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Guide to the Kenneth Patchen Papers
MS 160
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Title: Kenneth Patchen papers,
Date (bulk): 1929-1989, (bulk 1929-1972)
Collection number: MS 160
Creator:
Patchen, Kenneth
Extent: 35 linear feet and 151 painted
poems
Repository:
University of California, Santa Cruz. University Library.
Special Collections and Archives
Santa Cruz, California 95064
Abstract: This collection contains biographical material,
correspondence, manuscripts, bound first editions, rare silkscreen and painted
book editions, painted poems, works of art including illustrations, paintings,
papier-mâché sculptures and decorated furniture, scrapbooks,
photographs, slides, recordings, musical scores, and clippings documenting the
creative work and literary spirit of Kenneth Patchen, as well as personal
triumphs and struggles shared with his wife Miriam Patchen.
Physical location: Stored in Special Collections &
Archives: Advance notice is required for access to the papers.
Language: English.
Collection is open for research.
Access to Series 6: Painted Poems is restricted due to physical
condition. Access to Series 4: Painted Books:
In Peaceable Caves is also restricted.
Please consult the Head of Special Collections and Archives for more
information.
Property rights reside with the University of California. For literary
rights and permission to publish or to reproduce the material, please contact
the Head of Special Collections and Archives.
Kenneth Patchen papers. MS 160. Special Collections and Archives,
University Library, University of California, Santa Cruz.
Collection purchased from Miriam Patchen over a ten year period between
1975-1985.
Additions to the archive acquired through various auction houses and
gifts between 1980-1997;
A generous donation from the Friends of the Library enabled a purchase
of
Richard Wirtz
Emerson
outgoing correspondence in June 1988.
Small gifts received from
Laurence
Ferlinghetti
, consisting of two letters from Kenneth Patchen to Laurence
Ferlinghetti, and a painted book
Hurrah for
Anything
, 1989;
The Echoes, 1929, Warren G. Harding High
School Yearbook from
Vivian
Pemberton
, 1988; Framed painting from
Allan and Donna
Campo
, 1995; Framed silkscreen print from
Lynda M. Akin,
1999
Alternative Forms of Material Available
The Painted Poems are fragile. Researchers are required to view
reproduction slide, or photo print copies. Transparencies are available for
publishing purposes only.
Restricted access to Painted Book
In Peaceable Caves. Microfilm is available
for research use.
Kenneth Patchen lived in "the era of
the are-nothings who have it all".
Kenneth Patchen's life was a celebration of love of poetry and of his
wife, Miriam.
The deep-seated love of words, their rhythms and meanings, started at
the early age of 12 and lasted over five decades. During these creative years,
he was constantly driven to expand and challenge the boundaries of the literary
landscape. The over forty volumes of prose and poetry cover expressive nuances
from a grave commentary on the world's social conditions to lighthearted tales,
from traditionally composed verse to illustrated poems.
He spoke of abhorrence towards injustice and cruelty of men,
"From my high love I look at that poor world there;
I know that murder is the first prince in that tribe."
of compassion towards all living things,
"Every man is me, I am his brother.
No man is my enemy. I am everyman and he is in and of me.
This is my faith, my strength, my deepest hope, and my only belief."
and of an enduring faith in the survival of beauty,
"Who'll that be,
Your little sleepy wren?
Feathers as pretty as a snowfall's shirt...
O, airfolk at their courtin',
Angelwalkin' on th' sea,
O my little honey, you wonder me."
His final feat was the 'Painted Poems', his visually charged odes to
life.
Kenneth Frederick Patchen was born in Warren, Ohio, on Dec 13, 1911 to
Wayne and Eva Patchen. He was the third child of six children. His father was a
steelworker with a quiet Presbyterian demeanor and mother Eva, a devout
Catholic of Scottish descent. Surrounded by the industrial milieu, Patchen
became aware early on of the hardships of the American working-class families.
He witnessed the violent Youngstown steel strike of 1916-1917, and experienced
the death of his two sisters. Poetry became his emotional outlet.
Patchen graduated from Warren G. Harding High School in 1929 after four
active years of excellence in scholarship and competitive sport. His formal
education continued for another year and a half. He attended the University of
Wisconsin in Alexander Meiklejohn's Experimental College and at Commonwealth
College before setting out "on a road" in 1930. He drifted around in United
States and Canada working menial jobs, but always writing.
