Collections : [University of Michigan Special Collections Research Center]

The Figures press was founded by poet Geoffrey Young in Berkeley, California in 1975. The records include correspondence, publication materials, business records and print materials.

The Figures Records are comprised of four series: (i) Name and Topical, (ii) Publications, (iii) Business and Financial, and (iv) Oversize Material. At approximately 34 linear feet, the records document the business affairs of a small press, as well as the professional life of its founder, Geoffrey Young. Spanning the years between 1973 and 2000, this material includes correspondence with writers, customers, and businesses, as well as manuscripts, production materials, and financial documents.

The Name and Topical series contains material related to writers and other associates of The Figures and Geoffrey Young. It is arranged by the individual’s name, and is further divided by the nature of the material (i.e. correspondence, clippings and articles, and flyers and announcements), although it is mostly correspondence. While much of this series is strictly business-related, there is a sizable portion that is of a more personal nature, which highlights the close relationships Young maintained with writers and associates.

The Publications series is the most voluminous of the four series, and is comprised of materials related to The Figures publications, which includes mostly manuscripts and production material. Production material includes galleys, proofs, negatives, invoices, and some correspondence. The series is arranged according to the name of the author, and is divided further by the title of the publication.

The Business and Financial series is divided into two subseries: (i) Business correspondence and (ii) Financial documents. Business correspondence is further organized by function, and contains material concerning book orders, submissions, permissions, and review copy requests, as well as awards, grants, and charity work. The financial documents subseries are primarily invoices, but also include quarterly reports. This subseries mainly documents transactions between book distributors, but also includes transactions and other financial information related to suppliers, typesetters, and printers. While this is not a complete financial record of The Figures, this series provides significant insight to the financial activities of a small press.

Oversize Material contains items that have been separated from the rest of the collection due to their larger size. This includes flyers and announcements, broadsides, calendars and production materials related to The Figures publications.

The Ed and Jean Yellin HUAC Papers (1948-2019) consist of materials relating to the Yellins' legal battles against the House Un-American Activities Committee (HUAC) after Ed Yellin's refusal to testify on the basis of the First Amendment. The materials detail the effects on the Yellins' lives, and their later decision to publish a memoir about their experiences, titled In Contempt: Defending Free Speech, Defeating HUAC. The materials also document the progression of the case and subsequent appeals. The collection consists of five series: Correspondence, Federal Bureau of Investigation (FBI) Files, Newspaper Clippings, Research Files, and In Contempt Manuscript Drafts and Notes.

The Ed and Jean Yellin HUAC Papers (1948-2019) consist of materials relating to the Yellins' legal battles against the House Un-American Activities Committee (HUAC). The materials detail the effects on the Yellins' lives during and after their battle to defend Ed's First Amendment rights, and their later decision to publish a memoir about their experiences. The collection consists of five series: Correspondence, Federal Bureau of Investigation (FBI) Files, Newspaper Clippings, Research Files, and In Contempt Manuscript Drafts and Notes.

The Correspondence series consists of detailed correspondence between Ed Yellin and various parties. The bulk of the correspondence is from 1957-1965, beginning with Yellin's HUAC hearing in Gary, Indiana. The series includes correspondence with attorney Victor Rabinowitz, letters regarding Yellin's suspension from the University of Illinois and revocation of his NSF grant and subsequent academic reinstatement, correspondence with supporters and other First Amendment defendants, graduate fellowship and postdoctoral applications, correspondence with Johns Hopkins University, support from previous professors, and correspondence with organizations such as the ACLU and the New York Council to Abolish HUAC.

The Federal Bureau of Investigation (FBI) Files series consists of records the FBI compiled on Ed and Jean Yellin. There are files specifically for Jean Fagan Yellin and Ed Yellin, as well as some combined files. These records document the FBI's surveillance of the Yellins as early as 1950. The records were obtained by a Freedom of Information Privacy Act request in the 1980s. Some documents have redacted information.

The Newspaper Clippings series consists of original newspaper articles, primarily from 1958-1963, that relate to Ed Yellin, his legal battles with HUAC, and with the National Science Foundation (NSF) and the University of Illinois over his academic suspension. There are also articles detailing other HUAC and First Amendment cases and anti-HUAC sentiment.

The Research Files series consists of documents collected by Ed Yellin in the course of his contempt of Congress trial, subsequent appeals, and battle for academic reinstatement. These documents are case notes and briefs, court transcripts, press releases, publications by the ACLU and other organizations, anti-HUAC newsletters and pamphlets, journal articles, and notes about his defense.

The In Contempt Manuscript Drafts and Notes series consists of materials relating to the Yellins' process of publishing a memoir of their experiences in the 1950s and 1960s against HUAC. The materials begin with the genesis of the idea of publishing a book, early interview transcripts, and other information gathering, and progress to chapter drafts, revisions, notes, archival material requests, illustrations, and chronologies.

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.

Bi-weekly newspaper based in Highland Park, Michigan reflecting the view of the "International Socialists." Consists primarily of marked up editorial copy and some miscellaneous administrative files.

The collection consists almost exclusively of marked-up editorial copy. The material in box 3 was organized for the most part by issue number, and this organization has been maintained. The material in boxes 1 and 2, however, arrived at the library without any prior separation into issue numbers. It appears that the articles in boxes 1 and 2 are essentially in chronological order, and this material has been separated by issue number where possible, but it must be stressed that this separation may be not be completely accurate.

With a very few exceptions, most of the articles in this collection appear to have been published in Workers' Power. Researchers are advised to start with the published newspaper; the Alternative Press Index may also be helpful.

In addition to the marked-up copy, there are nine folders of miscellaneous material, including items regarding finances, form letters giving general information about the newspaper, marked-up galleys, and lists of articles for various issues.

A 138-page screenplay about the life of Emma Goldman, titled, "Emma Goldman, Daughter of the Dream," by Lea Walker Wood.

This 138-page unpublished screenplay dramatizes the life of anarchist Emma Goldman.

These are the papers of Erving Winslow (1839-1922), Secretary of the Anti-Imperialist League (Boston, MA). The collection is largely correspondence related to the activities of the Anti-Imperialist League, especially those regarding Philippine independence. Many of these letters are from members of the U.S. Congress, U.S. and Philippine officials, representatives of public interest groups, and the press. There are also five volumes of record books of Anti-Imperialist League executive committee meetings as well as annual meetings (spanning 1898-1920).

Correspondence concerns the activities of the Anti-Imperialist League, especially as to Philippine independence, and chiefly includes Erving Winslow's outgoing letters as well as letters to him from members of the League's executive committee, along with letters from members of the U.S. Congress; U.S. and Philippine officials; representatives of public interest groups and the press; and other papers. It includes the record book of executive committee meetings, including the printed reports of the annual meeting, 1899–1920.

597 items and 5 v.

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 collection is organized in two series: Papers and Photographs. The Papers series consists of Williams's reminiscences of his experiences as a military officer in the Philippine Constabulary stationed in the mountain district of North Central Luzon, particularly his essay Spear and Bolo Interlude (68 [i.e., 72] p., typescript with holograph corrections); of his employment by the Standard-Vacuum Oil Company of New York in the South China Division, including an essay and a report describing the Japanese invasion of Hong Kong in 1941 and his subsequent six-month imprisonment at the internment camp on Stanley Peninsula; and of a childhood friendship with a black man, accused, tried, convicted, and hung for the murder of a white policeman in Booneville, Missouri. The Papers also include documents (diploma, commission papers, passport, etc.), military memorabilia, newspaper clippings, and a large collection of photos, chiefly depicting military camps and native inhabitants of Luzon. The second half of the collection is comprised of Williams's photographs, all have been digitized with links available in this finding aid.

The collection consists of Williams's reminiscences of his experiences as a military officer in the Philippine Constabulary stationed in the mountain district of North Central Luzon, particularly his essay Spear and bolo interlude (68 [i.e., 72] p., typescript with holograph corrections); of his employment by the Standard-Vacuum Oil Company of New York in the South China Division, including an essay and a report describing the Japanese invasion of Hong Kong in 1941 and his subsequent six-month imprisonment at the internment camp on Stanley Peninsula; and of a childhood friendship with a black man, accused, tried, convicted, and hung for the murder of a white policeman in Booneville, Missouri. The Papers also include documents (diploma, commission papers, passport, etc.), military memorabilia, newspaper clippings, and a large collection of photos, chiefly depicting military camps and native inhabitants of Luzon. The second half of the collection is comprised of Williams's photographs, almost entirely of his time in the Philippines. Subjects are most often people, mostly posing for the photograph; some more candid photographs; some are of landscapes and scenery. All have been digitized with links available in this finding aid.

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

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

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

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

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

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

Chiefly correspondence and documents relating to efforts opposing American imperialism in the Philippines. Many items relate to the Anti-Imperialist League's efforts to document American atrocities, especially in the use of the so-called "water cure," to an inquiry into the death of Private Edward C. Richter, as well as Herbert Welsh's 1903 demand for publication of General N. A. Mile's report on conditions in the Philippines. Also included is correspondence on organizational matters of the League, fundraising, the editorial management of City and State, other causes, and personal affairs. 765 items.

These papers are part of the Maria C. Lanzar-Carpio collection. Most of them are those that Herbert Welsh provided to Lanzar-Carpio for use in researching her doctoral dissertation, "The Anti-Imperialist League" (University of Michigan, 1928), but they are intermingled with other papers, chiefly copies borrowed from other sources.

Letters addressed to M. K. Sniffen, business editor of the publication City and State, and Roy Smith, also of City and State, as well as letters to Welsh's colleagues in the Anti-Imperialist League, were doubtless a part of Welsh's own files, as were a number of letters and transcripts to miscellaneous addressees provided for Welsh's use in promoting various causes. There are also an undetermined number of transcripts made by Lanzar-Carpio from originals held elsewhere (cf. her dissertation, p. 9-10 and 269).

