national speaking tour in 1954 in honor of his sixtieth birthday, including manuscripts.

The eighth series, Notes and Journals (1906-1962 and undated) contains both 0.75 linear feet of foldered materials and two boxes of card files. There are a large number of Gold's notebooks and notes, a diary, as well as some address books and address and business cards, and a childhood autograph book. Also included are Folsom's loose and topical notes (although Folsom's notes, where possible, have been kept with the materials with which they were found in the papers) and a notecard file housed in two small shoebox-sized boxes. Most notebooks and notes are not labeled or dated, making it difficult to distinguish what they are about and when they were written.

The ninth series, Personal (1930s-1967 and undated) is the smallest series at about 0.1 linear feet. It contains folders on such subjects as Gold's family, medical and financial information (mostly social security), and his death, including articles and obituaries.

The tenth series, Miscellaneous (1935-1970s and undated) measures about 0.65 linear feet. It includes some topical files on subjects, a variety of items on various social, political, and scholarly interests, and some folders relating to Folsom's own interests and activities, particularly after Gold's death, and general materials which did not fit in elsewhere in the papers.

The eleventh, Visual Materials (1923-1960s and undated), measures about 0.5 linear feet and is housed in a separate smaller box. It includes photographs, microfilm, and a few illustrations. Most of the items are undated, except the microfilm. The photographs date from Gold's childhood to the end of his life, but most appear to be from the 1920s through the 1940s. A number of photographs are from Gold's visit to Ernest Hemingway's home in Florida, where Gold vacationed and went fishing in about 1929- 1930. There are also some unlabeled and unidentified photographs, and some photographs which have been removed from other items in the collection (such as correspondence) for preservation purposes.

The twelfth and final series, FBI File, measures about .75 linear ft. In 1978 Mike Folsom requested Mike Gold's FBI file under the Freedom of Information Act. He received photocopies of the documents in Gold's file with some information blacked out by the FBI to protect the privacy of informants and other individuals. In 2002 Nick Granich offered the Labadie copies of his copies of Mike Gold's file. Since the Labadie's copies are at least third generation some information is obscured, but for the most part the documents are legible. The documents were left in the order in which the Labadie received them. The organizational scheme is primarily topical and chronological. If any records did seem out of place, they were left as is to preserve the original order. The FBI reports cover the years 1941 to 1967 with additional correspondence between Mike Folsom and the FBI in 1978.

Materials related to the Marxist-Leninist group Motor City Labor League, active in Detroit in the 1970s. Divided into series based loosely on date and group. The group had an acrimonious split in the early 1970s, with the alliances of the resulting organizations constantly shifting.

Materials related to the Motor City Labor League (MCLL)'s activities in the 1970s. Includes administrative materials from planning meetings and statements regarding the intragroup conflicts that divided the MCLL beginning in 1972. The sub- and splinter- groups that were party to this schism include Changeover and Aliance. These groups' activities with the reading group Conflict, Control, Change is also represented. Also includes materials from the Christian-Marxist Diaglogue and Marxist-Leninist reading materials, which formed part of MCLL members' program of self-education.

This collection consists of correspondence, photographs, ephemera, publications, and A/V materials created or collected by Ms. Bob Davis, a transgender rights activist and professor of music at City College of San Francisco.

This collection consists of correspondence, photographs, ephemera, publications, and A/V materials created or collected by Ms. Bob Davis, a professor of music at City College of San Francisco.

The correspondence dates from the mid-2000s and centers around Ms. Bob and her students' efforts to convince CCSF to keep the position of Transgender Outreach and Advocacy Coordinator.

The photographs are 1970s press photos from a touring production of La Cage aux Folles. Ephemera relate to trans activism at CCSF. The publications folder includes "Inside Out," an interdisciplinary collaboration from CCSF that documents that experiences of trans individuals in the Bay Area. The news clippings cover transgender activism in the Bay Area and at CCSF. Contained in the oversize box is also a signed, wrapped clipping of an interview with Miss Major Griffin-Gracy, a survivor of the Stonewall Riots. Finally, the A/V folder contains a Lasses Record Company 45 vinyl single featuring music from Miss Rae Bourbon.

This collection documents Nancy Savoca's filmmaking career from the early 1980s to 2012. The bulk of the material consists of scripts, documents used during film production, and advertisements. The collection also includes a small group of materials related to Savoca's husband, film producer Rich Guay. The materials are arranged chronologically by production, with unproduced projects placed at the end.

This collection documents Nancy Savoca's filmmaking career from the early 1980s to 2012. The earliest items relate to various projects that Savoca directed during and immediately after her time at New York University in the early to mid-1980s, including two short films she produced as a film student. These materials include class notes, scripts, storyboards, and advertisements.

The bulk of the collection concerns Savoca's feature films, television episodes, and unproduced projects. These series include scripts, shooting schedules and storyboards, production information, photographs and advertisements, and artifacts; the series descriptions and subseries lists contain more detailed information about the specific types of items present for each production. The two publicity series consist of film festival catalogs, awards, and articles covering the entirety of Savoca's career.

The final series relates to Rich Guay, Nancy's husband. Documenting his work as a film producer, the series consists of materials related to various films; items include scripts, research material, shooting schedules, financial records, promotional clothing, and other documents directly related to these productions. This series also contains slides, handouts, and other materials from Guay's courses on film production.

The collection's audiovisual material will be digitized and available for research at a future date. Please contact the Special Collections Research Center for more information.

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

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

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

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

The records of the National Microfilm Association concern the work of the organization between 1944 and 1973, with scattered materials documenting some activities as late as 1990. The materials consist of correspondence, constitutions, by-laws, handbooks, meeting minutes, membership lists, biographical information, financial records, company publications, and articles and scholarly presentations.

In December 1982, Dr. Vernon Tate donated a large collection of manuscripts and publications documenting the history of microphotography and his own career as a historian, archivist, librarian, and microfilm pioneer to The University of Michigan Libraries. This donation provided the impetus for the creation of the Power Collection for the Study of Scholarly Communication and Information Transfer in the Special Collections Library. The Power Collection is named in honor of Dr. Tate's long-time friend, Eugene B. Power, the founder of the micropublishing firm University Microfilms, Inc.

Dr. Tate's donations to the Power Collection contain over 140 linear feet of manuscripts, including his own personal and professional papers, an extensive collection of records of the National Microfilm Association (NMA), and the Microfilm Pioneers Collection which contains the papers of several of Dr. Tate's colleagues concerning microphotography and the activities of NMA. In addition, Dr. Tate donated an extensive collection of serials and monographs relating primarily to the fields of photography, microphotography, and archives.

The earliest records concern a meeting held in 1944 to discuss the creation of a microfilm trade association and the subsequent NMA founding convention held in Cleveland, Ohio, in March 1945. Included in the collection is the correspondence of Franklin Morgan, one of the organizers of these two meetings and the first president of NMA, covering June 1944 to October 1945.