In 1934 Patchen married Miriam Oikemus. They had met a year earlier at a
Christmas party. She was 17, he was 21. The poet's love affair with his wife
was enduring, lasting for 38 years. Though he dedicated all his published works
to Miriam, his devotion is more evident in the numerous poems written to and
about her;
"23rd Street Runs into Heaven"You stand near the window as lights wink
On along the street. Somewhere a trolley, taking
Shop girls and clerks home, clatters through
To find the garbage cans sealed; newsboys
Begin their murder-into-pennies round.We are shut in, secure for a little, safe until
Tomorrow. You slip your dress off, roll down
Your stockings, carful against runs. Naked now,
With soft light on soft flesh, you pause
For a moment; turn and face me-
Smile in a way that only women know
Who have lain long with their lover
And are made more virginal.Our supper is plain but we are very wonderful.
The first years of their marriage, from the mid 1930's until 1947, were
spent in an avant-garde setting of Greenwich Village, New York. There the world
saw the publication of Patchen's most renowned work,
The Journal of Albion Moonlight (1941), an
antiwar novel, in which he plainly declared his pacifistic beliefs, condemning
all war efforts of the time. Patchen remembers "I was the only poet of
reputation who took an unequivocal position against the war". Even though his
pacifist tone during the WW II earned him the hostility of many, he regained
his popularity among the youth in the 1960's, who were openly rising up against
the war in Vietnam.
Patchen's early writings were shaped by the European modern literary
movements. Influenced by poets Guillaume Apollinaire and F. T. Marinetti, his
writing became rich with nonlinear representations of words stimulated with
visual accents, varied typefaces, lettering and imagery. The departure from the
traditional typesetting techniques appeared already in his second book
First Will and Testament (1939).
Throughout the 1940's, Patchen continued to develop the spatial orientation and
combination of pictorial elements in his works, as seen in
The Cloth of Tempest (1941),
Pictures of Life and Death (1946), and
Sleepers Awake (1945).
During the 1950's Patchen's writing became less oppressive and filled
with angst. The change of tone is first seen with the publishing of
Fables (1953). Miriam and Kenneth had just
recently moved to San Francisco, and the new location appears to have played a
role in Patchen's more humorous and optimistic writing style. Also, color
appears in his works in the form of painted book and silkscreen editions, and
the painted poems. Their artistry was later recognized by many prestigious
museums including
The Oakland Museum, Oakland, California;
Corcoran Gallery, Washington DC;
Dokumenta of Modern Art, Kassel, Germany, which
exhibited these works between 1970-1990.
The Painted Book series initially began out of economical necessity in
1942. Unable to publish an expensive fine print edition of
The Dark Kingdom, Patchen's aesthetic
concerns propelled him to create individually designed and hand-painted book
covers. There were a total of nine titles, ranging from 50 to 108 copies each,
made of these handsome one of a kind covers.
The silkscreen portfolio editions,
Glory Never Guesses (1955), and
A Surprise for the Bagpipe Player (1956)
represent Patchen's creative midpoint, illustrated poems that stretch the
boundaries of a traditional book format. The unbound editions were produced
from the original manuscript pages screened onto handmade Japanese paper in a
variety of textures and colors. A total of 200 copies were hand printed by
Patchen's friend printer Frank Bacher in San Francisco.
Patchen's most visually stunning work, the Painted Poems, surfaced
during his most physically trying time in the 1960's. In these streamlined
poems populated with imaginative creatures, Patchen spoke increasingly of
beauty, humor and fun. A mood of anger and despair at human cruelty is present
but doesn't dominate the material. The poems incorporate a wide array of
colors, heavy with tempera and paper pasted laid onto an old handmade rag
paper. The sheets, dating back to Napoleonic France, were originally used to
press botanical specimens. Patchen received the rag paper from John Tate, a
botanist at Stanford, who had rescued them from being thrown away. Miriam
recalls that the painting format of the poems grew out of Kenneth's pure awe
towards the beauty of the paper itself. He finished approximately 200
individual manuscript pages of the painted poems during his life. Even left
over paper was utilized. Patchen molded the scraps into
papier-mâché creatures, or "an-imals", as the couple called them.