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

American poet; co-founder of the Jack Kerouac School of Disembodied Poetics at Naropa University. Papers include correspondence, poems, essays, photographs, art, biographical material, and audiovisual materials.

The Anne Waldman Papers were purchased by the Special Collections Library in 1998. Periodic additions to the collection have been made.

The papers document Waldman's personal and professional life from childhood to adulthood in great detail, and provide a rich and unique source for the study of American poetry. The collection includes textual material, photographs, audiovisual material, and artwork that extensively document Waldman's writing, publishing and performance efforts; her administrative leadership and teaching activities at the Poetry Project at St. Mark's Church-in-the-Bowery and Naropa University's Writing and Poetics program; and her relationships and interactions with a remarkable number of prominent poets, writers, and artists.

The Biographical series (approximately .5 linear feet) contains biographical summaries written by Waldman and others, resumes, travel and work itineraries, and publicity material such as press releases, pamphlets, and quotes and "blurbs" for books.

A highlight of the series is Waldman's autobiographical essay and drafts for the Contemporary Authors' series. A small folder of poems written about Waldman is also included. The researcher should note that additional material written about Waldman can be found in the Correspondence and Name File Series.

The Correspondence and Name File series (25 linear feet of material, divided into several subseries) provides insight into Waldman's professional activities and relationships, and her personal relationships with many poets, writers, and artists. Poets including Allen Ginsberg, Ted Berrigan, Joe Brainard, Tom Clark, Diane di Prima, Kenward Elmslie, Joanne Kyger, Bernadette Mayer, Ron Padgett, and many others are well represented in the series, as are visual artists such as Alex Katz, Jasper Johns, Robert Mapplethorpe, Larry Rivers, and James Rosenquist. Material in the Correspondence and Name File was created during Waldman's college years and adulthood (approximately 1962-1999). Correspondence from Waldman's childhood and teenage years, and correspondence with family members can be found in the Early Years and Family series respectively.

The Name File subseries is an alphabetical file consisting primarily of more prominent personalities and frequent correspondents. Although the bulk of the material in the Name File is correspondence, manuscripts and other material created by or related to the person listed may also be found in the files. Where large amounts of material related to a person exist, the type of material has been grouped by genre and indicated separately in the finding aid. In cases where the type of material is not listed separately, the file contains mainly correspondence, but may also include small amounts of other material, most likely manuscripts. The researcher should note that some manuscripts submitted to Waldman and a small amount of correspondence related to Waldman's specific publishing ventures or specific subjects have been left with the appropriate subject file or organizational records.

The Miscellaneous Correspondence subseries contains more routine correspondence. This subseries is arranged alphabetically.

The Unidentified and Fragments subseries consists of approximately .75 linear feet of material from correspondents who did not identify themselves, identified themselves by their first name only, or whose signatures were illegible. This material is arranged chronologically, and is divided in to unidentified correspondence and unidentified manuscripts. Although every effort was made to arrange correspondence in the appropriate place in the Name File and Miscellaneous Correspondence subseries, researchers interesting in viewing all the correspondence from a particular person may want to examine the Unidentified and Fragments subseries.

The series also includes two folders of Anne Waldman's outgoing correspondence, as well as several folders of printouts of Waldman's outgoing and incoming email. The email correspondence spans the years 1997 and 2009. Researchers should note that there is substantial overlap between the Email and Correspondence and Name File subseries.

The Writing series (11 linear feet) consists of Anne Waldman manuscripts and other material, such as correspondence, administrative files, and ephemera, related to her writing. This series is divided into five subseries: Early Work; Fiction; Essays, Speeches, and Interviews; Poetry; and Contributions to Other Works.

The Fiction sub-subseries is divided into Drama and Short Stories. Much of this material is also early work, from Waldman's college years or shortly thereafter. Within Drama and Short Stories, the pieces are arranged alphabetically by title.

Essays, Speeches, and Interviews comprises Waldman's prose work, consisting of essays, articles, speeches and addresses, and interviews, as well as book blurbs, introductions, forewords, and reviews. Many of these pieces exist in various stages, from handwritten notes to published articles. The Essays grouping contains essays and articles written for various publications. The Speeches grouping, arranged chronologically, consists of speeches and speaker introductions made by Waldman at various events. Undated material is located at the end of the section. The Interviews grouping is divided into interviews of Anne Waldman by others, arranged chronologically, and interviews of others, which for the most part have Waldman as either interviewer or co- interviewee. These interviews are arranged alphabetically by name of interviewee.

Also included in the Essays, Speeches, and Interviews subseries are "Biographical Sketches" of other authors. (Biographical and autobiographical sketches of Anne Waldman can be found in the Biographical series.) Most of these sketches appear to have been written by Waldman, although some were contributed by the authors themselves. In addition, the researcher will find a Notes grouping, made up of Waldman's loose collected notes, both literary jottings and everyday work lists. Some of the notes are of unknown authorship, although a few appear to have been Reed Bye's.

The Poetry subseries is divided into two sub-subseries, Published Works and Single Titles. Although Waldman's poetry can be found throughout the Writing series--and indeed throughout the entire collection--the bulk of it resides here. Published Works incorporates Waldman's stand-alone or collected works, most but not necessarily all of which have been published. The Published Works sub-subseries begins with an Alphabetical File containing Waldman's shorter works intended for publication. These files are arranged alphabetically by title.

A Collaborations section of collaborations between Waldman and others, and a Translations section, with a small number of works by others which Waldman translated or helped translate into English are also included in the Published Works subseries. The Collaborations section is arranged alphabetically by collaborator. The translation section contains only three works, which are arranged alphabetically according to the original author.

The Published Work subseries also contains three linear feet of separate material for Iovis I, II, and III and Kill or Cure. This material consists generally of original manuscripts (handwritten drafts and typescripts) of single poems, drafts of the whole work, proofs, and a small amount of related correspondence. The Iovis I and Iovis II files strongly reflect Waldman's work process for the creation of these long, fragmentary epic poems. Namely, the Notes Drafts, and Research Material files, which have been left almost as-is, consist of seemingly randomly arranged clippings, correspondence, previously written material, and many different current drafts, merged together. The researcher may find this portion of the collection difficult to use, owing to its haphazard arrangement. Items which seemed of special significance have been flagged or pulled and foldered separately, the "Questions for men for Iovis" being one example. In some cases, the original has been removed and placed elsewhere within the collection. Details are noted in the contents list. Among these items are poems by Waldman's son, Ambrose, and letters written by Anne Waldman's grandfather to his future wife (due to extremely their fragile condition, the originals have been removed and placed in separate storage). The other portions of the Iovis material present a clearer arrangement, consisting as they do of draft and proof copies of the entire work. The Iovis III portion to date is quite small, consisting only of a version of Waldman's journal entries from a trip to Vietnam in 2000.

The material used in Kill or Cure has a clearer organization, although it should be noted that much of the content and order within the "Drafts/Collected Poems" portion remains unclear. It was impossible to ascertain whether some of the pieces included in the original folders labeled "Kill or Cure" were originally intended for the book and not used, or if they became misfiled. Too, some material may be missing, removed by the author from its original location in order to be used for other purposes, such as the creation of Iovis II . In fact, there is considerable overlap between some of the material in Iovis and Kill or Cure, the latter being published in between Iovis I and Iovis II .

Single Titles consists of the many loose poems that were originally scattered throughout the collection and which could not be easily placed within the context of a larger work. They are arranged alphabetically by title or first line. There are several folders of poem fragments as well, found at the end of this grouping. In the case of some of these poems, it has been difficult to ascertain whether they are in fact fragments or are rather complete, untitled poems. In general, when the title of a poem has undergone changes, all of the drafts of that poem have been grouped under what appears to be the latest version of the title. There may, however, be some exceptions to this arrangement.

Contributions to Other Works is a small subseries consisting of pieces which Waldman wrote for publication in larger works by other authors. Both poetry and prose works are represented here.

The Journals and Notebooks series (5 linear feet) consists of more than 110 journals, notebooks, appointment books, and address books kept by Anne Waldman. (For the sake of convenience, all of these items are referred to here as "journals.") A small number of journals kept by others is also represented. The journals offer a diverse array of content, from random jottings and to-do lists, to literary notes and drafts, to intensely personal diaries. In some cases distinct literary pieces have been recorded, and sometimes the line between journal and handmade book is somewhat blurred. There are collaborative works, such as those with Bill Berkson and Reed Bye. Other pieces were clearly written for friends such as Joe Brainard, Jim Carroll, and others.

The Journals and Notebooks series is broken into two subseries, Anne Waldman and Others, representing journals kept by Waldman and journals kept by others. The Anne Waldman subseries is arranged chronologically by decade, from the 1960s through the 1990s. There are many undated journals as well. The Others subseries contains journals by Lewis Warsh (including one that was co-written with Waldman) and journals very likely by Reed Bye. Of note within one of the journals from the 1970s in the Anne Waldman subseries is a drawing of Anne Waldman made by Bob Dylan.

The Editing and Publishing series (approximately 12.5 linear feet) is comprised of Anne Waldman's work in editing and publishing, often as a joint venture with those in her circle. The most important subseries, Small Press and Little Magazine, represents her work with The Poetry Project at St. Mark's Church-in-the-Bowery, Angel Hair, Full Court Press, and Rocky Ledge. For the most part, all of the Small Press and Little Magazine files consist of a mixture of the literary--manuscript contributions, drafts, mockups, proofs--and the administrative--reports, correspondence, sales and expense records, and so forth.