Morgan resigned as president in October 1945 and vice president Eugene Power succeeded him. At about the same time the board of directors hired Wilfred Knighton as secretary. He served in this position until September 1946, when the board replaced him with Vernon Tate.

The records covering the first years of NMA's existence are fairly substantial. For these years the files contain extensive correspondence of the presidents and secretaries of the organization, along with minutes of annual meetings and board meetings and scattered materials on committees and finances.

After the first few years, NMA declined in strength and activity and the quantity and quality of the records reflects this. There apparently were no annual meetings after 1946 and no board meetings after 1947. The president and secretary continued an active correspondence through 1948, although many of the letters from 1947 and 1948 concern attempts to revitalize the organization.

Between 1949 and 1951, NMA was completely dormant. The only records consist of occasional letters inquiring about the organization or specific questions on microfilming techniques. Vernon Tate continued to answer letters addressed to NMA, even though the organization was inactive.

With the revitalization of NMA after a meeting at the Library of Congress in 1952, extensive files on all aspects of the organization's work appear once again. One major difference in the records, however, is that the correspondence file no longer contains a complete record of the president's correspondence. It consists of letters received and sent by executive secretary Vernon Tate, with occasional copies of presidential letters sent to Tate for his information.

The records grew in quantity and complexity as the years passed, especially during the 1960s when NMA underwent tremendous growth in membership and activities. It was at this time that the organization established much of its committee structure, founded state and regional chapters, and began a Fellows organization for individuals who had been awarded that honor.

In 1969, NMA hired a professional executive vice-president who took over some of Vernon Tate's duties. The following year the organization moved its headquarters from a building owned by Tate in Annapolis, MD, to Silver Spring, MD, closer to Washington. The files for succeeding years reflect Vernon Tate's increasingly limited role and no longer include the files generated by the headquarters staff.

Tate left his positions with NMA at the end of 1973 and the scattered materials in the collection dating from later years relate mainly to his continuing role with the Fellows organization. Included are correspondence and minutes of Fellows meetings.

Researchers should be aware that some NMA-related materials also appear in Tate's Personal and Professional Papers. Included in that collection is Tate's correspondence concerning the organization for the years 1944 to 1946, before he became an officer, and scattered correspondence from the years after Tate left his positions with NMA in 1973.

Additional materials on NMA appear in the Microfilm Pioneers Collection. Several officers of the organization donated their papers to that collection.

The paper and printed portion of the collection is organized into 9 series. The first 5 are organizations with which Dallas Denny was involved or interacted. These series are: I. American Educational Gender Information Service, II. Human Outreach and Achievement Institute, III. Outreach Institute for Gender Studies, IV. Atlanta Pride Committee, and V. International Foundation for Gender Education. The remaining paper series are: VI. Conferences, VII. Miscellaneous Publications, VIII. Shuttle Harry Benjamin, and IX. Photographs (unidentified). Boxes 5 through 14 contain ephemera, memorabilia, photographs, videotapes, computer media, and audio tapes. An item listing is provided in most instances. Boxes 15 through 19 contain correspondence that was processed at a different time than the rest of the collection. For this reason, and because the materials are somewhat different than the rest of the collection, it has been kept separate. The correspondence is organized into 5 series: I. Correspondence, Individuals A-I (Closed), II. Correspondence, Individuals J-Z (Closed), III. Correspondence, 1989-July 1995, IV. Correspondence, August 1995-December 1998, and V. Miscellaneous. The AEGIS files are divided into nine parts based on delineations present in the original file structure. These represent the activities and governance of the organization. Correspondence files are most often organized chronologically within a folder, except for the General Mailings. A larger collection of correspondence can be found further on in the collection. The Survey folders contain survey responses in regard to the experiences of transgendered individuals with therapy and their familiarity with the Standards of Care. Some of the responses included identifying information; these have been removed and replaced with photocopies that have such information blacked out. The Human Outreach and Achievement Institute is the predecessor to the Outreach Institute for Gender Studies and therefore the original host of Fantasia Fair. However, for the sake of continuity, the Fantasia Fair materials for 1992 and 1993 are housed with the rest of the Fair materials in the Outreach Institute series. Most materials within the Miscellaneous Publications series are housed in individual folders; however, a couple folders have multiple publications because they dealt with the same topic area. Boxes 7 through 11 contain a variety of objects, memorabilia, and paraphernalia. In most cases the items are listed individually within the main box divisions. Further description is provided for some items in interior boxes as needed. Box 10A contains photographs that have been divided into sections based on the envelopes and order in which they were found. Only a few of the sections had identifying information and this is reflected in the finding aid. Beginning with Box 15, this portion of the collection consists mainly of correspondence. It includes 4 linear feet of correspondence and 0.5 feet of miscellaneous materials. Correspondence, written by and to Denny, is separated and arranged by name or date, depending on the quantity of communication between Denny and a particular individual. Denny maintained regular correspondence with several people over extended periods of time. Because of the sensitive nature of the subject matter, several people signed only their first names. Thus, several folders in the "Correspondence by Name" section are filed under the first name. The greatest portion of the correspondence is from transgender and transsexual individuals seeking information and advice. Many of these individuals are isolated from others with a common experience and, therefore, turned to AEGIS and Denny as their strongest (if not only) source of support. The correspondence, which ranges from discussion of hormones to coming out to family members, reveals not only the services that AEGIS offered, but also the emotional and physical needs of the transgender community. Individuals' letters are extensive and offer a glimpse into the day-to-day struggles of those who identify as transgender. Women and men write about cross-dressing, surgery options, experiences in other countries, living without surgery and many other issues. Because of the sensitive and personal nature of these letters access to them is restricted until the year 2050. Correspondence also include letters written between Denny and AEGIS board members and other leaders in the transgender community. Denny's involvement with other organizations and in organizing events reveals how important AEGIS was within the MTF community. Also of interest are correspondence between Denny and various other organizations. The gender community is a diverse group that does not always see eye-to-eye and tension arises occasionally between cross-dressers and transsexuals, male-to-females and female-to-males, etc. Letters from and to a heterosexual cross-dressers group and a female-to-male organization reveal Denny's on-going attempts to raise awareness of and reach an understanding with these groups.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Noël Sturgeon Papers are a collection of materials regarding the research and activism work of Noël Sturgeon from 1977-2002, with the bulk of the material originating from 1983-1993.The ealiest papers primarily concern the organization of an anti-nuclear demonstration held at the Nevada Test Site in 1983, and the Mother's Day Action protests in the 1980s. Later material includes Sturgeon's doctoral research and dissertation, including interview transcripts, as well as her work with the Ecofeminist Newsletter throughout the late 1980s and 1990s. Materials are generally arranged chronologically (as recieved), with some unsorted materials at the end. A collection of 9 audio recordings of interviews is included at the end of the collection.

