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University of Michigan professor of Germanic Language, Literature, and Culture, scholar and translator of East and Central European literature, poet. Correspondence with authors, scholars, poets, and editors; manuscript and printed versions of poetry printed by George's Kylix Press; notes, drafts, typescripts, and proofs of articles, reviews, and the major editorial works "Contemporary East European poetry," and "Husbanding the golden grain: studies in honor of Henry W. Nordmeyer."

Correspondence with authors, scholars, poets, and editors; manuscript and printed versions of poetry printed by George's Kylix Press; notes, drafts, typescripts, and proofs of articles, reviews, and the major editorial works "Contemporary East European poetry,"(Ardis Press, 1983; Oxford University Press, 1993), and "Husbanding the golden grain: studies in honor of Henry W. Nordmeyer," (University of Michigan, 1973). Also includes large series on Friedrich Holderlin and Miklos Radnoti, reflecting George's primary subjects of research and translation.

This collection contains materials about the personal lives and political activities of Emma Goldman and Warren Starr Van Valkenburgh, organized into four series. The bulk of the collection is correspondence between the two anarchists, primarily from the 1920s (Series 1). Also included is correspondence with other people (Series 2), records and correspondence related to committees for various political causes and to raise funds for the writing of Goldman's autobiography (Series 3), and printed materials including books and pamphlets, newspaper clippings, and typewritten drafts written by Goldman (Series 4).

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This 138-page unpublished screenplay dramatizes the life of anarchist Emma Goldman.

This collection consists of letters from anarchist writers and labor organizers Emma Goldman and Alexander Berkman to their friends Virginia and Lee Hersch, along with a couple miscellaneous private publications.

This collection includes letters from Emma Goldman and Alexander Berkman Americans Virginia and Lee Hersch in Paris, dated June 1930 to March 1934. All but one of the Goldman letters were written from "Bon Esprit" in St. Tropez (the last letter was written after Goldman moved to London).

Goldman first writes Hersch on June 10, 1930 with a request to send autographed bookplates to Arthur Leonard Ross. In that letter, Goldman writes how glad she is to have met the Hersches, and to "count you among my friends." Subsequent letters are increasingly warm and intimate, as Goldman shares news of mutual friends, makes arrangements for her to visit the Hersches in Paris, and reports on her travels, writing, and concerns about Alexander Berkman.

The Berkman letters were written from Nice, France. Like Goldman, Berkman discuss his political and philosophical ideas, as well as his efforts not to be expelled by the French government, mutual friends, and concerns about personal finances and health. In particular, his letter of July 6, 1933, mentions his "psychic disgust with the world at large, [and] my situation…." before going on to comment on the futility of both Russian state capitalism and U.S. private capitalism: "The result is the same: man is turned into a slave of the State or of the private owner."

In addition, the collection holds an undated memo reviewing Goldman's Living My Life, a limited edition of Voltairine de Cleyre inscribed by Emma Goldman for Virginia Hersch, and a 20-page booklet of letters of appreciation for Berkman's sixtieth birthday celebration in 1930.

The Eric Torgersen Papers consists of literary journals, personal and professional correspondences, publicity, poetry and translation drafts, and works from Torgersen's academic career at Central Michigan University and creative career as a poet/writer from the years 1963 to 2019. Also included are multiple drafts of his "Waves" poetry journals, and drafts of other poet's poems.

The Correspondence series consists of materials spanning the years 1963-2016. The Correspondence subseries includes communications with Trogersen's contemporaries, other poets submitting poems to his poetry journal, Trogersen's book proposals, communications with publishers, and correspondences related to 'Poem of the People' and 'Waves' publications. Among the more notable correspondents are Louise Glück, Jim Harrison, Faye Kicknosway, Peter Klappert and more.

The Publicity series (1967-2013) contains various reviews on Eric Torgersen's works, programs and poster art, and (U.S.) domestic newspaper clippings. This series notably includes a review on Faye Kicknosway's work.

The Publications series (1963-2017) contains multiple editions and manuscripts of the poetry journal "Waves" volumes, mailing address lists, Eric Trogersen's published books, and many other published poetry journals. Also included in this series are a collection of Italian publishing of Torgersen's poems, Cornell's poetry journals, and a University of Tampa Poetry Review issue.

The Creative Works series (1961-2019) includes drafts of various poems written by Torgersen, drafts for book proposals, scene breakdowns, essay drafts and their correspondence, a couple of Torgersen's own translations and more. This subseries also contains multiple untitled drafts, both handwritten and typed. Some of the works that appear in this series are multiple drafts and versions of Torgersens novel "Ethiopia", book proposal drafts, and Torgersen's own translations of Nicolas Born's poems.

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.

This collection contains material related to the anarchist Esther Dolgoff's English translation, completed around 1980, of Joseph Cohen's 1945 Yiddish book Di yidish anarkhistishe bavegung in Amerike: historike iberblik un perzenlekhe iberlebungen (The Jewish Anarchist Movement in America: Historical Overview and Personal Experiences). In addition to a photocopy of Dolgoff's handwritten translation of the four-part work, the collection contains a small number of letters written by Dolgoff concerning the manuscript.