Perhaps the most significant portion of Small Press and Little Magazine, the Poetry Project grouping is divided into General, Adventures in Poetry, The World, and St. Mark's Church. "General" consists of correspondence; administrative material such as reports, notes, and budgets; poster, flyers, and other performance-related material, including speeches and introductions to Poetry Project events. Correspondence is related to the running of the Poetry Project, the newsletter in particular. Much of this correspondence appears to have been managed and kept by Frances Waldman, who edited the Poetry Project Newsletter from 1976 to 1978. There are also loose poems, which were printed and distributed singly, and many issues of the Poetry Project Newsletter (although not a complete run), along with original manuscript submissions for the newsletter.

Adventures in Poetry was a mimeographed literary magazine edited and published at St. Mark's Church by Larry Fagin using Poetry Project resources. A small number of submissions and publications appear here.

The most important division within the Poetry Project grouping are the files relating to The World, the magazine of the Poetry Project, which Waldman directed from 1968 through the late 1970s. Included are what can loosely be labeled "Administrative Material" as well as Submissions. Two files of Administrative Material are topical in nature, including an Author-title Index from 1979. In addition, there are the usual minutes, mailing lists, and the like. Submissions are for the most part arranged alphabetically by author. There are also two folders with material specific to individual issues of The World . Items of unknown authorship are placed at the end of these files. The researcher may find the aforementioned Author-title Index of some assistance in identifying these submissions.

"St. Mark's Church" refers to items which are church-specific; that is, related to St. Mark's as a religious institution or physical entity rather than to the Poetry Project: Such concerns as building preservation and restoration, youth projects, and church services are covered. Much of this material appears to have been maintained by Frances Waldman, including but not limited to files which are labeled as hers.

The Angel Hair files consist of material from Angel Hair Books and Angel Hair magazine, both of which Waldman co-founded and co-edited with Lewis Warsh. Press and magazine materials are commingled. Angel Hair is divided into Catalogues, Administrative Material, Proofs, and Submissions.

Full Court Press, which Waldman started with Ron Padgett and Joan Simon, was dedicated to publishing quality editions of out-of-print works. The volume of material in this collection is quite slim, consisting of only one folder.

Rocky Ledge refers to the mimeographed magazine, Rocky Ledge, which Waldman started with Reed Bye in Boulder. It was published in eight issues from 1978 to 1981. Some books were also published through Rocky Ledge Cottage Editions. There is a folder of general Administrative Material and another slim folder of manuscripts published by Rocky Ledge Cottage Editions. In keeping with the original organization of the material, the rest of the files are arranged by the individual issue of Rocky Ledge , with administrative materials mixed in with each issue of the magazine. Types of material found in the Rocky Ledge files include draft or mockup versions of the magazine; manuscript submissions; correspondence; cover art, both originals and facsimiles; receipts; and editors' notes. In some cases, the original manuscript submissions appear to have been used in the creation of the draft versions of the magazine. A separate division deals with submissions that were either not used in Rocky Ledge, may not have been intended for use in Rocky Ledge in the first place, or are unidentified.

Also included is a small amount of material labeled "Cherry Valley." Waldman summered in this small New York town in the late 1970s, Waldman's family and Allen Ginsberg maintained houses there for a time, and some work produced by Waldman and her circle was published by "Cherry Valley Editions." However, the exact nature and extent of literary activity from this period and location is unclear, and extant files in this collection are unrevealing.

The rest of the Editing and Publishing is divided along the lines of the individual book titles which Waldman edited or co-edited: The Beat Book, Nice to See You, Out of This World, Talking Poetics, and Disembodied Poetics.

The Beat Book files consist of some correspondence and, primarily, a draft version and a proof version of the work. Nice to See You, which is a tribute to poet Ted Berrigan, consists mainly of submissions by friends of Berrigan's. There are also files of background material, notes, a small number of photographs, correspondence, a draft, proofs, and publicity and reviews. Out of This World is an anthology of work from The Poetry Project. The Out of This World files consists of correspondence (dealing mainly with publishing permissions), early versions of the preface and introduction, drafts, and proofs.

Both Talking Poetics and Disembodied Poetics are anthologies of lectures delivered at Naropa University by Writing and Poetics Department faculty and visiting poets. These files are comprised mainly of transcripts of these lectures; manuscript reworkings and revisions by the authors; correspondence between authors, editors, and publishers; and various drafts of the whole work. In some cases, the name referenced in the correspondence file is the subject of the correspondence rather than its author. Administrative material is also included.

In the Talking Poetics files, the Drafts and Proofs section is divided into Early Work and Complete Drafts. Much of the Early Work section is fragmentary in nature, in particular, the Early Drafts material. Although at some time all of the individual pieces of Early Drafts were collated and paginated, much is missing or has been placed elsewhere. The existing pieces are now arranged alphabetically by author. Particularly noteworthy in this section is a handwritten John Cage score, a part of his work Lecture IV. Complete Drafts are arranged by page number.

The Disembodied Poetics files are arranged in a similar fashion, with individual pieces placed in the Early Contributions and Ideas and Early Drafts portions and later, more complete drafts arranged in or nearly in book order. It should be noted that the designations of the drafts as "A," "B," and "C" were assigned during processing and do not necessarily reflect chronological order. The order within each draft follows the table of contents for that draft, none of the drafts being paginated as a whole.

The subseries, General Publishing, consists of miscellaneous contracts, proposals, copyright application material, and financial material covering royalties, honoraria, book sales, and so on. The Unpublished material subseries consists mainly of miscellaneous pieces of writing that could be part of books that are published or unpublished or drafts of works with an unknown title.

The Naropa series (8 linear feet) consists of material related to Waldman's involvement with the Naropa Institute, now Naropa University, in Boulder, Colorado. It is comprised of the following subseries: Course Material, Administrative Material, Conferences and Panels, Publications, Printed Material, Other Teaching Activities, and Personal.

Course Material is divided into the following sub-subseries: Anne Waldman, Others, and Summer Writing Program. Anne Waldman course material is arranged chronologically and topically and contains many sourcebooks or bound copies of readings for her classes. Course material of others is arranged primarily chronologically, as is, for the most part, material from the Summer Writing Program. The Summer Faculty and Visiting Poets folder under Course Material includes contracts, correspondence and resumes from guest lecturers such as Amiri, Baraka, Ted Berrigan, Diane Di Prima, Tom Clark, Robert Creeley, Kenward Elmslie, Joy Harjo and Harry Smith and is organized alphabetically. Administrative Material is divided into General, Writing and Poetics Department, and Summer Writing Program. Within all levels of the Administrative Series can be found correspondence which includes emails, memos, minutes and reports, planning material, notes, etc. "Early Planning Material" within the Writing and Poetics Department files includes documents penned by Anne Waldman and Allen Ginsberg which formulate aspects of the founding of the Jack Kerouac School of Disembodied Poetics. Also included in the Writing and Poetics files are departmental newsletters. Student and instructor evaluations also appear. Evaluation files, barring those of Anne Waldman, are closed due to privacy legislation and concerns.

Conferences and Panels consists of notes for talks given at Naropa along with transcripts and schedules. Speeches and Interviews covers those speeches and interview given at Naropa, although there may be some overlap with material in the Writing series. Speeches are arranged chronologically. "A Declaration of Interdependence," although grouped with Speeches, is not a speech per se, but rather a protest document mirroring in structure the Declaration of Independence. It was penned by multiple authors, including many Naropa faculty members as well as other poets and activists. Interviews are listed alphabetically by interviewee.

Publications consist of Campus Periodicals (student newsletters and literary magazines); Class Publications, including those of the Summer Writing Program; and a small number of works by faculty members. Printed Material consists of Catalogs and Brochures; Posters, Flyers, and Programs; and Clippings. Arrangement at the folder level is chronological. Additional class publications can be found within the Course Material subseries.

In addition to her role at Naropa, Waldman has taught at several other institutions. These activities are reflected in the Other Teaching Activities subseries, which includes work at the Schule für Dichtung in Vienna and the Stevens Institute of Technology in New Jersey, among other institutions. Because the bulk of Waldman's teaching activities is tied up with Naropa, these files are included within the Naropa series. Material for each institution is arranged chronologically.

The final subseries of the Naropa series is Personal, which includes ephemera, correspondence, topical files, contracts, and notes. Correspondence is both incoming and outgoing and consists of both Naropa-related 'official' correspondence that is addressed solely to Waldman and correspondence that is personal in nature but which refers to Naropa (here, there will naturally be some overlap with Waldman's correspondence in the Correspondence and Name file series). Material within folders is arranged chronologically.

The Other Activities series is comprised of 1 linear foot of material, and documents Waldman's activities outside of writing and publishing. The series includes material related to conferences and festivals that Waldman attended or participated in, as well as material related to Bob Dylan's Rolling Thunder Revue Tour, various video and audio recording projects, and attempts to sell Waldman's archive, or portions of it. The series also includes a significant amount of material documenting Waldman's involvement in social protest issues.

The Personal series is a topical file consisting of 1.5 linear feet of material not primarily related to Waldman's writing or professional activities. Material documenting Waldman's interest in Buddhism and her 1967 wedding to Lewis Warsh can be found in the series. Of particular note is a collection of memorabilia, including material from Waldman's travels, and various playbills, museum programs and ticket stubs. Legal and financial records, as well as various and unidentified notes, jottings and telephone messages, are also included in this series.

The Early Years series contains 2 linear feet of material documenting Waldman's school years, as well as her early interests in writing, acting and drama. The series includes material from Waldman's elementary school, middle school, high school and college years. Early writings can be found in each of the Pre-High School, Friends Seminary and Bennington College subseries, as well as the Early and Unidentified Writings subseries. Highlights include childhood and family newsletters titled "Our Life and Times" and "The Penguin News," school publications in which Waldman was first published, production material from Waldman's high school newspaper (of which she was editor), and manuscripts and typescripts of early poems. The Friends Seminary and Bennington College subseries contain class notes and papers, a high school report card, college grade reports and other school-related material. The Bennington College subseries also includes correspondence and notes from Howard Nemerov and other professors.