Kenneth Patchen's medical history was a nightmare. He spend most of his
life in severe back pain which resulted from a spinal injury in 1937 when he
tried to help separate two collided cars. The injury was first wrongly
diagnosed as arthritis. Later he found out that the pain was caused by a
slipped disc. He underwent spinal surgery in the 1950's, which finally brought
relief for a period of three years, from 1956-1959. During these pain-free
years he toured in the United States and Canada doing poetry readings to jazz,
an art form he pioneered back in 1938. Allyn Ferguson, a musician and a
bandleader, had discovered Patchen's early experimentations of poetry to jazz
music in 1957. Ferguson remembers, "When I finally met Patchen at Stanford, I
suggested that his poems and our sounds might make interesting recordings. We
opened at the Black Hawk as a tryout for an album, and wowed the audience." The
two men recorded "Kenneth Patchen Reads His Poetry With the Chamber Jazz
Sextet" under Cadence Records in 1958.
After a corrective surgery gone wrong in 1959, Patchen was confined to
bed for the last thirteen years of his life. The couple had moved to Palo Alto,
California, where their lives became a constant battle against physical pain
and isolation. In spite of the struggles, Patchen continued to write and paint
until his final days. On January 8, 1972, Kenneth Patchen died of heart failure
leaving behind a rich legacy of a poet-artist, pacifist-proletarian values. He
was the champion of anti-novels, concrete poetry, tales and verses, as well as
a pioneer of painted poems, and poetry with jazz.
Further reading:
- Smith, Larry R. Kenneth Patchen. Boston: Twayne Publishers, 1978. (Twayne's United States Authors Series Number 292.) Critical biographical study with bibliography.
- Morgan, Richard G. Kenneth Patchen: A Bibliography. Mamroneck, New York: Paul P. Appel, 1978.
- Morgan, Richard G., editor. Kenneth Patchen: A Collection of Essays. New York: AMS Press Inc., 1977.
- Veres, Peter. The Argument of Innocence: A Selection from the Arts of Kenneth Patchen. Oakland, California: The Scrimshaw Press, 1976.
- Detro, Gene. Patchen: The Last Interview. Santa Barbara, California: Capra Press, 1976 (Capra Chapbook Series Number 40)
- Patchenobelia: from the Archives of Kenneth Patchen at UCSC. Web Exhibit.
| 1911 | Born December 13th in Niles, Ohio to Wayne and Eva Patchen, third of six children. His father, Wayne Patchen, was a steelworker and Protestant; mother Eva McQuade Patchen raised children as Catholic. Ancestors came from Scotland, Ireland, and France. |
| 1926-1929 | Attends Warren G. Harding High School; Active in football and track team, debate club, orchestra, and part of yearbook and school newspaper staff. |
| 1929 | Worked in a steel mill to earn money for college.
Poem Permanence accepted for New York Times. Attends University of Wisconsin in Alexander Meilejohn's Experimental College for one year. |
| 1930 | Attends a semester at Commonwealth College in Mena, Arkansas. |
| 1930-1933 | Patchen set "on the road", traveling in U.S. and Canada writing, reading, and working odd jobs as migrant field worker, janitor, and caretaker. |
| 1932 | Poem
Lenin published
in magazine
Rebel Poet.
Worked in a rubber factory in Boston where befriended writers Conrad Aiken, John Wheelwright, and Malcolm Cowley |
| 1934 | Married Miriam Oikemus on June 28th. Moved to Greenwich Village where they live in a small apartment while he writes poetry, reviews for New Republic and works on the WPA's writer's project on the New York Guide Book. |
| 1935 | Patchens moved to artist cottage in Rhinebeck, New York. |
| 1936 |
Before the
Brave
, first book of poems published by Random House.
Receives a Guggenheim Fellowship. Moves to Phoenix, then Santa Fe. |
| 1937 | Patchens in Los Angeles working on film scripts and WPA writer's
project.
First serious back trouble after helping to release cars in an accident. |
| 1938 | Patchens returned to Concord, Mass.
Met James Laughlin and Ezra Pound |
| 1939 | Moved to Laughlin's place in Norfolk, Conn., where he did
accounting and Miriam shipping for New Directions Publishers.
First Will and Testament , and story Bury Them in God published by New Directions |
| 1940 | Returned to Greenwich Village. Befriends with e.e. cummings,
Henry Miller, Robert Duncan, Maxwell Bodenheim, and Kenneth
Rexroth.