The collection is 4.0 linear feet in size, and contains 8 series detailing the research an activism of Noël Sturgeon, a feminist scholar and organizer in the late twentieth and early twenty-first century. The collection is primarily comprised of papers, especially newsletters and associated materials, and correspondence related to activism and demonstration planning. Materials are from 1983-2002, and the early papers are primarily concerned with anti-nuclear protests and demonstrations at the Nevada Nuclear Test Site. Other papers include Sturgeon's research materials, including research consent forms, interview transcripts, and a copy of her doctoral dissertation. Nine audio cassettes of recorded interviews are also included. The bulk of the material concerns the Ecofeminist Newsletter, which Sturgeon spearheaded, and include subscription information, mailing lists, and article submissions.

The Oakley Johnson Papers, 1926-1934, 1966-1969, include correspondence, photographs, newspaper clippings and other documents relating to the Negro-Caucasian Club and the City College of New York Case which addresses Oakley Johnson's dismissal from the College.

The Oakley Johnson papers date from 1926 to 1934 and from 1966 to 1969, with nothing for the years 1935 to 1965. The collection totals 17 folders or eight inches of material and is arranged in three groupings: University of Michigan Negro-Caucasian Club; City College of New York Case; and Other Papers.

The papers contain Johnson's correspondence in the 1960's with members of the Negro-Caucasian Club, concerning in part a reunion of Club members in 1969. The papers also reflect the controversy surrounding Johnson's dismissal from City College of New York in 1932.

The Orson-Welles and Alessandro Tasca di Cutò papers reflect the working and personal relationship between Orson Welles and Alessandro Tasca di Cutò. He was a producer for many of Orson Welles’s films, but two were especially significant for Orson Welles: The Chimes at Midnight (also known as Falstaff, 1965) and Don Quixote (1955-73, unfinished). In both cases, Welles shot the material over a period of years, and on a shoestring budget. The majority of the archive consists of an assortment of letters, handwritten notes, and telegrams that Welles sent to Tasca di Cutò concerning the day-to-day working needs of the filmmaker.

The majority of the archive lies in its assortment of letters, handwritten notes, and telegrams that Welles sent to Tasca di Cutò concerning the day-to-day working needs of the filmmaker. The collection is divided into four series: Correspondence, Projects, Photographs, and Miscellaneous.

In the Correspondence series, the bulk of the letters are written from 1960-1964. Alessandro is usually referred to as Sandro by Orson Welles. The majority of letters are from Welles to Tasca di Cutò mainly discussing film production details. Welles signs many of his letters with just “O”. There is also a letter from Welles to Joseph Marks head of MAfilm in Hungary from 1985. The correspondence contains several references related to Orson Welles’s death in 1985, including a photocopy of a telegram of condolence from France’s President Francois Mitterand to Tasca di Cutò, and from Ann Rogers, Welles’s one-time secretary in London. In the Various to Tasca section letters include correspondence from Paola Mori and Rebecca Welles Manning along with business contacts. The letters are a combination of typed and handwritten letters and some letters are photocopies of originals.

The Projects series includes information on films Orson Welles acted and directed. Included in this series are scripts, production documents such as budgets and filming schedules, and photographs. The films include: "Black Magic", "Nella terra di Don Chisciotte" (In the Land of Don Quixote) a documentary, "Chimes at Midnight", "The Other Side of the Wind", "The Big Brass Ring", "The Dreamers", "King Lear", "The Cradle Will Rock", "Mercedes", "It’s All True", "The Unseen", "Don Quixote", and "Saladino". The "Chimes at Midnight" documents include 22 costume sketches that are attributed to Orson Welles, but are left unsigned. In "Don Quixote" there are eleven drawings and paintings by several different artists depicting scenes from "Don Quixote" based on stills from some early footage. The drawings are from different artists but all are in the style of Gustave Dore. The drawings were to show Don Quixote “reading his book and getting his Big Idea.” The unfinished projects include: "It’s All True", "The Other Side of the Wind", "The Big Brass Ring", "King Lear", "The Cradle Will Rock", "Saladino" and "Don Quixote".

Photographs are included in each project, but the Photographs series contains photographs of Alessandro Tasca di Cutò on set and in some of his acting roles.

Miscellaneous contains material such as stationary, and programs from many Orson Welles tributes. Included is a photocopy of a legal document that is a confirmation of ownership rights to Oja Kodar for some of Orson Welles’s material. The Clippings and Articles contains general clippings from several publications from 1943-1985 documenting Orson Welles’s career with some in French and Spanish.

The Orson Welles-Chris Welles Feder Collection is an assortment of material on Orson Welles collected by his eldest daughter Chris Welles Feder. She was born Christopher Welles in 1938 to Orson Welles and Virginia Nicolson Welles. The collection includes letters written by Orson Welles to his first wife, Virginia Nicolson, and family photographs. Also included are clippings and articles, audiovisual materials such as movies or TV shows dedicated to Orson Welles, and miscellaneous material such as postcards, exhibition programs, and catalogs. The collection has five series: Correspondence, Clippings and Articles, Photographs, Audiovisual, and Miscellaneous.

The Correspondence series contains letters written mainly by Orson Welles to his wife Virginia Nicolson from 1937-1952. They were married in 1934 and separated in 1939 when Orson moved to Hollywood and Virginia visited Ireland with her friend Geraldine Fitzgerald. By 1940 the couple legally divorced. The letters are a combination of handwritten and typed letters and some include drawings in the margins by Welles. A significant series of letters are the ones written between July-August 1939 to Virginia. They provide insight into Welles's professional transition from New York to Hollywood, describing his first month on the West Coast and his introduction to the world of movie-making. Responses from Virginia Nicolson Welles are not included. The early photographs, wedding announcement, and Christmas card of 1937 had been housed together in an album.

The Clippings and Articles series includes newspaper clippings from 1936-2004 on both Orson and Virginia, but the majority are about Orson Welles’s career. Also included are clippings from society pages from the 1930’s announcing Orson Welles and Virginia Nicolson's marriage, the birth of their daughter Christopher, and the couple’s divorce. Some clippings include annotations in the margins by Chris Welles Feder.

The Photographs series includes a wedding portrait of Virginia and Orson Welles’s marriage in 1934. Also included are childhood photographs of Chris Welles Feder with Orson Welles along with photographs of Rebecca Welles Manning, Orson Welles’s daughter with Rita Hayworth. Also included are headshots of Orson Welles for different productions and some photographs of him as a child. Production photographs from "Too Much Johnson" (1938) and "Macbeth" (1948) both directed by Orson Welles are in the collection.

Audiovisual Material is an assortment of audio cassette tapes and VHS tapes. Included are three Smithsonian Historical Performances audio cassettes of the radio dramatization of "Les Miserables" recorded by Orson Welles in 1937. VHS tapes include movies Welles made guest appearances in and television shows, and Criterion Collection material about his life and work.

