Search

Correspondence, manuscripts, documents, photographs, art work, audio cassette, printed materials by and about Thomas Merton. The correspondence covers the years from his study at Columbia to his death in Bangkok. Among the cataloged correspondence are: Daniel Berrigan, Mark Van Doren, Luis Somoza, Jacque Maritain, Aldous Huxley, James Laughlin, Robert Lax, Grover Cleveland Smith, John Howard Griffin, William Henry Shannon and Victoria Ocampo. The extensive manuscript collection was assembled primarily by Sister Thérèse Lentfoehr, Mark Van Doren, and Robert Shepherd. Among the more significant manuscripts are: corrected typescript of THE SEVEN STOREY MOUNTAIN; fragments of his NOVITIATE JOURNAL; notebooks and journals used in THE SIGN OF JONAS; numerous draft of poems; most of his lecture and conference notes which he used while serving as master of scholastics and, later, master of novices. There is an extensive collection of mimeographed articles, many inscribed to Sister Thérèse Lentfoehr; four watercolors by his father, Owen Merton, and many humorous and devotional drawings by Merton; many photographs of Merton, as well as photographs taken by Merton. There is an audio cassette of the radio play by Bruce Stewart entitled ME AND MY SHADOW, produced by the BBC in 1989. The printed material consists of numerous clippings and some offprints, pamphlets, and books

Correspondence, manuscripts, notes, printed materials, and tape cassettes assembled by Tom Clark in writing his WRITER: A LIFE OF JACK KEROUAC. There is correspondence from friends and fellow writers of Kerouac, printed materials about Kerouac and The Jack Kerouac Conference, 1982, at the Naropa Institute (Boulder, Colorado), and five drafts of Clark's book manuscript. Among the correspondents are Carolyn Cassady, Robert Creeley, Edward Dorn, and Allen Ginsberg.

Correspondence, manuscripts, documents, financial records, photographs, memorabilia, and printed materials. The Foundation's correspondence files consist of letters from different organizations and foundations, including the Martin Luther King, Jr. Center for Social Change, The NAACP, the United Negro College Fund, the Studio Museum in Harlem, and the YWCA. Also included in this collection are community dialogues on race relations (1974-1975); proposed dialogues (1979) on such subjects as the Boy Scouts of America, Columbia University, and the National Council of Christians and Jews; and files on the Whitney M. Young Fellows Retreat Conferences (1980-1984). The collection contains many files on Ed Wilson's bust of Young (1991), including contracts and agreements, records of payments to Wilson, documents concerning the bust's placement in various locations, correspondence with Wilson (1983-1991), and miscellaneous photographs and pictures. The contributions files contain annual listings of contributions and records of contributions from the National Urban League, assorted organizations, corporations, individuals, foundations, and Philip Morris.

Correspondence, manuscripts, audio cassettes, photographs, and printed materials. The correspondence covers the years 1934 through 1999 and consists mostly of letters to and from James L. Weil, whose Elizabeth Press was Bronk's publisher from 1969 to 1981, from Eugene Canadé, an artist who illustrated many of Bronk's books, from Bronk's sisters, and from many friends. There are also letters from W.H. Auden; Paul Auster, Cid Corman (Bronk's first publisher and founder of ORIGIN, the magazine in which many of Bronk's early poems first appeared), Robert Creeley, Samuel French Morse, Gilbert Sorrentino, and many other well-known authors. The manuscripts include notebooks and binders containing handwritten and typed drafts of poems and essays. They document nearly all of Bronk's published writings including the collection of essays he completed in the 1940s which was published in 1980 as THE BROTHER IN ELYSIUM as well as the collection of poems published in 1981 as LIFE SUPPORTS: NEW AND COLLECTED POEMS for which Bronk won the American Books Award in 1982. There are also page proofs, photographs of Bronk, many audio cassettes of Bronk reading his work in the 1970s and the 1980s and printed materials