Throughout the 1940's Patchen's writings appear in anarchist-pacifist publication such as Illuminati, Ark, Retort, Now, Contour, Experimental Review |
| 1941 | The Journal of Albion Moonlight , Patchen's pacifist anti-novel published through subscription sales with Walpole Printing; book launched at Gotham Book Mart, New York. |
| 1942 |
The Dark
Kingdom
, first of 'painted book' series with individually painted
covers by the author.
The Teeth of The Lion , collection of poems published by New Directions in Poet of the Month Series. Collaborated with John Cage on a radio play City Wears a Slouch Hat; first airing May 31st. |
| 1943 |
Cloth of the
Tempest
, a book of poems and drawings published by Harper
Brothers.
Won Ohioana Award. Back injury kept Patchen out of war, and remained a loud conscientious objector. |
| 1945 | Memoir of a Shy Pornographer , an anti-novel published by New Directions. |
| 1946 |
An Astonished Eye Looks
Out of the Air
, poems published by Walport C.O. Camp.
Outlaw of the Lowest Planet , poems published by Grey Walls Press, London. Sleepers Awake, anti-novel published by Padell. Pictures of Life and Death , poems published by Padell. They Keep Riding Down All the Time , prose published by Padell. Henry Miller's Patchen: Man of Anger and Light, the first substantial literary criticism of Patchen. |
| 1947 |
To Say If You Love
Someone
, selected love poems published by Decker Press.
Patchens lived at Old Lyme, Conn. |
| 1948 |
See You in the
Morning
, prose published by Padell.
CCLXXIV Poems, published by Padell. |
| 1949 | Red Wine and Yellow Hair , poems published by New Directions. |
| 1950 | Writers Committee (T.S. Eliot, William Carlos Williams, e.e.
cummings, Marianne Moore etc.) raised funds for Patchen's first major spinal
operation.
Jonathan Williams transcribed Fables at Old Lyme. |
| 1951 | Moved to San Francisco's North Beach area. |
| 1952 | Orchards, Thrones, and Caravans , poems published by The Print Workshop, San Francisco. |
| 1953 | Fables and Other Little Tales , prose published by Jonathan Williams. |
| 1954 | Receives Shelley Memorial Award.
Poems of Humor and Protest published by City Lights Pocket Poets series with a poet-friend Lawrence Ferlinghetti. The Famous Boating Party , prose poems published by New Directions. |
| 1955 | Glory Never Guesses , silkscreen portfolio of poems and drawings reproduced by Frank Bacher. |
| 1956 | Moved to Palo Alto, California.
Spinal fusion at Palo Alto Clinic. Surprise for the Bagpipe Player , silkscreen portfolio reproduced by Frank Bacher. |
| 1957 | Poetry-jazz movement launched, reading with jazz groups up and
down the West Coast until 1959.
Hurrah For Anything , drawings-and-poems published by Jonathan Williams. We Were Here Together , poems published by New Directions. The Selected Poems , enlarged edition published by New Directions. Kenneth Patchen Reads With The Chamber Jazz Sextet , recording released by Cadence Records. |
| 1958 | Poemscapes, prose poems published by Jonathan Williams. |
| 1959 |
Kenneth Patchen Reads With Jazz in
Canada
, recording with Alan Neil Quartet released by Folkways
Records.
Don't Look Now, jazz-play premiered by The Troupe Theater in Palo Alto. "Surgical Mishap" leaves Patchen in pain and almost completely bedridden for the rest of his life. |
| 1960 |
Because It Is,
poems-and drawings published by New Directions.
The Love Poems of Kenneth Patchen , published by City Lights. Inspired by an ancient rag paper given by Stanford biologist Norman Thomas; began new work on picture-poems. |
| 1961 |
Kenneth Patchen Reads His Love
Poems
, recording released by Folkways Records.
Selected Poems of Kenneth Patchen, recording released by Folkways Records. |
| 1966 |
Hallelujah
Anyway
, picture poems published by New Directions.
Doubleheader, published by New Directions. [Compilation of "Hurrah for Anything", "Poemscapes",and "A Letter to God"] |
| 1967 | Receives $10,000 award from the National Foundation of the Arts and Humanities for "life-long contribution to American letters" |
| 1968 |
But Even So,
picture-poems published by New Directions.
Collected Poems, published by New Directions. |
| 1969 | One man art show at Corcoran Gallery, Washington D.C.
"Homage to Kenneth Patchen", an article in The Outsider (1968-1969). |
| 1970 | Aflame And Afun Of Walking Faces , selection from Fables with drawings, published by New Directions. |
| 1971 | Wonderings, picture-poems and drawing poems published by New Directions. |
| 1972 | Dies of heart attack on January 8 in Palo Alto
home.