The Miscellaneous series contains an assortment of legal documents, press packets and exhibit and awards programs from Orson Welles tributes and retrospectives.

The papers, originally from the files of Orson Welles's London agent, Bill Cronshaw, consists of film clippings, film rolls, and photographs; production and post-production notes and schedules; portions of the script (some annotated by Welles); business and and financial materials; and correspondence related to the film "Dead Reckoning, later, "The Deep." A limited amount of miscellaneous materials not associated with the film are also included.

The collection, originally from the files of Orson Welles's London agent, Bill Cronshaw, consists of film clippings, film rolls, and photographs; production and post-production notes and schedules; portions of the script (some annotated by Welles); business and and financial materials; and correspondence related to the film "Dead Reckoning." A limited amount of miscellaneous materials not associated with the film are also included.

The Correspondence series consists of the letters and telegrams of Lawrence Harvey, Jeanne Moreau, Orson Welles, Michael Bryant, and others associated with the actors and the film, as well as several personal letters to Orson Welles.

The Scripts series includes fragments of the old original script, handwritten pages with notes, dialogue changes, an annotated photocopy of the working script, and several copies of “Jugoslav New Shooting, TV Interview, Dialogue.” In addition, there are notes and lists regarding scripts and dialogue pages.

Production and Post-Production contains the notes, letters, and telegrams of agents, merchants, actors, and producers, some in Welles’ hand or signed by Welles. These materials provide information related to casting; cameramen, film equipment and processing; boats, costumes and props; sound dubbing and post-synching; editing; and film scenes. Several shooting schedules give details of filming on the water and at several other locations from October 26 through November 9, 1969. To-do lists and handwritten notes include information on scheduling, travel, and shipments. There are several postcards of Hvar, a Croatian island; Modra Spilja a cave in the Croatian Adriatic; and a map fragment of Biscayne Bay related to filming locations.

The Business and Financial series is comprised of cast contracts, as well as invoices, lists, correspondence, and handwritten notes related to costs for staff, filming, sets, travel, storage, and expenses while on location. Correspondence regarding service agreements, nationality of the film, the novel “Dead Calm,” and film rights is included.

Photographs and Film include black and white photographs of the boats used in the film. There are color film clips of specific scenes and cast members with handwritten lists, typed notes, and annotated script pages. A significant number of the clips are numbered but unidentified. Also included are three rolls of unidentified film.

The Miscellaneous series consists of correspondence, financial information, and a contract related to Welles’ participation in the films "Sarajevo," "Battle on the Neretva River," and "The Immortal Story." In addition to a list of expenses for "The Other Side of the Wind," there is correspondence regarding Welles’s 1974 tax return. Also included is a typed transcript of a1969 interview of Welles.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Writings, clippings, and ephemera relating to the life and works of Pat Halley, a Detroit cab driver, writer, and anarchist.

The correspondence file contains two outgoing letters from Halley: a brief (possibly unsent) letter to writer/publisher Ken Wachsberger and a handwritten letter to two friends asking for their support after Halley was accused of sexual misconduct involving a child.

The largest file in this collection consists of scripts for plays Halley wrote or co-wrote in approximately the 1970s, which include Tales of the Sea, The National Desire, The Werewolf of Grosse Point, The Curse of Belle Isle, Cheap Shots, and A Grave Matter. The theatre flyers and playbills folder holds ephemera associated with these and other performances.

The clippings consist of a 1994 article Halley wrote about his experiences as a cab driver, a 1986 article by Jim Gustafson about the MC5, and Halley's 2007 obituary. Finally, the collection includes a 45 RPM vinyl recording of songs written by Pat Halley and a J. Sase.

This collection contains materials covering the last fifteen years of the Franco dictatorship in Spain, and the three following years, collected by Paul Ilie, Professor of Spanish and Comparative Literature.

Paul Ilie's collection of newspaper clippings come from American, Spanish and French newspapers during the years 1960-1975. Also included is a manuscript written by Ilie and submitted to Praeger Publishers. The clippings cover all aspects of Spanish political life including labor unrest, political organizations, the Basque separatist trial, Franco's politics, and related issues in Spain and internationally.

Potter was a graduate of Oberlin College, graduate student at the University of Michigan (Ann Arbor), 1962-1964; founding member and president of the Students for a Democratic Society (1964-1965); author of a memoir "A Name for Ourselves;" known for his eloquent and thoughtful speeches, most notably "Naming the System," given at the March on Washington to End the War in Vietnam, April 17, 1965. The colleciton includes his FBI file, correspondence, writings, speeches, and four audio cassette tapes. Note: the four audio cassette tapes have been migrated to compact discs (CDs) as of 2017.

Potter was a graduate of Oberlin College, graduate student at the University of Michigan (Ann Arbor), 1962-1964; founding member and president of the Students for a Democratic Society (1964-1965); author of a memoir "A Name for Ourselves;" known for his eloquent and thoughtful speeches, most notably "Naming the System," given at the March on Washington to End the War in Vietnam, April 17, 1965. Collection includes: FBI file, correspondence, writings, speeches, and four audiocassettes. Note: the four audio cassette tapes have been migrated to compact discs (CDs) as of 2017.

The Performer's Awards of Detroit Records (1974-2008) consists of materials relating to the Performer's Awards of Detroit (P.A.D.), an organization that promoted gay entertainment in Detroit, Michigan. The materials represent a portion of gay culture and entertainment in Detroit, Michigan and the Southeast Michigan region. The collection contains administrative records, event flyers and programs, correspondence, performer information, posters, pageant applications, handbooks and regulations, and other documents relating to the organization and its members and events.

The Performer's Awards of Detroit Records (1974-2008) consists of materials relating to the Performer's Awards of Detroit (P.A.D.), an organization that promoted gay entertainment in Detroit, Michigan. The materials detail the organizational history through administrative records such as meeting minutes and correspondence; the annual awards show and its preparation, promotion and performers; other shows and pageants in the metropolitan Detroit, Michigan area; official USA Pageantry documentation such as handbooks and applications; and posters, awards, and audiovisual materials. The items represent a large portion of gay culture and entertainment in Detroit, Michigan and the greater Southeast Michigan region from the mid-1970s to the mid-2000s.

The Performer's Awards of Detroit Records were collected by David Marshall, aka Vicki Martin. Many of the items in the collection bear personal inscriptions to Marshall/Martin, and contain handwritten notes by Marshall.

The collection consists of seven series:

Administrative Records Consists of P.A.D. board meeting minutes, correspondence, rules and regulations, by-laws, award and election nomination lists, member registration lists, newsletters, mission statements, candidate statements, event flyers and other organizational notes. Folders were kept as they were received and usually contain one year's worth of P.A.D. records.