The bulk of this collection is a photocopy of the handwritten, unpublished manuscript of Esther Dolgoff's translation of Joseph Cohen's 1945 Yiddish book Di yidish anarkhistishe bavegung in Amerike: historike iberblik un perzenlekhe iberlebungen (The Jewish Anarchist Movement in America: Historical Overview and Personal Experiences). A notable addition is two original, handwritten chapters of the translation and a typed foreword and table of contents. Handwritten annotations, likely written by Philadelphia anarchist Robert Helms and another unknown comrade, appear throughout the photocopied manuscript. These materials together comprise the second and largest series, "Manuscript."

The first series consists of a small amount of correspondence, mainly letters from Esther Dolgoff to Frank Gerould written in 1980, and emails from Gerould and Helms to Labadie curator Julie Herrada in the 2010s providing some context for the manuscript.

This collection documents the activities of Esther Newton (1940-), a professor, cultural anthropologist, and author who is a founder and prominent scholar of LGBTQ studies. The collection contains correspondence; research files; drafts and manuscripts of Newton's published and unpublished writings; coursework, notes, course syllabi, exams, and bibliographies from Newton's time as both a student and professor; presentations, speeches, lecture notes, and programs from conferences and public appearances; newsletters and meeting minutes from professional organizations; genealogical research and photographs of Newton's relatives; and photographs documenting Newton's life and research.

This collection documents the activities of Esther Newton, a professor, cultural anthropologist, and author who is a founder and prominent scholar of LGBTQ studies. The collection contains both personal and professional correspondence; research notes and files; drafts and manuscripts of Newton's published and unpublished writings including essays, books, articles, and journal entries; contracts, reprint permissions, reader's reports, reviews, and correspondence with literary agents and editors; coursework and notes from Newton's undergraduate and graduate student career; course syllabi, quizzes and exams, and bibliographies from Newton's career as a professor; lectures and speeches, paper presentations and proposals, and event programs from academic and professional organization conferences and other public appearances; newsletters and meeting minutes from professional organizations, recommendation letters, proposal reviews, and exhibition planning materials; and personal materials such as summer camp publications, academic transcripts, real estate records, publicity, and interviews.

The collection also contains genealogical materials including family trees and charts; photographs of Newton's family members dating back to the late-1800s; correspondence belonging to Newton's mother, grandmother, and great-grandmother; scrapbooks and photograph albums depicting the Bash family, Newton's mother and maternal grandparents; newspaper articles written in the late-1800s by Newton's maternal great-grandmother Lucia Gilbert Runkle; and research and correspondence relating to Newton's father, Saul Newton.

The collection contains photographs depicting the life of Esther Newton, including photographs of Newton's childhood, friends, romantic partners, and events such as birthdays and vacations. Other photographs depict places, events, and people related to Newton's research, particularly Cherry Grove, New York and drag queen performers in the 1960s. Titles denoted in quotes in the finding aid are transcribed from Newton's original titles of folders and envelopes.

Series 2, Research, contains files of Newton's research relating to her studies, career, and writing. The folders contain scholarly articles, journals, newspaper and magazine articles, book chapters, and written and typescript notes. The files are arranged alphabetically by the author's last name, and by topic if publications are mixed.

Series 3, Writings, contains drafts, manuscripts, and research material relating to the books and articles Cherry Grove, Fire Island; The Future of Gender; A Hard Left Fist; Margaret Mead Made Me Gay; Mother Camp; My Butch Career; The Mythic Mannish Lesbian; Sex and Sensibility; Too Queer for College; Womenfriends; and the unpublished Alice-Hunting; as well as various other essays and articles.

The Ethel Smyth Papers contain 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 Papers are 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.

The collection contains material related primarily to Langbord's long friendship with Emma Goldman. It includes correspondence, clippings, portraits of Goldman, and miscellaneous material related to Goldman including her Russian passport, US citizenship document, and affidavits witnessing Goldman's marriage. It also contains a signed will by Alexander Berkman.

The collection consists mainly of documents belonging to and relating to Emma Goldman. Goldman was a close friend of the Langbord family, and upon her death the Langbords, through Jeanne Levey in Chicago, were given the personal documents Goldman considered important enough to carry with her. They included identification papers, publishing contracts, legal documents, and some letters. Additional material includes clippings saved by Eva Langbord, correspondence, and photographs. A few partial transcriptions of Goldman's letters to Berkman can be found in Goldman's correspondence file; the whereabouts of the originals are unknown. The collection, though small, is divided into four series: Clippings, Correspondence, Emma Goldman, and Misc. materials. The Clippings file contains newspaper articles saved by Eva Langbord, relating mainly to Emma Goldman. The Emma Goldman series includes Goldman's Russian passport, her U.S. citizenship document (signed 16 October, 1908), and various other identification cards from France, Germany, andEngland. This series also contains two affidavits signed by the Rabbi who performed the marriage ceremony between Goldman and Jacob Kerschner in February 1887. Also included are affidavits signed by Helene Hochstein and Sam Cominsky, who witnessed the marriage. The publishing contracts for Emma Goldman include those for The Autobiography of Emma Goldman, My Disillusionment in Russia, and The Voyage of the Buford. The Misc. materials series contains materials of Alexander Berkman, including his handwritten last will, signed 11/22/35. The series also contains three portraits of Goldman, including one taken by Eugene Hutchinson (Chicago) and one signed by S. Flechine (Paris). The third portrait is signed by Goldman. There is also a snapshot of Agnes Inglis (1928).