Memorial Reading at City Lights Poets Theatre, February 2nd with Robert Duncan, Gary Snyder, Al Young, Lawrence Ferlinghetti, Morton Marcus, etc. In Quest Of Candlelighters containing two prose works, Panels for the Walls of Heaven and They Keep Riding Down All the Time, published by New Directions. The Journal Of Albion Moonlight, recording released by Folkways Records. |
| 1975 | University of California, Santa Cruz purchases Kenneth Patchen papers. |
| 1976 |
The Argument of Innocence: A Selection from
the Graphic Arts of Kenneth Patchen
, ed. Peter Veres; foreword by
Miriam Patchen, published by Scrimshaw Press.
Patchen: The Last Interview with Gene Detro; an afterword by Henry Miller, published by Capra Press. |
| 1977 |
Patchen's Lost Plays
(
Don't Look Now and
The City Wears a Slouch Hat)
published by Capra Press.
Kenneth Patchen: A Collection of Critical Essays , ed. Richard Morgan. Tribute to Kenneth Patchen, Enithatmon Press, England. |
| 1978 | Kenneth Patchen, first critical biography by Larry Smith. |
| 1980 | Still Another Pelican in the Breadbox ; early writings, Pig Iron Press, Youngstown. |
| 1984 | What Shall We Do Without Us , picture-poems in full color published by Sierra Club Books. |
| 1987 | Kenneth Patchen exhibitions in Warren, Ohio, and Kassel, Germany. |
| 1997 | Patchen tribute at the Naropa Institute, Boulder, Colorado. |
| 1998 | Exhibition of pictures at Poetry Library, London; and Event at the Tate Gallery, London. |
| 1999 | Exhibition of silkscreen prints at Centro Studi Americani in Rome. |
| 2000 | Kenneth Patchen : Rebel Poet in America , authorised biography by Larry Smith, published by Bottom Dog Press. |
The Kenneth Patchen Papers contains biographical material, including
obituaries, awards, legal documents, papers relating to poetry-jazz and exhibit
activities, and various printed material written about Patchen; a substantial
collection of outgoing and incoming correspondence covering 1930-1970;
manuscripts, including incomplete and complete holographs and typescripts to
most of his published works, as well as some printer and galley proofs,
notebooks and miscellany notes; published works including first editions,
limited painted book and silkscreen print editions; some 150 painted poems;
collection of art work, including drawings, illustrations, watercolor and mix
media paintings, as well as sculptures and decorative furniture; scrapbooks
filled with book reviews and book advertisements of Patchen's early works, and
clippings of the poetry-jazz movement; some 80 black & white photographs;
music scores written to Patchen's text; sound recordings in cassette, record
and reel-to-reel format; and artifacts. Bulk of the material ranges from
1929-1972.
Of particular interest is a sizeable set of correspondence from James
Laughlin of New Directions covering over five decades of publisher-author
relationship with the Patchens from the 1940's through 1984; Incoming
correspondence from Patchen's poet friend e.e. cummings and his wife Marion
dating from 1952 until cummings' death in 1962; Henry Miller's letters of
support to Kenneth during his early literary endeavors in 1940's; Holograph
manuscript pages and galley proofs to Patchen's most renown prose works
The Journal of Albion Moonlight and
Sleepers Awake; the only known copy of
In Peaceable Caves; Some 150 colorful and
one-of-a kind Painted Poems, which were created during the latter part of the
poet's life summarizing Patchen's artistic and philosophical vision.
Also noteworthy is the material documenting the poetry-jazz movement in
the late 1950's, which includes personal correspondence from Kenneth to his
wife Miriam while touring with Chamber Jazz Sextet in Los Angeles and in
Canada, and Harry Redl's photographs that capture the performance atmosphere at
Black Hawk. Included also are rare recorded releases of Patchen reading his
poetry with Chamber Jazz Sextet and Alan Neil Quartet.
The material is organized into nineteen series.
- Series 1. Biographical Material, 1929-1989.
- Series 2. Correspondence, ca. 1929-1984.
- Series 3. Manuscripts, ca. 1940-1971.
- Series 4. Painted Books, 1942-1958.
- Series 5. Silkscreen Prints, 1955-1956.
- Series 6. Painted Poems, 1961-1971.