P.A.D. Annual Awards Show Records Consists of records relating to the annual awards show organized by P.A.D. Shows from the First Annual Show in 1976 to the 33rd Annual Show in 2007 are represented. There is a folder to represent each year of the show, containing the event program, ballots, flyers, and many that contain handwritten notes, photographs, newspaper and magazine clippings, speeches, performer information, obituaries of entertainers who have participated in the shows, and other information pertaining to the awards shows.

Other Pageant Records Contains various event flyers from Detroit gay bars: primarily Gigi's, but others as well. Also contains event programs, pageant applications, performer headshots, correspondence, newspaper clippings, advertisements, and performer lineup lists. Some files are pageant specific, i.e. Mr. Gay Michigan, Miss Gigi's, Royal Queen of Queens.

USA Pageantry Records Consists of pageant preliminary records, promoter's packages, and handbooks, rules and regulations for specific pageants held by USA Pageantry, including Miss Gay Heartland, Miss Gay USA, Mr. Gay Heartland, Mr. Gay Michigan, Mr. Gay USA, Miss Gay Michigan At-Large, Miss Great Lakes USA and Gay Jr. Miss Michigan. Also included is correspondence, event photographs, performer headshots, notes, and event flyers.

Posters Posters include promotions for various shows and other events held in Detroit, Michigan. A notable inclusion is a poster promoting the 1982 "2nd Annual Moonlight Cruise on the Bob-Lo Boat," which includes a Boblo Boat felt pennant. The Boblo Boats transported passengers to Boblo Island, a former amusement park on Bois Blanc Island in the Detroit River.

Awards Awards consist of trophies, a tiara, and an inscribed softball, as well as a plaque from P.A.D. to award Vicki Martin (David Marshall) for being "a pioneer in gay entertainment."

Audiovisual Materials One VHS tape and four ¼" tape sound recordings.

Phil Cushway was a student activist at the University of Michigan in the early 1970s. His involvement in the various student protests (Vietnam War, Attica lockdown) of that time, as well as his work with the Michigan Daily, led to this collection of materials which document some of his activities during that time. Cushway was active in the Indochina Peace Campaign, and much of the collection is made up of materials from that organization.

The bulk of materials document Cushway's activities at the University of Michigan during the early 1970s. The Series have been divided thus: Indochina Peace Campaign, Peoples Bicentennial Commission, Attica Brigade, Impeach Nixon Campaign, Radical Student Union, and Student Activities Committee.

This collection contains material related to the Philippine-American War of 1899-1902. The first series, which makes up the bulk of the collection, is related to the American captain Harry Dey and includes records of battles and skirmishes, quotidien life for American troops in San Francisco and in the Philippines, promotions, roll-calls, maps, a number of photographs, and other material. The second series is the Leyte and Samar Revolutionary Papers (1897 – 1901), which contain correspondence, records, certificates, and other material from Filipino forces.

The Harry Dey series contains documents, photographs, records, and memorabilia related to American military presence in the Philippines before and during the war. It also contains photographs related to military life in and around San Francisco, CA. The Leyte and Samar Revolutionary Papers series contains documents, records, and correspondence from Philippine military sources, including Mariano Pacheco and Ambrosio Moxica.

The Philippine History Small Manuscripts Collection consists of 27 individual manuscripts--each less than 0.25 linear feet--related to the history of the Philippines. The collection includes correspondence, books, diaries, photographs, and microfilm gathered from various sources covering a wide chronological span, from the 17th century through the mid-20th century, with the bulk of the material related to the U.S. occupation of the Philippines from the Spanish-American War (1898) through World War II (1939-1945).

The Philippine History Small Manuscripts Collection consists of 27 small collections (each less than 0.25 linear feet) related to the history of the Philippines. These collections have been compiled over time from various sources. The materials cover a wide span in chronology and content, from 17th century Spanish Jesuit ethnology to mid-20th century photographs of Filipino politicians. The bulk of the material covers the period from the Spanish-American War (1898) through World War II (1939-1945), primarily representing American perspectives and stories. For instance, there are many examples of U.S. soldiers' diaries, recording their military experiences in the Philippines, especially during the Philippine-American War. Of particular note are two collections authored by Emilio Aguinaldo and Manuel Quezon, both Filipino politicians and presidents who played important roles in shaping the history and governance of the Philippines following independence from Spain.

This collection consists of 9 Filipino propaganda posters from the 1950s.

1. A poster regarding the execution of Laventiy Beria, Stalin's former chief of secret police. The poster reads, "Beria has fallen, who is next?"

2. A poster portraying a farmer and a soldier with the caption, "Together we build a stronger Philippines!"

3. and 4. Two posters, one in English and one in Tagalog, contrasting agricultural life under the current government and under Communism.

5. A wanted poster, in Tagalog, promising a reward for information about four suspected communists.

6. A poster welcoming home Filipino soldiers who were imprisoned during the Korean War. The captions emphasize how unappealing the soldiers found the Communist ideals of their captors.

7. A poster warning people to resist Communist propaganda.

8. A poster commemorating the birthday of Apolinario Mabini, a beloved hero of the 1898-1899 Filipino Revolution.

9. A resolution, titled, "People of Pampanga Calling the Huks," imploring Communist militants to return to civil life.

Ann Arbor, Michigan artist, invited to curate show on pornography and prostitution in conjunction with University of Michigan Law School on the subject. Speakers, including Catherine MacKinnon and Andrea Dworkin,, generally opposed pornography and prostitution while artists argued for freedom of expression legalization and legalization of prostitution. Removal of a videotape from the exhibit resulted in controversy and legal action. Includes materials from the exhibit, correspondence, conference files, photos and videotapes.

The records in the Carol Jacobsen Collection are compromised of materials documenting the "Porn'im'age'ry" exhibit, the controversy and negotiations surrounding the exhibit, and materials concerning the issues of prostitution, pornography, sex work, and censorship. The records are organized into six series: Correspondence Files, Press Clippings and Published Material Files, Original Conference Files, Photographs, Protest and Reinstallation Material, and Videotapes.

Comprised of articles by C. Cornelisson, H. Kelly, E. Malatesta, M. Nettlau, and F. Tcherkesoff solicited for a special Kropotkin memorial issue of Detroit Russian-language journal Probuzhdenie; other articles by Jean Grave and Nettlau; and letters from Kelly, Grave, Nettlau, and J. Ishill to editor J. Cherney and other editorial staff members.

The collection contains correspondence related to the Detroit Russian-language journal Probuzhdenie during J. Cherney's tenure as editor. It particularly contains material related to the production of a special issue on Russian anarcho-communist Pyotr Alexeyevich Kropotkin, as well as one copy of that 1931 issue; Jean Grave's writings (in French) for the journal; and writings by Max Nettlau (in English) for the journal.

Political group formed in Wayne, Michigan in 1920, with roots in the old Socialist Party of America. This "Michigan faction" was expelled from Communist Party shortly after its founding in 1919, in part for its "consistent adherence to majority action and repudiation of the Communist Party's minority action concept." The party moved its headquarters to Chicago in 1925 where it maintained an office until disbanding in 1968. Consists mainly of correspondence of National Secretary Al Wysocki.