The Acting and Theater subseries includes material from various productions, theater companies and organizations with which Waldman was involved in the 1950s and 1960s. The Correspondence subseries consists primarily of correspondence from Waldman's middle school and high school friends, but also includes a folder of notes that appear to be notes passed in class. This folder also includes school love poems that appear to have been written for Waldman. The Early and Unidentified Writing subseries consists primarily of unidentified or undated material that could not filed with the other subseries.

The Family series (approximately 4 linear feet and 1 oversize box) includes material related to Waldman's mother, father, brother, son and other relatives.

The bulk of the series is comprised of material created by, or related to Waldman's mother, Frances Waldman. The Frances Waldman subseries includes 1.5 linear feet of correspondence between Waldman and her mother, spanning the years 1958-1981. Several folders of Frances Waldman's correspondence with other people, including many New York poets and writers, can also be found in the subseries.

The subseries also includes several folders of Frances Waldman's manuscripts, translations and miscellaneous material. Although the majority of the material related to other family members is correspondence, manuscripts and other material can also be found in the series. Of special note are the manuscripts found with the Ambrose Bye material, which include some poems written with or transcribed by Anne Waldman.

The Handmade Books series (3 linear feet) is comprised of one-of-a-kind books made by Waldman and her friends. Often they were presented as gifts on special occasions. They are divided into three subseries: Anne Waldman, representing books by Waldman; Collaborations, representing collaborations between Waldman and others; and Others, that is, works by others.

Included in Others are books printed at Naropa University either through a print workshop or class, or through the school's Kavyayantra Press. Within the Waldman subseries, books are listed alphabetically by title, with untitled books at the back. Collaborations, all of which have Waldman as a coauthor, are arranged alphabetically by the collaborator's last name, as are works in the Others subseries.

Many of the handmade books bear inscriptions indicating maker, recipient, date, and other information, which has not been included in the contents listing. Included in the Handmade Books series are some limited edition volumes, such as those produced by Waldman's Erudite Fangs Press.

The Printed Material series (4 linear feet, 1 oversize box, and 1 portfolio) encompasses the subseries Broadsides; Posters, Flyers, and Programs; and Clippings. Broadsides are broken down into those by Anne Waldman, Collaborations (between Waldman and others), and Others--that is, works by others. Within these divisions, work is arranged alphabetically, first by author, then by title. Also included in Broadsides are postcards and bookmarks printed by various small presses. Oversize broadsides are housed separately.

Material in the Posters, Flyers, and Programs subseries is for the most part grouped chronologically. Separate, topical divisions have been made for undated material. Small press book catalogs and newsletters are included as separate divisions. Oversize posters are housed separately. The section labeled "Newsletters" consists of should really be viewed as a set of clippings, consisting as it does of single issues of various newsletters and some journals, most of which appear to have been saved for particular articles.

Clippings are arranged in rough chronological order by decade, where date is known. The vast majority of the clippings pertain to Waldman and her circle, although some clippings reflect topical interests. Some of these appear to have been saved by Waldman's mother, Frances LeFevre Waldman. In some cases, whole publications have been saved, either due to their content or to their rare or unusual nature.

Art (1 linear foot, 10 oversize boxes, and 1 portfolio) is made up of artworks by Waldman and her family and friends, as well as various pieces she has collected over the years. Work in many different media exists, including prints, paintings, sketches, drawings, and collages. Much of Waldman's work consists of prints done while a student at Bennington College. There are also exquisite corpses (collaboratively created pictures and writings, done in-the-round) by Anne Waldman, Reed Bye, and Ambrose Bye. According to Waldman, this was a frequent after-dinner pastime when Ambrose was young, and friends and guests, such as Bobbie Louise Hawkins, were invited to participate.

Cover Art includes "Collaborations," which consist of collaborative book-length works and not just cover art per se. Additional cover art may be found in the among the Rocky Ledge files within the Editing and Publishing series. Noteworthy among the artists represented are George Schneeman and Joe Brainard.

The Photographs, Slides and Negatives series consists of approximately 2.5 linear feet of photographic materials documenting a variety of subjects, including Waldman's childhood and school years, her large circle of friends and colleagues, and her publishing and performance activities.

The Personal subseries contains personal and informal photographs of Waldman and others. Photographs in the "Family and childhood" folder include photographs of Waldman as a child, as well as other family members. The high school and college photographs include several photographs of Waldman as a young actress. The bulk of the Personal subseries consists of the "Friends and colleagues" photographs. These photographs include images of many prominent late twentieth century poets, Waldman's husbands and significant others, and other friends and colleagues. Waldman herself is pictured in some of the friends and colleagues photographs.

One of the strengths of the Professional subseries is the large amount of photographs of Waldman performing. The performance photographs, which date from the late 1960s to mid 1990s, sometimes include images of other poets and performers. Also included are several folders of portraits and publicity photographs, photographs created for various book and publishing projects, photographs of Bob Dylan's Rolling Thunder Revue Tour, and photographs documenting Waldman's activities at Naropa University and the St. Marks Poetry Project. The St. Mark's photographs include images of New York School and other poets performing at the church. The Professional subseries also includes several photographs taken by photographer, poet, and filmmaker Gerard Malanga. Although Malanga photographs can be found within several of the groupings in the Professional subseries, the majority can be found within the portraits grouping. A Malanga portrait of Waldman and her mother, Frances, has been filed with the family photographs.

The Outsize subseries consists of photographs too large to be housed with the rest of the photograph series. The highlights of the outsize photographs include two photographs taken by Allen Ginsberg which include handwritten captions by Ginsberg.

The Albums and Scrapbooks subseries complements the friends and colleagues photographs found in the Personal subseries. In addition to photographs documenting Waldman's travels in Greece and Egypt in the early sixties, the albums contain numerous photographs of Waldman and her circle in the late sixties and early seventies. Photographs of Lewis Warsh, Michael Brownstein, Joe Brainard, Ron Padgett, Ted Berrigan, Tom Clark, Bill Berkson, and others can all be found in the albums. The albums have been arranged chronologically.

The Slides and Negatives subseries consists primarily of miscellaneous and unidentified slides and negatives. The subseries does contain a few slides of Waldman performing.

The researcher should note that a small number of photographs sent to Waldman by specific correspondents can be found within the Correspondence and Name File series.

The Audiovisual Series has been divided into four subseries: Sound Recordings, Video Tapes, DVDs, and Digital Files. The series provides a unique perspective on Waldman's activities, and thus complements and expands the manuscript and photographic holdings. Including recordings of readings, lectures, and interviews given by Waldman and others, the series strongly represents the sounds and voices of late 20th century American poetry.

The Sound Recordings subseries has been organized according to format, including LPs and 45s, Compact Discs, Reels, and Audio Cassettes. In order to facilitate access, each sound recording has been numbered. Recordings are numbered sequentially within each subseries. Titles indicated in quotation marks in the finding aid are quoted directly from the labels of the recordings. In a few cases, particularly within the Commercial Recordings grouping, quotation marks are also used to indicate the title of a poem or work.

The LPs and 45s, Compact Discs, and Reels represent a relatively small part of the subseries. The LPs and 45s include the 1977 LP "John Giorno and Anne Waldman," as well as Waldman's "Uh-Oh Plutonium" 45, and a "voice-o-graph" recording of Waldman and Michael Brownstein. The Compact Discs subseries consists of commercial recordings of Waldman, including a live 1991 performance in Amsterdam which includes an accompanying booklet of poems.

Reels include recordings related to a variety of subjects. Included are Waldman performances at radio stations and elsewhere, television shows related to poetry, a commercial recording of Fast Speaking Woman , and a recording of Waldman while acting. To facilitate access, the recordings in this group have been transferred onto recordable compact discs. The numbering and labeling of the compact discs corresponds to the numbering of the reels.

The largest part of the subseries is comprised of Cassettes, which include readings and lectures by Waldman and other poets, interviews, radio broadcasts featuring Waldman, commercial recordings, Waldman's recording projects, and other miscellaneous recordings. Spanning the years 1971-2002, the readings include recordings of Waldman reading with Ted Berrigan, Allen Ginsberg, Diane di Prima, Gary Snyder and others. In addition, there are several recordings of readings not by Anne Waldman, including performances by Ginsberg, John Ashbery, Robert Creeley, Philip Whalen and others. Lectures by Waldman at Naropa Institute and in other settings, and lectures by William Burroughs, Allen Ginsberg, Ted Berrigan, Carl Rakosi, and Peter Orlovsky are included.

Interviews and conversations represent the strongest part of the series. In addition to an interview of Waldman conducted by Larry Fagin, tapes of interviews of Joe Brainard, Edwin Denby, Diane di Prima, Robert Duncan, Allen Ginsberg, and Philip Whalen are included, many conducted by Waldman. There are two recordings of "conversations," one with Waldman, Clark Coolidge, Lewis MacAdams, and others, and one with Waldman, Tom Clark, Lewis Warsh, Lewis MacAdams, and Philip Whalen. Of note is a cassette recording of Allen Ginsberg orally composing the introduction to Talking Poetics from Naropa Institute: Annals of the Jack Kerouac School of Disembodied Poetics. To facilitate access, the cassette recordings have been transferred onto recordable compact discs. The numbering and labeling of the compact discs corresponds to the numbering of the cassette tapes.

