Collections : [University of Michigan Special Collections Research Center]

Edward C. Weber (1922-2006) was long-time curator of the University of Michigan Special Collection's Joseph A. Labadie Collection of radical history. Under his stewardship, the Labadie Collection grew into one of the premier and most forward-thinking holdings of materials relating to radical and protest groups from the United States and around the world. The Edward C. Weber Papers are made up of the subject's correspondence and biographical materials, written from 1949 to 2006. The bulk of the collection, the correspondence is mostly comprised of Weber's letters soliciting materials on behalf of the Labadie Collection or fielding reference questions from researchers, as well as personal correspondence from the his family and friends. The collection's materials are comprised of letters (typed and handwritten), printed out emails, postcards, greeting cards, news clippings, photographs, printed biographical materials, framed commendations, and other miscellaneous paper materials.

The Edward C. Weber Papers consists of Weber's correspondence with organizations, publishers, researchers, associates, family, and friends, along with biographical materials created for his retirement and memorial services. The collection provides a snapshot of the Joseph A. Labadie Collection and his work there for a 40 year period (1960-2000), as well as a portrait of his personal relationships with friends and family from 1949 to 2005.

The Biographical Materials series contains materials from Weber's retirement celebration and memorial service. The first folder contains past articles and correspondence on paper stock, reprinted for Weber's memorial service in 2006. The second set of items relate to Weber's retirement in 2000. This includes a flyer for his retirement celebration, articles about his retirement, and copied certificates of commendation. In addition, two framed items of commendation are housed in an oversized box.

The Correspondence series makes up the majority of the collection and is comprised of 27 linear feet of paper material housed in 54 manuscript boxes, foldered alphabetically by correspondent or corresponding organization. Individual letters, cards, photographs and other types of written communication are arranged chronologically within each subject's folder(s). The majority of folders are dedicated to outreach by Weber to various radical groups and individuals soliciting material donations to contribute to the Labadie Collection. His written responses to reference inquiries for items within the Labadie Collection make up another significant segment of the series. Most of these materials are typewritten letters officially sent on behalf of the Labadie Collection and University of Michigan Special Collections. Some later letters were written by Labadie Collection assistants during Weber's time there and with his knowledge. Since Weber never used email, his letters sent on behalf of the Labadie Collection were typed on a manual or electric typewriter. There are occasional handwritten notations on some of these letters and a few emails printed out so he could read them. Other folders in the series contain personal correspondence from friends, family, and other associates. These items are made up mostly of handwritten notes, postcards, greeting cards, newspaper clippings, printouts of emails, occasional photographs, and other miscellaneous items. Many of the folders were removed from the general Labadie correspondence files in 2008 and a listing was made of them at that time. The rest of the series is made up of personal correspondence Weber stored in his home.

Within the series are several notable, lengthy correspondence partners including Theodore Adams (1950-2004, 21 folders), James Q. Belden (1952-2000, 11 folders), George Nick (1949-1991, 12 folders), Curtis and Clarice Rodgers (1961-2005, 18 folders), and Henry Van Dyke (1950-2004, 12 folders). The series also includes correspondence from notable individuals such as civil rights activist Malcolm X, graphic novelist Harvey Pekar, former Secretary of State Eliot Abrams, the White Panther Party, among many others.

Abbreviations:

LC=Labadie Collection ECW=Edward C. Weber

Eleanor Leacock was a prominant marxist/feminist anthropologist active from the 1940s to the late 1980s. Her area of focus was social and gender relations, feminist theory, and racism in American education. During her career she conducted multiple studies and field work, most prominantly the work she did with the Innu of Labrador Canada. Her collection includes materials related to her various studies and field work, publictions and teaching career, areas of research, and a small portion of family/personal materials. The collection ranges from 1915 to 1987, but most of the collection spans from the 1940s to the 1970s. Notable materials are the field notes and research materials from her field studies in Zambia, Labrador Canada, and Samoa.