The records of the Proletarian Party survive in an unusual condition, requiring an organizational scheme with some unusual features to accommodate them. Most of the records were torn up by hand when the party disbanded in 1968, usually into quarters or halves. Perhaps 75% of the records have since then been largely or wholly reconstituted by being pasted onto sheets or strips of paper or occasionally clipped or stapled together; the remainder exist only as fragments. These fragments have been variously treated depending on the series to which, if whole, they would belong. Fragments of general correspondence, if dated, are placed in separate folders of fragmentary correspondence at the end of each year's correspondence files; undated fragments are divided by medium and shape, handwritten fragments in one folder, typescript (mostly carbon copy) fragments into several, depending on whether they represent the top left, bottom left, or bottom right corners, the entire left side, or some miscellaneous portion of the original page. This should make it possible to reassemble individual letters when necessary, assuming that all the component parts still exist. Fragments of mundane official correspondence and other material is not distinguished from non-fragmentary examples of the same, fragments that have lost their date being treated as undated.

Note also that many of the records consist of carbon copies, often made on the verso of other documents of interest (flyers, bulletins, the Constitution of the Proletarian Party, etc.). With one or two exceptions, it is the later use as a carbon that is reflected in the item's organizational placement. Researchers seeking the documents accidentally preserved in this way may need to examine the whole collection personally.

The value of the collection resides chiefly in the correspondence. Taken in bulk, it provides an almost intimate acquaintance with the people and ideas that animated the Proletarian Party during its last ten to fifteen years of existence, as well as recollections of its past. The jargon and mechanisms of the party are well illustrated, as is, poignantly, the inability of either to cope with the refusal of history to cooperate with the party's program, or to accept the weariness its members. The decline of the party is well captured in passages like this (John Davis to Al Wysocki, May Day, 1963): "We are dying on the vine as it were, there isn't many more than a dozen of us left. You can't call this a political party. The bulk of our funds go to the paying of rent for the Headquarters and the Kerr store room. I ma not at all clear about what can be done." Or this, from one of the last two members of the Detroit Local (Phil Drouin to Al Wysoki, 6 May 1964): "I have been trying to get a meeting of the remaining members in local Detroit and the only one that shows up is myself and Bennie so we keep postponing it and contact the other members and they always have excuses so...it looks like local Detroit is finish." To which Wysoki can only reply vainly (9 May 1964): "The local Detroit members are asleep on their revolutionary duties."

For comments on the Sarah Lovell for Mayor (of Detroit) campaign, see general correspondence, April 1957. For Wysocki's exchanges with curious student Arthur Maglin, see general correspondence, May, 1960; with student Douglas Hainline, see May and July 1962. For comments on the correct interpretation of the assassination of J.F.Kennedy, see general correspondence of 29 November and 9 December 1963.

A 1939 handbook for the Protective Order of Dining Car Waiters, which was the Portland, Oregon chapter of the Brotherhood of Sleeping Car Porters, an all-black union.

Materials include membership rosters, mediation agreements, schedules, rates of pay, and inventories.

The Rabbi Levin collection contains his two books (in three volumes), Sefer Ha-Aderet Veha-Emunah. Many of Levin’s ideas concerning various Talmudic tractates are collected in these volumes. The chapters are arranged by the order of the Mishnah, and in the last volume he discusses some biblical matters. The published volumes have been removed from the collection of manuscript material and cataloged separately. The collection also contains family documents, manuscript notebooks, and miscellaneous notes.

The manuscript materials have been organized to facilitate research. Four files contain a variety of materials relating to Rabbi Levin and his family. The first file contains biographical details about Rabbi Levin. The second file has information about his son, while the third file contains all the information about Levin’s patent for a calculating machine. In addition to being rabbi, Levin was also an inventor. He invented one of the earliest machines that was able to perform simple calculations involving adding and subtracting. The original machine is currently housed in the collections of the Smithsonian Institution in Washington, D.C. The fourth file contains correspondence between Levin and Rabbi Abraham Isaac Kook, Chief Rabbi of Palestine. The letters from Rabbi Kook are on his personal stationery.

The core of the collection consists of Rabbi Levin’s twenty two notebooks. Each notebook was assigned a distinct identification number. The numbers are arbitrary and do not represent any chronological or thematic order. The notebooks are all in Levin’s hand, written in a mixture of Yiddish and Hebrew, but also in English written in Hebrew letters. The majority of the notes written in the notebooks are drafts of text, or fragments of drafts, in preparation for sermons he gave in various synagogues, or for lectures he presented on special occasions. There are also notes and ideas that apparently never were developed into complete essays or speeches. The sermons and lectures were for all kinds of occasions, which are summarized under the following titles: Ceremonies, Biblical Sermons, Holidays and Festivals, Additional Talmudic Sermons, and General.

Ceremonies cover all stages of a person’s life, from birth to death. In some cases, Levin prepared general orations for funeral or wedding services to be used as needed; while others are specific, and the name of a person and details about that person are included. An example is the memorial for Dr. Theodor Herzl (Notebook #14). In many cases, Levin explained the custom of the ceremony and would often include an analysis or argument. For example, in one of the orations for brit milah (circumcision ritual), Levin argued that the meaning of the ceremony was not just religious, but also had a more general, nationalistic side. In the same ceremony description, he emphasized that in Judaism’s view, parents had no right to harm their children, as children were not their parents’ property (Notebook #1). For a bar-mitzvah ceremony, Levin based his blessing on “a wise son makes a glad father, but a foolish son is his mother’s grief” (Proverbs 10:1, Notebook #1.) and explained the broader concept behind the quote. Based on these notebooks, it appears that many of the ceremonies that he conducted were funerals. Often he began his oration with “Lord, what is man that You should care about him … man is like a breath … ”Psalms 144:3-4). Sometimes, however, he also used other citations. For example, in Notebook #1, he compared the contemporary saying, “Life is Short,” to the saying “The day is short and the task is great” (Aboth 2:15). The following summary contains is a list of the ceremonies that appear in each notebook.

Biblical Sermons likely delivered in the synagogue each Shabbat, are concerned with Shabbat observances, most of them following a consistent format: first Levin quoted from the weekly Torah readings, next he discussed some Talmudic questions or arguments connected with the quote; this is followed by a concentration on a general topic. In many cases, the general topic dealt with historic events that were happening at the time of writing. Levin emphasized the hard times Jewish communities experienced in various places in Europe, in particular, in his Russian homeland. For example, in November 1915, Levin cited “and Esau said,” Let us start on our journey … ” (Genesis 33:12, Va-Yishlah weekly reading), and spoke about the Jewish people who were loyal to Mother Russia and fought in the Russian Army. But in return, their country engaged in pogroms and stole the belongings of many Jewish families (Notebook #15).