Video recordings consists of 42 VHS videocassettes, one 8mm film reel and ten DVDs. The readings, performances and lectures grouping includes performances from 1990 to 1998 and is the primary strength of the subseries. In addition to Waldman's performances, the tapes include readings by Allen Ginsberg, Gary Snyder, Michael McClure, Ed Sanders and others. Most of the tapes in the programs and television shows grouping were produced commercially or for television shows. The highlight of the grouping is a tape which includes seven episodes of "Word One," a Boulder, Colorado cable access television show hosted by Waldman, which includes performances by Allen Ginsberg, Kenward Elmslie and other poets. The programs and television shows grouping also includes a tape of "poetry videos" from the Manhattan Poetry Video Project, including music videos of Waldman's "Uh-Oh Plutonium," Allen Ginsberg's "Father Death Blues," and Bob Holman's "Rapp It Up." The personal and miscellaneous grouping includes a videotape copy of a home movie of Waldman, Lewis Warsh, Ted Berrigan and others. DVD copies of the first 27 videotapes and the film reel in the subseries (WALDVID-1 to WALDVID-27) are available for viewing in the reading room of the Special Collections Library, with advance notice for retrieval and setup. The ten original DVDs in the subseries are labeled with the prefix WALDDVD- and consist mainly of Anne Waldman poetry readings, and collaborative events such as Transatlantic Howl! A Dedication to Allen Ginsberg, a multivenue event featuring poetry readings and poetic theatre pieces celebrating Ginsberg's poem Howl.

The Digital Files subseries includes backups of email correspondence, files on Waldman's poems and books, such as parts I and II of the Iovis Trilogy and the anthology Civil Disobediences, and interviews. Most of these materials are stored on floppy disks and have not been transferred to viewable digital media.

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.

An anarchist and editor of Road to Freedom, Van Valkenburgh assisted Emma Goldman in typing and distributing her writings and correspondence. The collection documents his activities in the Socialist Party in Schenectady, N.Y.; as secretary for the Sociology Club, a group in Schenectady organized to study and debate social problems; as editor of Road to Freedom and Spanish Revolution; and as supporter of anarchist causes, including the Sacco-Vanzetti Case and the Spanish Civil War. There is a collection of articles by Van Valkenburgh and others, as well as correspondence with many radical leaders, including Leonard D. Abbott, Stella Ballantine, Gustav F. Beckh, Alexander Berkman, Karl Dannenburg, Hippolyte Havel, Herman Kuehn, Maximilian Olay, Upton Sinclair, and Carlo Tresca. Correspondence with Emma Goldman concerns her lecture tours, politics, his writing for Mother Earth, and her trial, imprisonment, and deportation in 1919. Also included are transcripts of debates, leaflets, and newspaper clippings.

The collection documents his activities in the Socialist Party in Schenectady, N.Y.; as secretary for the Sociology Club, a group in Schenectady organized to study and debate social problems; as editor of Road to Freedom and Spanish Revolution; and as supporter of anarchist causes, including the Sacco-Vanzetti Case and the Spanish Civil War.

There is a collection of articles by Van Valkenburgh and others, as well as correspondence with many radical leaders, including Leonard D. Abbott, Stella Ballantine, Gustav F. Beckh, Alexander Berkman, Karl Dannenburg, Hippolyte Havel, Herman Kuehn, Maximilian Olay, Upton Sinclair, and Carlo Tresca. Correspondence with Emma Goldman concerns her lecture tours, politics, his writing for Mother Earth, and her trial, imprisonment, and deportation in 1919. Also included are transcripts of debates, leaflets, and newspaper clippings.

In the late 1950s, as a reaction to Cold War era politics, the University of Michigan Press embarked on a program to publish Russian language materials. Their first undertaking was Boris Pasternak's Dr. Zhivago.The material retained by the Press, related to the publication of Dr. Zhivago, as well as Pasternak's Poems, and Collected Works, comprises correspondence between the books’ editors and the directors of the Press. Other items, such as a first edition with marginalia, photographs of letters from Pasternak to Eugene Kayden, and assorted newspaper clippings, help document the history of this unusual endeavor. The 1.5 linear feet of material span the years 1958 to 1988, with the bulk of the papers dating between 1959 and 1962.

The material retained by the University of Michigan Press, related to the publication of Dr. Zhivago , Poems, and Collected Works , comprises correspondence between the books’ editors and the directors of the Press. Other items, such as a first edition with marginalia, photographs of letters from Pasternak to Eugene Kayden, and assorted newspaper clippings, help document the history of this unusual endeavor. The 1.5 linear feet of material span the years 1958 to 1988, with the bulk of the papers dating between 1959 and 1962. The Pasternak records of the University of Michigan Press have been divided into three series: Dr. Zhivago (0.5 linear feet), Eugene Kayden Translation -- Poems (1959) (0.5 linear feet), Sochineniia [Collected Works] (1961) (0.5 linear feet), and Media (3 items).

The Dr. Zhivago series consists of two subseries: Pre-publication and Publication. Pre-publication includes newspaper clippings related to the Nobel Prize awarded to Pasternak in 1958, correspondence pertaining to the copyright negotiations with Giangiacomo Feltrinelli Editore, and promotional materials for the book's release. Most of the correspondence to Feltrinelli is carbon copies. Permissions Granted is correspondence between the Press and other authors regarding use of the novel in other publications. These letters date between 1960 and 1988. Additional material includes a limited amount of University of Michigan Press business records, galleys of the text, and other miscellaneous documents.

In the Eugene Kayden Translation -- Poems (1959) series much of the material is correspondence from Press directors Glenn Gosling, Ed Watkins, and Robert Erwin. Photographs of letters written to Eugene Kayden from Pasternak are included as well. The photographs are quite legible, and the text is in Russian. Related material, particularly the agreement signed between the Press and Eugene Kayden, is also in this series. Some of the folder dates will overlap in an attempt to maintain the original order of the materials.

Sochineniia [Collected Works] (1961), the Russian publication of Pasternak's poetry by scholars Gleb Struve and Boris Filippov, is the final series in the collection. Correspondence in this series, dated between 1959 and 1984, is arranged chronologically. A smaller amount of topical correspondence is arranged alphabetically by topic. As is the case with the previous series, some of the folder dates will overlap in an attempt to maintain the collections' original order.

The Media series contains two microfilms of the Collected Works , and an audiotape copy of the 45rpm vinyl recording of Pasternak Speaks . The tape documents a reading at Pasternak's home in 1958. Included are the poems "Night," "At the Hospital," "Literature Today," "To a French Musician," and an excerpt from "An Essay in Autobiography."

Materials are primarily from 1969, and relate to the student-led sit-in protest of Universary of Chicago administration buildings following the firing of Marlene Dixon.

The materials are arranged in three series: Series 1: University of Chicago Sit-In Protest; Series 2: Other Activism and Protests; Series 3: Publications. The collection is 0.5 linear feet in size, and focuses primarily on the early half of 1969, with occasional materials from 1968 and 1970.

The University of Chicago Sit-In Protest series is the largest of the three, and the focus of the rest of the collection. Materials are concerned primarily with the two-week-long student-led occupation of University of Chicago administration buildings following the firing of professor Marlene Dixon in the spring of 1969. Materials include student and faculty statements, posters, news clippings, and official university documentation of the event.

This collection documents Dorothy L. Tyler's life and professional career, including her literary endeavors, primarily through her diaries, literary manuscripts, and materials for two unfinished monographs. The collection is of interest to researchers of Detroit history, the Merrill Palmer Institute, literary life at the University of Michigan in the 1920s, Robert Frost, and sculptor Carl Milles. Researchers of women's literary and social history will also find the collection interesting. The Tyler collection consists of ten boxes of material, two of them diaries and day books.

This collection documents Dorothy L. Tyler's life and professional career, including her literary endeavors, primarily through her diaries, literary manuscripts, and materials for two unfinished monographs. The collection is of interest to researchers of Detroit history, the Merrill Palmer Institute, literary life at the University of Michigan in the 1920s, Robert Frost, and sculptor Carl Milles. Researchers of women's literary and social history will also find the collection interesting.

The Tyler collection consists of ten boxes of material, two of them diaries and day books. It is divided into the following series:

I. Diaries & Travel Journals

II. Photographs

III. General correspondence

IV. General writings

V. Publications

VI. Miscellaneous clippings, receipts, and reviews

VII. Research for unfinished book on Carl Milles

VIII. Research for writings on Robert Frost

IX. Oversized material

Tyler's diaries and travel journals give a full account of most of her life. She wrote a page or two in her diary almost every day for decades. The diaries record daily activities, as well as her thoughts and ideas about college life, current art and literature, world events, travel, sociological changes in Detroit, and events at the Merrill Palmer Institute. They document her strenuous efforts to remain actively engaged in literary life, even while employed in a demanding professional position. The travel journals document (with text and photographs) a trip to Ireland in 1938, a trip to England in 1960, and a trip to Europe in 1967.

General correspondence included in the collection is incomplete, but includes letters from several major publishing houses to whom Tyler submitted her Hopwood manuscript, Relic of Hilda.

The writings series includes several full-length novels, short stories, novellas, and volumes of poetry. It also includes short poems that she filed interleaved with her diary entries. The sheer volume of poetry and the many rejection slips indicate the extent of her efforts until at least 1971 to place her poems in literary publications of quality.

The collection contains extensive research material for Tyler's projected biography of Swedish sculptor Carl Milles, who was at the Cranbrook Academy in Bloomfield Hills, Michigan, 1931-51. There are some original files from Milles' legal representative and executor, LeRoy W. Dahlberg of Detroit, as well as Tyler's correspondence with a number of Milles friends and associates, notes on each of his sculptures, her draft manuscript, and several shorter articles she wrote about Milles.

Tyler's research and writing on Robert Frost is documented in the last series, which includes correspondence with his friends and associates, a scrapbook of photographs and clippings, and research files and notes.