The majority of materials in this collection are manuscripts, field notes, research materials, correspondence, articles and papers. This collection includes materials directly related to Eleanor Leacock's career as an anthropologist, such as research notes, field materials, publications, drafts, teaching materials, and correspondence, as well as resources related to the anthropology field. Since Leacock was an anthropologist as well as a professor, many in the field would send Leacock papers and materials for her to review or annotate. These are included in the Professional Materials series. This series in particular will house a large portion of the collection since it includes Leacock's work on her own publications and textbooks as well as those she reviewed for others. The Subject/Research Files series is also very large because it includes notes and research that Leacock conducted throughout her career. There is very little arrangement or description in these folders beyond what was listed on original folder headings.

The most significant portions of this collection pertain to her field work for her various studies. Her most prominant study being the work she did with the Innu in Labrador. Because Leacock passed while in the field in Samoa, the materials in the Samoa series may be unfinished, as are the materials related to her "Levels of Integraion" book, which she had been working on when she passed.

Keeping with the original order of the collection, some topics will be interspersed throughout the collection. For example, some correspondence relating to articles or publications will be found in the Publications series rather than Correspondence, and field materials may be interfiled with other studies (a few Innu materials are found in the Samoa Study series).

Ella Reeve "Mother" Bloor (1862–1951) was an American activist dedicated to the labor movement, the Socialist Party, and numerous radical groups.

The Ella Reeve Bloor Papers consist of two linear feet of personal and professional correspondence, notebooks and pamphlets, clippings, publications, and printed ephemera.

The collection, divided into 4 series, documents her activities as suffragist, free speech advocate, and labor organizer.

The Correspondence series consists of manuscript letters betweeen Bloor and her family, and correspondence between Bloor and her colleagues.

The majority of the family letters are to/from her children. Her letters, written during her travels, provide information about individuals and events associated with her work. Most of the family letters include the month and day written, but not the year. As a result, the letters are arranged in non-specific order.

Bloor's correspondence with colleagues and organizations are arranged chronologically. Included are letters from various Socialist societies, state and local government offices, newspapers, and labor unions, such as the New York State Committee Socialist Party, United Cloth and Cap Makers, Tailors' Union. In addition, there are handwritten letters from other activists involved in socialist and labor causes (e.g., letter from Joseph W. Sharts, counsel for Eugene V. Debs in his trial at Cleveland, Ohio; Theodore H. Lunde, officer of the Peace Council in Chicago).

The Publications series includes several small booklets, articles, a journal, and a report on the professional achievements of Harold M. Ware.

This collection consists of letters, prints, and brochures that children's authors and their publishers sent to Chamberlain, a school librarian.

This collection consists of letters, prints, and brochures that children's authors and their publishers sent to Chamberlain, a school librarian. The letters date from late 1972 to fall of 1973. The collection consists primarily of type- and hand-written letters on various stationary. Some authors wrote on or signed brochures or book pages. A few included printed illustrations.

Authors discuss subjects such as their upcoming work, their inspirations, the importance of reading and fun in childhood, and censorship in children's literature.

Notable items include an authentic signature from Charles Schulz, an illustration from Patricia Coombs' Dorrie and the Goblin, and a series of exchanges between Chamberlain, Roald Dahl, and a magazine editor concerning a critical review of Charlie and the Chocolate Factory>.

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 Finvola Drury papers consist of correspondence, publications, writings, printed ephemera, photographs, and audiovisual materials created or collected by Finvola Drury, a poet, teacher, , and activist.

The Finvola Drury papers are organized into eight series: correspondence, publications, writings, professional, personal, photographs, clippings, and A/V materials.

The correspondence series is sorted alphabetically by surname or institution name, except in cases where the correspondent's full name was not included in the correspondence or a single letter was addressed to multiple recipients. The bulk of correspondence is between Finvola Drury and her son, George S. Drury, and his wife Kathy. Other notable correspondents include Flo Kennedy, Sohnya Sayres, Jim Cohn, and David Cope.