Having lived through World War I, Levin often mentions the war and its horrible results in his notebooks. On December 3, 1914, he also explained how the Americans fought the Turks (Notebook #7). In many of his orations, his main message is that the contemporary, materialistic world encourages wars. For example, on August 20, 1921 (Notebook #4), Rabbi Levin explains the Shelah-Lekha weekly reading, and told his audience that God is against all the golden crowns that human beings like czars and sultans put on because they bring about war. Levin argued that disputes should be settled through discussion and not by the sword.

Levin considered education an important tool in safeguarding the spirit of Judaism and in preventing conflict. On January 15, 1916, while discussing the Beshallah weekly reading, Levin declared that contemporary schools, similar to the schools in Europe, encouraged heroic exploits and wealth, instead of spirituality; therefore, they encouraged warlike behavior. He argued that fighting does not solve any problems, and never defeats evil (Notebook #15). Levin had some faith in efforts to resolve problems in the world through negotiations and to bring peace to the world. Thus, on November 12, 1921, commenting on the Lekh-Lekha weekly reading (Notebook #5), he addressed a “World Peace Conference in Washington,” connecting it to the prophecy of the last days: “The wolf shall dwell with the lamb” (Isaiah 11:6).

In some of his biblical sermons, Levin would bring up current disputes in the Jewish world: On October 23, 1915, while talking about the Va-Yera reading, he discussed Orthodox and Reform views of the way Judaism should be practiced, and the question of practicing “half Judaism” (Notebook #15). In another instance, while discussing the Va-Yera reading, Levin mentioned the dispute in Baltimore (1917) which concerned the question of “Who is a Jew?” (Notebook #4). In the summary, one can find which weekly readings were discussed in each notebook.

Although they are part of biblical sermons, Holidays and Festivals are mentioned separately. For many of the holidays, Levin discusses the customs and the sources of these days. He comments upon the “Hellenization” phenomenon (Notebook #2), in the Hanukkah story and the four cups of wine of the Passover seder (Notebook #12). He also relates the history upon which the holidays were based. An example can be found in an entry for Hanukkah, on December 25, 1921, where he expounds on the admiration that the Israelites had for the Hasmoneans, and compares it to the attitude the Americans had toward Lincoln (Notebook #4). On September 18, 1920, which was Shabbat Shuvah, Levin translated the meaning of “Hear Oh, Israel” and the sanctification of the Holy Name. He connects it to what was happening at the time to Jews who lived under the Bolsheviks in Russia and in Poland (Notebook #4). For the Festivals (Rosh Hashana and Yom Kippur,) Levin discusses the spirit and message of biblical passages. On March 11, 1922, Shabbat Zakhor, Levin read “Remember what Amalek did to you … ” (Deuteronomy 25:17) and coped with the idea of revenge, which is in opposition to the spirit of the Bible. He explained that if the Jewish people would remember how they were rescued, it could intensify their spirit to fight and be strong in difficult times (Notebook #12). Even in his writings about holidays, Levin always considered contemporary world events, and he encouraged his audience to keep their spirits up. On April 12 1921, he talks about Nissan - the month of redemption. Levin writes that he found signs of deliverance in the recognition of the nations of the Zionist Congress and its president (Notebook #2). On Shavuot, on June 1, 1922, Levin talked about the hope that the Balfour Declaration gave to the Jewish people. Although he felt that there were many problems with the British mandate and its pro-Arab stance, Levin was reassured that, with faith, the people of Israel were close to achieving salvation. In the summary, one can find a list of holidays that were discussed in each notebook.

Additional Talmudic Sermons, refers to those chapters where Levin taught about Talmudic issues and Mishnah tractates. In some of the notebooks, he drafted sermons that appear in his book Sefer Ha-Aderet Veha-Emunah. Some sermons were published exactly as they appeared in the notebooks; only portions of the original writings were used for other sermons that appeared in the book. As a result, at times, the notebooks reveal more of Rabbi Levin’s ideas and thoughts about a given subject than does his book. In the summary, there are lists of all the tractates that are discussed in each notebook. Also, some of the notebooks serve as a type of index or concordance for studying Talmudic tractates.

General incorporates a wide-range of non-religious subjects, even some that were discussed as part of the weekly biblical readings. Levin always brought some Talmudic and biblical aspects to general topics, and in many cases added some humor to a serious subject. For the opening of a conference on July 23, 1921, Levin related the history of the survival of Judaism, comparing it to the endurance of the parochet (the curtain which hangs in front of the synagogue cabinet which holds the Torah scrolls and commemorates the curtain in front of the holy ark of the Temple in Jerusalem) and to the endurance of the national flag (Notebook #3). On January 9, 1915, in a conference of Hamizrahi in Chicago, Levin presented the idea represented by the passage “But the more they were oppressed, the more they increased and spread out,” (Exodus 1:12 - Notebook #7).

Many of Rabbi Levin’s writings are related to the hope for the creation of a Jewish state. In an oration for a conference, he emphasizes the necessity of a Jewish state for the survival of the Jewish Diaspora (Notebook #8). Levin celebrated any declaration or promise made by Great Britain, or any other nation, in reference to the establishment of a Jewish state. In one of his essays, he quoted Dr. Haim Weizman (Notebook #3). For a banquet that was held at the Carmel Restaurant in Detroit on August 14 1920, Levin discussed, among other issues, the importance of the Balfour Declaration (Notebook #3). In preparing for a conference that took place on November 13, 1920 (Notebook #2), Levin discusses the redemption of the people of Israel as a result of the decisions that took place in London. He tries to remind people how the Hellenization of Jews is artificial and untrue to the faith, and he calls upon the Jewish people to return to the way of the Torah. At a Hamizrahi conference, in 1921 (Notebook #2), Levin compares the people of Israel to a worshipper who finds it difficult to arise from bed for the morning prayers. He beseeches Jews to wake up and return to the way of Torah, and he complains that the people who built the Jewish state created divisiveness within Judaism.

Levin was active in Hamizrahi, (Orthodox Zionist organization, known also as Mizrahi: literally means “Eastern”, but actually derived from the Hebrew acronym for “Spiritual Center” - merkaz ruhani). His speeches included some of the debates that took place in Hamizrahi concerning what the nature of the Jewish state should be. In Levin’s opinion, the Zionist movement should follow the way of the Torah. He compared the Zionist movement and Hamizrahi to the two cherubs in the temple of God: each had his individual way to perform God’s will, but both were necessary for the temple (Notebook #8). Levin referred to the passage “No bread -- no learning, no learning -- no bread.” Levin relates that between 1267-1854, the Jewish people were concentrating on the study of the Bible, and only later did they begin farming and other livelihoods, and that is where Zionism and Hamizrahi stood at this time.