The Tufts Papers contain case files, related documents, internal USACIDC administration and operational papers, and application of USACIDC resources. The Administrative Files consist of background and history of the USACIDC, as well as biographical information on Tufts, including a transcript of an interview, and some brief biographical sketches on other military personnel. Correspondence contains letters and memoranda between Tufts and other military personnel. The largest series, Case Files, concerns criminal investigations which Colonel Tufts directed, including the one convened for the My Lai Massacre. Additional cases involve other war crimes, murder, drug trafficking, drug use, bribery, rape, corruption, racketeering, illegal use of government property, etc.

The papers consist of case files, related documents, internal CID administration and operational papers, and application of CID resources. The Administrative Files consist of background and history of the USACID, as well as biographical information on Tufts, including a transcript of an interview, and some brief biographical sketches on other military personnel. Correspondence contains letters and memoranda between Tufts and other military personnel. The largest series, Case Files, concerns criminal investigations which Colonel Tufts directed, including the My Lai case as well as the Son My case. Additional cases involve other war crimes, murder, drug trafficking, drug use, bribery, rape, corruption, racketeering, illegal use of government property, etc.

Included in Box 2 is the index card filing system of Col. Tufts. This filing system is the key to all of the major case files. The number and letter designations in the upper right hand corner of the case files were copied from the original folders and correspond to the index cards. For example, the contents of case file "1A" (file A of case 1) can be found by locating card A in tab 1 of the index card filing system. (The tab numbers correspond to case file numbers and the letters refer to Reports of Investigation (ROIs). There is also a section divided alphabetically by last name of an individual or name of a firm. The number and letter code found on these cards corresponds to the numbered tabs in the front of the index. These "name" cards can be used as cross reference for locating the cases in which these subjects were involved. This system has been preserved for reference purposes and has been kept in the exact order in which it was received. We have made every effort to maintain the original case file designations and have also retained some of the original case file labels.

Only Social Security numbers were redacted from case files. The identities of individuals are not concealed. The photocopies are of the best quality, and any difficulty in reading them is due to the poor quality of the original, which in many cases was also a photocopy.

One box of materials containing personnel records has been closed and is not available for research.

This collection consists of 21 35mm slides with color illustrations depicting the traditional Vietnamese story of Thánh Gióng, accompanied by two pages of descriptive information.

This collection consists of 21 35mm slides with color illustrations depicting the traditional Vietnamese story of Thánh Gióng, painted by Tạ Thúc Bình and published by the Vietnamese Ministry for Education and Training in 1970. The slides are accompanied by two typed pages that provide a description of each image and a brief history of Thánh Gióng.

Chiefly letters from notable literary and political figures and foreign dignitaries invited to speak at Oratorical Association Lectures. A 1924 series of letters is from churchmen sought as speakers for the Wesleyan Guild lecture series. Include also are letter from 3 University of Michigan presidents and a regent, and a group of letters on miscellaneous subjects.

Thomas Trueblood's (1856-1951) collection of correspondence spans the years 1919-1988 and is mostly comprised of letters from individuals sought as speakers for the Oratorical Association lectures or other Department of Speech activities. Notable correspondents include Robert Borden (8th prime minister of Canada), Charles Gates Dawes (30th Vice President of the United States), Charles Evans Hughes (11th Chief Justice of the United States), William Morris Hughes (7th Prime Minister of Australia), and William Howard Taft (27th President of the United States).

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

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

This collection is comprised of the Everett E. Thompson Papers and Photographs. It contains material related to American missionary and civil servant Everett E. Thompson and includes correspondence and extensive photographs from Thompson's time in the Philippines in particular and Southeast Asia in general. Photographs document Thompson's travel to different islands in the Philippines, missionary and American life there, Thompson's travel between San Francisco, Honolulu, the Philippines, Singapre, and Myanmar, and unnamed subjects from the period after Thompson's return to the United States. Many of the photographs contain descriptive notes.

The collection is arranged in one manuscript box containing a variety of correspondence and three small, flat boxes of photographs. The manuscript box contains one folder of miscellaneous papers, one folder of correspondence, one full envelope of 98 letters, and one full envelope of 134 letters. The three flat boxes all contain albumen photographs in mylar. Subjects of the photographs include scenes from the American occupation of the Philippines, voyages to and from the Philippines including stops in San Francisco and Honolulu; travels in Southeast Asia, including Singapore and Myanmar.

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

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

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

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

Federal program to promote the use of information and communications technologies (ICTs) by providing matching grants to community based organizations to help them use or provide telecommunications for new opportunities, especially for unserved or under-served groups. Records include project proposals, reports, sound and video recordings relating to individual projects, websites and other digital records.

(NOTE: More information about the TOP collection, which is part of the TOP Data Archive, can be found at the following link: http://www.si.umich.edu/toparchive. Included at this website are electronic documents, web pages, and datasets created by the Technology Opportunities Program as well as related documents created by researchers and students at the University of Michigan School of Information.)

The TOP Data Archive was initiated in 2004 by the University of Michigan School of Information. In addition to TOP itself, partners include the Community Informatics Initiative at the University of Illinois at Urbana-Champaign Graduate School of Library and Information Science, the Educational Development Corporation, the Interuniversity Consortium for Political and Social Research, and the U of M Special Collections Library.

The TOP Data Archive is distributed, with physical materials in the U-M Special Collections Library and electronic materials online at one or more locations. As of 2006, the electronic materials are still being processed.

This idea behind assembling this data archive was to preserve important records concerning how local communities are entering the digital age, and create a foundational dataset for the emerging field of Community Informatics. This field examines communities and information and communications technology. It emerged in the 1990s from experiments with technology in communities which have been carried out worldwide, at the grassroots level and/or by means of national and international funding initiatives.

The TOP Data Archive includes 1) information assembled in the course of a federal agency managing its projects, 2) that same information re-purposed for research use, and 3) new information brought in for research purposes. The federal agency is the Technology Opportunities Program (TOP) within the National Telecommunications and Information Administration at the U.S. Department of Commerce. TOP funded projects from 1994-2005, and is expected to continue managing already-funded projects into 2007.

The records in the TOP collection--that part of the TOP Data Archive which is in the holdings of the Special Collections Library--represent grant proposals submitted to TOP and project materials created by TOP and its grantee organizations, known as TOP projects, during the period of 1994-2005. The collection is not inclusive of all 606 TOP projects. TOP was able to locate and provide for the collection project documents and Audio/Visual materials for about 88 TOP projects. These were materials that the projects submitted to TOP over the years. The TOP project materials are represented by many different formats, including paper, multimedia compact discs, floppy disks, cassette tapes, and video recordings.

The records of the TOP collection are arranged into eight series: Proposals, Project Documents, Project Reporting System, Project CDs, Project Floppy Disks, Project Cassette Tapes, TOP and NTIA, and Video Recordings. Later additions may be found in Proposals, Project Documents, and Video Recordings in Box 17.

The Tate Personal and Professional Papers document Vernon Tate's personal interests and activities along with many aspects of his professional career as a historian, librarian, and archivist between 1929 and 1989. Dr. Tate's papers contain correspondence, speeches, articles, meeting minutes, annual reports, newsletters, conference proceedings, press releases, dissertation research materials, and photographic and microphotographic research notes.

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 Tate Personal and Professional Papers document Vernon Tate's personal interests and activities along with many aspects of his professional career between 1929 and 1989. This group does not, however, include files from his work as Executive Secretary of the National Microfilm Association. Those materials can be found in the National Microfilm Association Records in this repository.

Dr. Tate's papers contain correspondence, speeches, articles, meeting minutes, annual reports, newsletters, conference proceedings, press releases, dissertation research materials, and photographic and microphotographic research notes. In addition, the collection contains log books (diaries), which contain his thoughts and notes on his personal and professional activities, although the log books will not be available for research until October 1, 2009.

Scattered materials concern Tate's activities between 1929 and 1935 as a student, researcher,and microfilmer for the Library of Congress. Included is correspondence, extensive research materials on the port of San Blas (his dissertation topic), and articles on maritime history and photography.

Large portions of several series concern the years between 1935 and 1946 during which Tate headed the photographic archives and research division of the National Archives and then served in the Navy during World War II. Almost two-thirds of the correspondence series and nearly half of Tate's speeches and writings date from this period. Besides these materials, the files contain inter-office memoranda, literature and notes on microphotography, and notes on his own experiments. Since Tate was the seventh professional staff member hired by the National Archives after its founding in 1935, the files include materials on the early development of the agency and the beginnings of the photographic laboratory and microfilm operation.

By the mid-1930's Tate was already one of the recognized authorities in the rapidly developing field of microphotography. In addition to his work at the National Archives, the files concern such topics as his work as editor of the Journal of Documentary Reproduction, 1938-1942; the early history of the American Documentation Institute and the Federation Internationale de Documentation; and his involvement in the work of the Microcard Committee. A small amount of correspondence concerns the establishment and early history of the National Microfilm Association, 1944-1946, before Tate became an officer.

The amount of material declines significantly for the years after 1946. Materials relating to his work as Director of Libraries at the Massachusetts Institute of Technology and subsequently as Librarian and Archivist at the U.S. Naval Academy appear, but they are smaller in quantity and less complete than the materials on earlier years. Although the Tate Papers do not concern his work as an officer of the National Microfilm Association, they do document many professional activities not connected with NMA. Included is material on his various library and archival positions and his involvement with such organizations as the American Documentation Institute and the Federation Internationale de Documentation.

In addition to documenting many of Tate's professional activities, his papers concern family matters and personal interests. The correspondence series includes a small sequence of family letters exchanged between Tate and his wife, parents, and other relatives. The personal interests series contains information on his hobbies and interests, especially in naval history and other nautical matters, but also in such areas as antiques, art, books and printing, history, and libraries.

