Collections : [University of Michigan Special Collections Research Center]

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 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.

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

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.

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. 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.

The Greg Calvert Papers consist of photographs, family documents, personal journals, correspondence, drawings, a manuscript copy of Calvert's book Democracy from the Heart, and unpublished material such as manuscripts, essays, and poetry. The materials are arranged in seven series: Calvert Family Papers, Unpublished Manuscripts, Personal Journals, Correspondence, Unpublished Essays, Unpublished Poems, and Democracy from the Heart Manuscript.

The personal journals include Calvert's writings at various points in time and locales in his life. The manuscripts, essays, and poems consist of typewritten, xeroxed, and handwritten copies. Correspondence includes letters, postcards, and some photographs to and from various friends throughout Calvert's life.

The essays included in the "Various essays and writings" folder are marked as the following on the included inventory: "Neocapitalism and the New Left," "Is Freedom Academic?," "The Ruling Class and the Elections," "The Other Side," "The End of the Run," Gay Freedom Week speech, "The Ordering of Days," "The Violence We Do to Ourselves," "Gimme Shelter," "United States Violence in the World of the 1980s," "Communitarian Democracy," A Model Democratic Community," "The Political Animal and Environmental Ethics," "The Challenge of Democratic Idealism," untitled essays on Carl Davidson, Paul Goodman, and human growth.

The cassette tapes consist of recorded notes and drafts for "The Hotel of the Two Worlds," interviews for the "After the War" oral history and manuscript, an interview with Greg's father, Clyde Calvert, and other various topics.