A note on names: Finvola's daughter, Finvola, is often referred to by her nickname "Finny," or sometimes "Finvola II," while Finvola herself uses the nickname "Fin."

The publications series is sorted between poetry and prose and arranged alphabetically by title. Also included are various ephemera with Drury's poetry or prose printed on them, as well as a published review of Drury's book, Burning the Snow.

The writings series contains four subseries: poetry drafts, prose drafts, notes, and notebooks and journals. Both the poetry and prose draft subseries include files created and named by Drury and/or the donor, denoted in the finding aid and folder titles as "poetry draft files" or "prose draft files." Loose/unsorted poetry and prose drafts were organized alphabetically by name by the processing archivist and placed into folders labeled "alphabetized poetry drafts," denoted in the finding aid like "poetry drafts, A-Z." The notes subseries consists of pages of Drury's handwritten notes about literature, writing, ideas for poems or prose, and other subjects of interest. The "subject notes" files were ordered and labeled by Drury and/or the donor. Other notes were loose and/or unsorted and brought together in processing. Finally, the notebooks and journals subseries comprises notebooks and journals Drury kept throughout her life, as well as a handful of notebooks that belonged to her daughter, Finvola.

The professional series is made up of materials from Drury's career, sorted primarily by institution, followed by announcements for Drury's poetry readings, a copy of Drury's resume, and the draft of a memoir a student wrote under Drury's tutelage.

The personal series consists of biographical sketches written about Drury, notes and records from Drury's undergraduate and graduate education, personal ephemera, and a book given to Drury by Detroit artists.

The photographs series is organized chronologically.

The clippings series consists of newspapers and clippings Drury kept in her files, as well as a handful of collages Drury and her friend, Kathy Rose, made from news clippings.

The A/V series contains two LP music records, three tapes, and three CDs.

This collection consists of manuscripts of articles submitted to Fraye Arbeter Shtime, a Jewish Anarchist journal, during the 1920s and 30s.

The Fraye Arbeter Shtime papers consist of manuscripts submitted for publication during the editorships of Joseph Cohen (1923-32) and Mark Mrachnyi (1934-40).

This collection consists of original artwork by Gabby Schulz, also known as Ken Dahl, an American cartoonist.

The majority of the collection consists of ink and watercolor pages from Schulz's graphic novels, particularly Sick and Welcome to the Dollhouse. The journal, labeled "Sick etc." by the artist, contains drafting for Sick as well as some personal journaling. Other artwork includes various screenprint transparencies and a poster for a 2017 Black Lives Matter flag-raising event.

Books, correspondence, photos, contracts, manuscripts, magazines, and ephemera relating to the works of playwright and screenwriter Clifford Odets.

This collection is organized into eight series.

The Books Series consists of published stage plays and screenplays written by Odets, books belonging to or inscribed by Odets, biographical publications about Odets, novels that Odets adapted into screenplays, and stage plays written by other Group Theatre writers. The bulk of the Correspondence Series is Odets's letters to his friend Bill Kozlenko. Other letters sent by Odets to a variety of correspondents are also included.

The Contracts Series consists of contracts Odets signed with movie studios.

The Manuscripts Series consists of scripts, notes, and test scenes from Odets's various projects, including a scrapped film called Joseph. Also included are proofs of The Time Is Right: The 1940 Journal of Clifford Odets, published posthumously in 1988.

The Photographs Series includes portraits and photos of Odets, portraits of Odets's first wife Luise Rainer, and photos of film and stage productions of Odets's works.

The Magazines Series comprises magazines with articles or advertisements about Odets or his works or colleagues, organized chronologically.

The bulk of the Ephemera Series are playbills and lobby cards for Odets's plays and movies. Also included are one sheets, small flyers, pressbooks, and tickets. Two of the pamphlets feature Odets's writing, while the pamphlet by Margaret Brenman-Gibson is an analysis of Odets and his work.

The A/V Series consists of two LPs: a recording of the original Broadway cast of the Golden Boy musical adaptation and a recording of Odets in conversation with Herman Harvey.

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.