Algernon Charles Swinburne was an important Victorian poet and critic. The collection documents Swinburne's literary affairs and friendships, plus critical reactions to the poet. It consists of correspondence, writings, photographs, artworks, and printed material produced by Swinburne, his friends and associates, and present-day scholars. Over 200 pieces of holograph correspondence and manuscript material, over half of which is by Swinburne, are included. Also prominent is material by Theodore Watts-Dunton, Swinburne's friend and legal advisor.

This finding aid encompasses accessions of single manuscripts and small groups of manuscripts and other papers by or pertaining to Algernon Charles Swinburne, which the library has chosen to gather into one collection.

Much of the material in this collection forms part of the Kerr collection, formally titled the "Evelyn and Lowell Kerr Collection of Swinburne Books and Manuscripts in the Library of the University of Michigan." The Kerr collection was assembled by Lowell Kerr, a dedicated Swinburne collector. (See biographical entry.) In addition, Kerr worked for many years on the compilation of a descriptive catalog to the collection, which was, unfortunately, never completed. More information on arrangement of the Kerr collection can be found at the end of this section. All of the books from the Kerr collection, and many of the pamphlets, have been removed and cataloged separately.

The works and correspondence of Swinburne are well-represented here. Much of the selection of verse is fragmentary in nature--in some cases, leaves of a single work are spread across repositories; but Swinburne's prose pieces are notable in their completeness and number. Also showcased are the letters and works of important figures in the Pre-Raphaelite movement, as well as other literary luminaries of the day. The publishing interests of Swinburne and his circle are also detailed.

The collection is made up of six series: Works, Correspondence, The Swinburne Circle, Photographs and Art Images, Printed Material, and Swinburne Research and Collecting. Unless indicated otherwise in the contents list, items in the Works and Correspondence series are holograph works by Swinburne (or, rarely, in the hand of an amanuensis). Items in the Swinburne Circle series are letters or manuscripts in the hand of their respective authors, or their secretaries. In some cases, autograph material originally laid into books has been removed and added to the collection; in other cases, such items have been left in the books. Either way, a note to such effect has nearly always been made in the book's catalog record or in the contents list below. Moreover, for purchased material, copies of dealer descriptions often have been retained and may offer further details not included here.

A Note on the Kerr and Lang Numbers:

Since many of the pieces in this collection have already been cataloged individually, further details can often be found in the catalog records for those items. Furthermore, "Kerr numbers" have been assigned to many items. These numbers refer to entries in Lowell Kerr's catalog, in which he described the items that were originally from his collection. Along with library staff members, he continually updated and reworked the catalog up until his death. Library staff continued to revise the work through the 1980s, but it was never completed.

Although every effort has been made to respect the provenance of items from the Kerr collection, in some cases a Kerr number may have been assigned but is not noted in the finding aid. Researchers wishing for more information on items originally from the Kerr collection should consult the various drafts of the Kerr catalog, which are available in the Swinburne Research and Collecting series. The Kerr numbers in this finding aid refer to the most recent available draft of the Kerr catalog. The researcher should note that the Kerr catalog, while containing a wealth of information, is heavily anecdotal in nature, with a number of guessed-at facts and dates still in need of verification.

Cecil Lang, professor emeritus at the University of Virginia, is an eminent Swinburne scholar. Professor Lang is the author of the six-volume The Swinburne Letters (New Haven: Yale Univ. Press, 1959-1962). In this work, he assigns numbers to every item of Swinburne correspondence which he was able to locate, across repositories; thus, many items have both Kerr numbers and Lang numbers. Both numbers, where extant, are generally noted in the contents lists below.

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.

This collection includes arrest papers, clippings, correspondence, photographs, and court records related to the case Street vs. New York. The Physical Evidence file contains remnants of the burned flag.

The Flag-Burning collection is comprised of court papers, correspondence, news articles, and pamphlets relating to the case known as Street vs. new York, including parts of the actual burned flag used as evidence in the court proceedings. Court papers chronicle the position of the prosecuting attorney, Harry Brodbar, including the transcripts of the actual trial and the arrest order. There are letters of support for Brodbar from William F. Buckly, Veterans of Foreign Wars Magazine editor Paul W. Mills (Brodbar was a member of the VFW), and a member of the American Legion. Other items include newspaper clippings on the progress of the case, an issue of Legion magazine and photos of King County Asisstant District Attorney Harry Brodbar, and a flag burning event. A single autographed poster of an artist's interpretation of an American flag, which includes the signatures of Dave Dellinger, Pete Seeger, Joan Baez, Phil Ochs, and Pat Paulsen, became the basis of a similar case involving a bookstore owner. It is the only expression of support on behalf of Street in this collection.

This case is a microcosmic study of how two conflicting forces- the Vietnam/Civil Rights movement on one hand and the conservative forces of law and order on the other, brought their grievances to the highest court in the land. The representations of the act of burning the flaf are a universal and enduring feature of protest. The act of burning a US flag by Sidney Street in itself is not unique-- that is to say it has happened before and certainly since-- however, the documentation of how a ruling on the act of protest through speech and symbolism took shape in the US Supreme Court has significant historical value. Although these are mostly papers from the prosecutor's files, this collection presents both sides of the legal argument in court. Moreover, Sidney Street is a representative, through this archival record, of a mass of 'average' US citizens who became fed up with war and inequality. This collection contributes to understanding the limits of authority and protest in public life and, as such, it is a very valuable resource for scholars of US law, civil rights, and the Vietnam War era.

The collection contains a series of letters from Robert "Ed" Stover to William "Bill" Goring, his lawyer and confidante. The bulk of the letters are from Stover's incarceration in San Quentin prison, where he died in 1972.

The letters consist primarily of hand-written letters from Stover to Goring, but also included are photocopies of Goring's letters to Stover. Also included are some note- and postcards, as well as several newsletters and other serialized mailers. Newspaper clippings shared between the two men are also included, as well as photocopies of a document titled "Notebook of a Convict in the Alameda County Jail."

Materials are generally arranged chronologically.

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

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

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

This collection documenting the history of the Industrial Workers of the World (IWW) and of labor organizing in North America was assembled by Don Stewart, owner of the Vancouver bookstore MacLeod's Books since 1973. The collection is arranged into five series. Organizational Records comprise records of the central IWW administration, such as general convention minutes (1913-1969 with gaps), general executive boards letters and minutes (1959-1964), financial statements (1918-1944 with gaps), membership cards, and documents from the general defense committee relating to IWW prisoners during World War I. Reflecting the IWW's internal structure, Constituent Unions Records are organized by industrial trade numbers and include administrative documents and organizing literature. Constituent Unions Records also include a few folders relating to the Western Federation of Miners, which pre-dates IWW's founding in 1905 The Colorado Coal Strike Archive is a set of letters, telegrams between labor organizers, bulletins to workers, and other documents relating to the Columbine Mine Massacre of 1927. Topical Literature contains general ephemera by the IWW and literature related to the IWW and labor unions, including a transcript of the play "The Wobblies" by Ronald Weihs and a memorial booklet for Carlo Tresca. Finally, International Material contains foreign print materials about IWW or labor more generally. It also contains records and letters from the Canadian division of IWW in the Vancouver area, including letters from Fred Thompson and Pete Seeger.

Private Steiner, a communist and conscientious objector, was sentenced to death for refusing military orders in WWI. Sentence was commuted to 15 years hard-labor by President Harding. Consists of 66 Steiner letters written from prison to his sisters and mother.

The collection consists of 66 letters from Private Francis Steiner, a German-American, mainly to his two sisters, Anna and Aloisia. The letters were written between May 1918 and November 1920, from various prisons (Camp Funston, Fort Dix, Fort Riley, Fort Leavenworth, Fort Douglas). Although his scheduled date of release was February, 1923, the last letter, dated November 7, 1920, makes no mention of an impending release. There are two letters written to his mother. Letters from prison during that time were required to be in English. His parents apparently did not read or write in English, so his letters home were no doubt translated for them.

Much of the subject matter in the letters describes prison life, the political views of Private Steiner (he was a communist and also a strong supporter of the IWW), the treatment he and his fellow C.O.s (Conscientious Objectors) received at the command of various officers in charge, the food they were served, etc. One amusing letter (January 30, 1920) described the visit to Fort Douglas from General Pershing. The letters also contain "brotherly advice," such as how to shoot a good photograph, (Steiner was the "house" photographer in prison and was apparently given access to dark room facilities as well) and words of encouragement regarding their jobs and social activities.

There is one letter, dated February 21, 1919, written to "Miss A. Steiner" from F.P. Keppel, Third Assistant Secretary, War Department, Washington. This letter was in response to an inquiry from either Anna or Aloisia about her brother's status in prison. Also included is a photocopy of a newspaper clipping which tells that Steiner's death sentence was commuted to 15 years by President Harding.

Steiner made several references in his letters to enclosed photographs, which were not included with the collection. No information is available about these photos.

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 Ethel Smyth collection contains correspondence with members of the musical community and members of the women's suffrage movement, drafts of autobiographical work, performance programs and pamphlets, and extensive diaries by Smyth commenting on personal matters, national and regional politics, composition and performance, and the lives of her friends. Also contains two sketches of Smyth by an unknown artist and two books of research notes by Christopher Marie St. John for the definitive biography of Smyth.