Levin was very concerned that the Jewish people were quarreling amongst themselves. At a Hamizrahi banquet during a conference in Detroit on November 22, 1913, Levin told the people not to be deceived by the solemn atmosphere that prevailed in the hall while the real world of Judaism was segmented and even hostile (Notebook #4). On January 9, 1915, at a conference of Hamizrahi in Chicago, Levin stressed that the point of having the gathering was not the bellyful of food that was served during the conference which gave the participants a sweet taste, rather their purpose was to overcome the bitter taste of assimilation and persecution by creating a place for the Jews in their own country (Notebook #7). In another preparation for a Hamizrahi conference (Notebook #2), Levin explained that, so far, not many practical deeds, like buying land, had been done to help building the country of Israel. The organization was mainly busy with internal arguments about which way the country of Israel should choose. Levin was concerned that the Zionist movement was not following the way of the Torah. In an additional Hamizrahi conference on October 6th, 1920, he talked about those who condemned and those who blessed the Zionist movement. He explained the two viewpoints, and their connections to historic events like the Peace Conference in Paris (Notebook #3). However, he highlighted that the goal was more important than the dispute. Therefore, the Jewish people should show unity, or their cause would suffer. On January 17, 1914, he emphasized that in spite of the difference of opinions between the Orthodox factions, they all should be united and help to build the country of Israel, otherwise, they would not be part of the country (Notebook #4).

Rabbi Levin was very active in fund-raising for good causes, and was always concerned that the money would serve its cause and not the people who collected the money. For example, on January 12 1918, while acting for “Distribution Funds for the Land of Israel” Levin admonished the audience not to use the money for food for the banquets held to raise the money (Notebook #4). On Shavuot 1921, he talked for the Jewish Foundation Fund “Keren ha-Yesod.” He encouraged the idea of giving a tithe, and begged the people not to wait until God would build the country of Israel. He also praised and endorsed Dr. Weizmann, who had collected money all over the world, but did not take a penny for himself (Notebook #5).

Levin took part in building synagogues and participated in opening ceremonies for several new synagogues in Detroit. He stressed the importance of keeping the synagogues active all year around, and not just to build nice houses for keeping God in a beautiful place (Notebook # 9, #18). Levin was also involved in building religious schools in the Detroit area. In some of his orations he discusses these events; for example, the laying of the corner-stone for the Talmud-Torah School in Detroit, on July 15 1922 (Notebook #12) where he discussed the efforts to preserve Judaism in the modern world. In other notes he considers the question of whether Jewish studies needed to include the full spectrum of the sciences, or just concentrate on biblical subjects (Notebook #9).

Levin did much work on behalf of charitable projects, such as orphanages (Notebook #18), and hospitals. On August 2, 1913, he was involved in opening the “Bikur Holim” hospital and sanatorium for needy patients in Mount Clemens, Michigan (Notebook #13). On November 22, 1915, he participated in a fund-raiser for the “Hevra Kaddisha” burial society. Rabbi Levin thought that it was essential to have a Jewish burial society which offered all Jewish people the opportunity to be buried according to the laws of the Torah (Notebook #15). The summary includes a list of the topics that are discussed in each notebook.

Consist chiefly of correspondence, some addressed to his wife, Edith, and his son, Ivan; poems, notes, and other writings, including his autograph album from Cook County jail, 1917, drafts of poems written while imprisoned at Leavenworth Penitentiary, 1918-23, and a negative photostat of Digest of California criminal syndicalism cases, written by the California branch of the I.W.W.'s General Defense Committee, 1926. Also included are printed poems, flyers, and newspaper clippings, prison documents, and ana. The papers largely concern the period of I.W.W. activism (1917-26), particularly his prison experiences and a report by A. W. Curtis on the Centralia (Wash.) trial of I.W.W. lumbermen; the publication of his pamphlets and books; and the organization, activities, and publications of Technocracy, Inc., a group promoting the technocracy movement (1933-34).

The Ralph Chaplin Papers consist chiefly of correspondence, some addressed to his wife, Edith, and his son, Ivan; poems, notes, and other writings. It also includes his autograph album from Cook County (Ill.) Jail (1917), drafts of poems written while imprisoned at Leavenworth Penitentiary (1918-23), and a negative photostat of "Digest of California criminal syndicalism cases", written by the California branch of the IWW's General Defense Committee, 1926. Poems, flyers, newspaper clippings, and prison documents comprise the printed material found in the collection.

The papers largely concern the period of Chaplin's IWW activism (1917-26), particularly his prison experiences. Also of note are a report by A. W. Curtis on the Centralia (Wash.) trial of IWW lumbermen; papers concerning the publication of Chaplin's pamphlets and books; and the organization, activities, and publications of Technocracy, Inc., a group promoting the technocracy movement (1933-34).

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

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

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

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

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

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

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

The Hash Bash collection consists of materials collected by Richard "Rich" Birkett relating to the organization and celebration of Hash Bash, an annual event held in Ann Arbor, Michigan, to advocate for the legalization of marijuana. The collection includes promotional and event flyers, photographs, newspaper clippings, and organizational information, as well as several court documents relating to permit bans and other legal issues related to Hash Bash events.

This collection contains materials related to the Hash Bash festival in Ann Arbor, Michigan. The bulk of the collection consists of newspaper clippings, photographs, event flyers and posters, and other advertisements. Also included are several court documents detailing legal disputes between Rich Birkett and Ann Arbor and University of Michigan authorities over the right to host Hash Bash on the University's campus.

Forms part of Robert Altman Archive. Includes Business and Financial records and a Chronological series (30 linear feet) that includes daily logs and correspondence for many of Robert Altman's production companies.

The Business and Financial series (68 linear feet) are business records that range from payroll, paid bills, general ledgers, insurance, banking transactions, residuals and other financial documents. There are two sub-series beginning with the Personal sub-series, and ending with the Accounting and General Business sub-series both organized chronologically. The documents range in date from 1969-2007.

The Legal series (7.5 linear feet) are legal documents with the majority of documents originating from three law firms, Lane & Mittendorf, and Mitchell, Silberberg & Knupp, and Frankfort, Garbus, Klein & Selz all of which represented Robert Altman personally and professionally from 1969-2005. The series largely consists of business and financial documents. The series includes personal, business and financial, real estate and expandable file folders from Jerome Walsh's law office. The majority of files were created by Robert Altman's lawyer Jerome Walsh.

The Chronological series (30 linear feet) includes daily logs and correspondence for many of Robert Altman's production companies. Materials consist of daily logs, desk calendars, daily planners and correspondence consisting of incoming and outgoing faxes created during production of several of his films.

Forms part of the Robert Altman Archive. The Commercials series (1 linear foot) includes materials from Robert Altman's commercial production company, Villains. These materials consist of scripts, storyboards, correspondence, and production notebooks.

Commercials, 1984, 2001-2005 forms part of the Robert Altman Archive. The Commercials series (1 linear foot) includes materials from Robert Altman's commercial production company, Villains. These materials consist of scripts, storyboards, correspondence, and production notebooks.