- Series 7. Works of Art, undated.
- Series 8. Postcards, 1958-1968.
- Series 9. Published works, 1935-1977.
- Series 10. Scrapbooks, 1935-1965.
- Series 11. Publicity, 1939-1974.
- Series 12. Photographs, ca. 1946-1980.
- Series 13. Transparencies, 1965-1970, ca 1980.
- Series 14. Negatives, ca. 1946-1970.
- Series 15. Music Scores, 1947-1985.
- Series 16. Sound Recordings, 1957-1978
- Series 17. Microfilm, 1965.
- Series 18. Artifacts, undated.
- Series 19. Miscellany, ca. 1940
The Kenneth Patchen Papers is the primary collection of the Kenneth
Patchen Archive, which also includes the Chester Kessler Papers, James Boyer
May Correspondence, Alan and Beatrice Collection, William Plumley Collection,
William M. Roth Correspondence, Kathryn Winslow Collection, Johnny Wittwer
Papers, and the Fred Wright Correspondence. Additional collections are being
processed and will be added as finished.
The following terms have been used to index the description of this
collection in the library's online public access catalog.
Patchen,
Kenneth Papers.
Authors, American--20th
century
Poets, American--20th century
Poets, American--20th
century--Correspondence
Painting, American--20th
century
American poetry--20th
century--Readings with music.
Jazz--Poetry.
Other Index Terms Related to this Collection
Patchen,
Kenneth,1911-1972--Kenneth Patchen archive
Patchen,
Miriam.
Cummings, E.
E. (Edward Estlin), 1894-1962.
Cummings,
Marion M.
Ferlinghetti, Lawrence.
Ferguson,
Allyn.
Laughlin,
James, 1914-.
Miller,
Henry, 1891-.
Pfeffer,
Max.
Pound, Ezra,
1885-1972.
Redl,
Harry.
Russell,
Bertrand, 1872-1970.
Russell,
Sanders.
Williams,
Jonathan, 1929-.
New
Directions Publishing Corp.
Biography files.
Correspondence.
Manuscripts.
Works of Art.
Photographs.
Sound
Recordings.
Scrapbooks.
In addition to the Kenneth Patchen Papers, the Kenneth Patchen Archive
includes the following related collections.
Additional Kenneth Patchen Archive collections
-
Identifier/Call Number: MS 161Title: Miriam Patchen papers,Date: 1930-2000
-
Identifier/Call Number: MS 163Title: Kathryn Winslow collection,Date: 1950-1988
-
Identifier/Call Number: MS 164Title: Alan and Beatrice Parker collection,Date: 1922-1969
-
Identifier/Call Number: MS 165Title: James Boyer May correspondence,Date: 1956-1972
-
Identifier/Call Number: MS 166Title: Kenneth Patchen Festival records,Date: 1927-1991
-
Identifier/Call Number: MS 167Title: Chester Kessler papers,Date: 1951-1952
-
Identifier/Call Number: MS 168Title: Fred Wright correspondence,Date: 1972-1990
-
Identifier/Call Number: MS 169Title: Charles and Barbara Paine collection,Date: 1957-1983
-
Identifier/Call Number: MS 170Title: William M. Roth correspondence,Date: 1941-1965
-
Identifier/Call Number: MS 172Title: Peter Veres papers,Date: 1973-1977
-
Identifier/Call Number: MS 173Title: "Kenneth Patchen: Hurrah for Anything" film production records,Date: 1982
-
Identifier/Call Number: MS 175Title: William Plumley collection,Date: 1942-1972
-
Identifier/Call Number: MS 176Title: Tom and Rita Bottoms collection,Date: 1946-1958
-
Identifier/Call Number: MS 177Title: Johnny Wittwer papers,Date: 1959
Additional information can be found in these related collections held by other repositories
Books have been cataloged separately.
Cassettes and Reel-to-reel tapes have been re-formatted and cataloged separately.
Microfilm has been transferred to Microfilm Collection in Special Collections and Archives.
Negatives have been transferred to Negative Collection in Special Collections and Archives.
Fragile documents have been separated; photocopies have been made available for research use.
Cassettes and Reel-to-reel tapes have been re-formatted and cataloged separately.
Microfilm has been transferred to Microfilm Collection in Special Collections and Archives.
Negatives have been transferred to Negative Collection in Special Collections and Archives.
Fragile documents have been separated; photocopies have been made available for research use.