The Ethel Smyth collection is comprised of five series. The series, Manuscripts, Print, Research Notes, Artwork, and Diaries, are arranged in two boxes. The bulk of the Manuscripts series consists of outgoing correspondence dated from 1910 to 1937, primarily addressed to recipients who were involved in the music community of the time. Most of the outgoing correspondence is addressed to Professor Donald Tovey, a Scottish composer and conductor and one of Smyth's mentors. This correspondence consists of 16 letters spanning more than 14 years and addresses various musical topics. Also represented in the outgoing correspondence are letters to composer and conductor Gordon Bryan; to Philip Heseltine (a.k.a. Peter Warlock) a composer and founder of the music serial The Sackbut regarding an article she wrote for the publication; and letters to Lady Constance Lytton, who was a friend of Smyth's in the Women's Suffrage Movement. Correspondence also includes a letter to Scottish conductor and student of Donald Tovey, Dr. Mary Grierson, remarking on the glorious first performance of Smyth's work, The Prison in February of 1931. Other correspondence consists of a letter from Lindsay Venn to Ethel Davidson regarding the disposition of Smyth's papers after her death. Also included in the Manuscripts series is the typescript of Lyrics to Smyth's composition, The Prison, based on the writing of Henry Brewster, who was strongly connected to Smyth. Finally, there is a fragment of several bars of music from the Concerto for Violin, Horn and Orchestra penned and autographed by Smyth. A fragment of a composition by Smyth's contemporary, Frederic H. Cowen is on the verso of this item. The Writings sub-series is made up of drafts of two typescripts. The first contains the first three chapters of A Fresh Start, Smyth's last autobiographical work, which was probably begun in 1941 but was never published. The second contains three drafts of An Eightieth Birthday, a speech given on BBC radio in 1938. These are heavily corrected in Smyth's hand. Finally, there is a single holograph sheet entitled Notes on "Mass in D" which seems to be jottings for program notes. The Print series consists of a program from the 1921 Queen's Hall Symphony performance of Smyth's "Love Duet" from her opera, The Wreckers. It also includes a pamphlet containing the lyrics of March of the Women, a piece Smyth wrote in support of the Women's Suffrage Movement. There are three newspaper clippings which discuss Smyth as a conductor, especially at the Bournemouth Music Festival, held in April of 1924. The Research Notes series contain two books of notes taken by Christopher Marie St. John for the definitive biography of Smyth. Both contain research notes and possibly notes from interviews with Smyth and members of her circle. The second of the notebooks is entitled "Wood on her Conducting / Beecham on Criticism" and contain commentary from two of Smyth's close acquaintances, Henry Wood and Thomas Beecham. The Artwork series consists of two pencil sketches of stage sets for Smyth's opera, "The Prison." The artist of these sketches is unidentified. Perhaps the most significant portion of this collection is the Diaries. These six volumes are in fragile condition and begin in 1917, continuing almost uninterrupted through 1942. The diaries are heavily annotated by Smyth herself, and she obviously used them in writing her autobiographical works. The dated entries present an excellent description of Smyth's life and include commentary on composition and performance of her music; her literary works; her health (in particular, her failing hearing) and travels; her beloved old English sheep dogs; World Wars I and II; the political climate of Ireland in the early 20th century; British royalty; and the lives of her many friends, including Empress Eugénie, Edith Somerville, Lady Ponsonby, Maurice Baring, Betty Balfour and Virgina Woolf. Throughout the diaries, Smyth has pasted in newspaper clippings, photography, pamphlets and other memorabilia. It is possible that Volume VI, which consists of family photographs, poetry by Ethel and her sister Mary, and other notes, is written in a hand which is not Smyth's.

Librarian and manager of technical information services at the Institute for Defense Analysis, Arlington VA. Expert on production and dissemination of technical reports by government agencies. Active in a variety of groups including the Committee on Information Hang-ups; later joined the staff of the National Technical Information Service. The collection contains correspondence, meeting minutes, agendas, reports, notes, and articles.

The Smith Papers document the work of the COMMITTEE ON INFORMATION HANG-UPS from 1969 to 1986, related USER GROUPS from 1971 to 1981, the SHARED BIBLIOGRAPHIC INPUT EXPERIMENT from 1973 to 1981, and the DEPOSITORY LIBRARY COUNCIL TO THE PUBLIC PRINTER from 1974 to 1979. The collection contains correspondence, meeting minutes, agendas, reports, notes, and articles. Also included are IDA LIBRARY/TECHNICAL INFORMATION SERVICES annual reports, covering the work of Smith and her staff between 1970 and 1980, and PUBLICATIONS of the Committee on Information Hang-Ups and other user groups. The bulk of the collection dates from the time when Smith served at IDA. Very little is from after she joined NTIS.

The focus is on the work of user groups in influencing policies on the pricing and dissemination of information of Federal government agencies, especially the Defense Documentation Center, the National Technical Information Service, and the Government Printing Office. A name index to correspondence in the collection is available.

Babyfish was a radical political zine published by Detroit-based poet, anarchist, and pansexual advocate Andy Smith, also known as Sunfrog, between 1988 and 1996.

The Babyfish papers consist of a variety of zines, most with a radical, anarchist and pansexual base. The actual zine Babyfish consisted of six issues; this collection includes the latter five. Each of these issues are of varying lengths and themes, but for the most part they address radical topics concerning urban living, with a particular emphasis on the decay of inner-city Detroit. Other papers in the collection include additional radical zines, some of which were created exclusively by Sunfrog, others being collaborative efforts. The collection also includes financial receipts which have to do with the printing of Babyfish.

The title zine is rich in anarchist commentary on social, political, and economic issues that affected the United States government from the spring of 1988 until the final issue was published in the winter of 1994. The Detroit "journey" of Sunfrog is made more palatable by the collaborative efforts of regular guest artists, musicians, poets and those involved with the radical politics of the city.

"With the dynamic skills of Pat Medicine working overtime, the 'fish organized itself into thematic sections which honed recurring motifs. 'Radical Sexuality' (feminism, US Out Of My Uterus, homocore, The Radical Faeries) & 'Earth vs. The Machine' (ecological, anti-nuke, anti-car & anti-incinerator raves) appeared alongside poetry, interviews & reviews which featured such local musical talents as: Only A Mother, Yeastie Girlz, Sleep, Gories, Viv Akauldren, Roger Manning, John Bartles, The Blanks & more." (Sunfrog, Babyfish, Issue #6, p.7)

Babyfish's radical nature "clearly articulated a response to Helms-era censorship hysteria by its use of wild graphics and explicit words, encouraging cultural debate & never compromising the ethic of a "free-form" journal." (ibid.) Sunfrog clearly recognized that his efforts at expression were not definitive. In his final editorial he passes on the radical torch by saying "As we put raps on the final issue of Babyfish, it is clear that there is still an enormous amount of unpublished work which the community deserve a chance to see…this is our final entry in a prolific Cass Corridor journey." (ibid.)

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

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

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

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

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

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

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

Materials relating to the career of Dan Moses Schreier, a sound designer and composer a variey of New York theatre productions. Included are sound "bibles," scripts with sound cues, musical scores, miscellaneous ephemera related to productions, and CDs, Zip drives, and hard drives containing scores and sounds from Schreier's works.

The Papers Series consists of materials related to sound design, composition, and the production of plays and musicals Schreier worked on throughout his career. Many of these materials were originally in binders; those materials were rehoused, with all titles and labels transcribed and/or included in the folders. Materials are arranged in order of project and production date.

The Audiovisual Materials Series consists of CDs, floppy disks, and hard drives. These contain scores, sound palettes, and samples Schreier has used for productions, including some productions not represented in the paper materials. Materials are arranged in order of project and production date. Materials relating to personal projects, or else not affiliated with specific projects are located at the end of the series.

The Epherma Series contains a single playbill and guest pass, from 1994 and 2002, respectively.

This collection contains correspondence to Austrian composer Arnold Schönberg from fellow composers, musicians, and friends, including conductor Wilhelm Furtwängler, Austrian conductor Heinrich Jalowetz, Franco-Polish composer and conductor René Leibowitz, writer Klaus Mann, pianist Artur Schnabel, and American cellist and conductor Alfred Wallenstein. The correspondence covers five decades, including his move to the United States following the Nazis' rise to power in 1933.

The Schönberg papers consist of correspondence written to Schönberg from fellow composers, musicians and friends. Correspondents include the conductor Wilhelm Furtwängler, Austrian conductor Heinrich Jalowetz, the Franco-Polish composer and conductor René Leibowitz, the writer Klaus Mann, the pianist Artur Schnabel, and the American cellist and conductor Alfred Wallenstein. The correspondence is in German, French and English. In addition to this finding aid, the Special Collections Library holds a more extensive inventory of the papers.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

This collection consists of physics professor and anarchist George Salzman's manuscripts, writings, correspondence, photographs, teaching materials, and ephemera.

This collection consists of physics professor and anarchist George Salzman's manuscripts, writings, correspondence, photographs, teaching materials, and ephemera. Salzman organized his papers around various themes, places, and organizations of importance to him, which is reflected in the labels he used.

The majority of papers fall under three general categories: Salzman's teaching materials for Science for Humane Survival, writings and ephemera related to Mexico, and essays from and correspondence pertaining to Salzman's website.

Salzman's teaching materials consist of slides, diagrams, and lecture notes that he used to teach Science for Humane Survival. Most of these were created during the mid-70s.

The papers about Mexico comprise ephemera from various indigenous activist groups, including the Asamblea Popular de los Pueblos de Oaxaca (APPO), formed during the 2006 uprising, and the Zapatistas. Salzman took part in the Zapatistas' 2001 march across Mexico for indigenous rights, which he touches on in some of his correspondence. He documented the 2006 Oaxacan uprisings in detail, saving pictures, logging the dates and times of important incidents, and writing descriptions and analysis of the events as he understood them. In addition to these documents, Salzman collected various essays, manuscripts, and ephemera about environmental protection in Oaxaca and Mexico more generally. These materials span from the late 1990s to roughly 2008.

The essays from Salzman's website were penned by a variety of writers and cover a range of subjects related to anarchism, revolution, environmentalism, and identity. Featured heavily are essays about the Israel-Palestine conflict written by Israeli peace activist Uri Avnery. These materials span from the mid 90s to roughly 2008.

Other materials of note include Salzman's correspondence with fellow anarchist, James Herod; records of Salzman's donations to various institions and causes; and photos of Salzman's home in Oaxaca.