{"links":{"self":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Poetry\u0026f%5Bdate_range%5D%5B%5D=1980\u0026f%5Blevel%5D%5B%5D=Collection","last":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Poetry\u0026f%5Bdate_range%5D%5B%5D=1980\u0026f%5Blevel%5D%5B%5D=Collection\u0026page=1"},"meta":{"pages":{"current_page":1,"next_page":null,"prev_page":null,"total_pages":1,"limit_value":10,"offset_value":0,"total_count":10,"first_page?":true,"last_page?":true}},"data":[{"id":"vihart_repositories_4_resources_271","type":"collection","attributes":{"title":"Dorothy Lee Baugher papers","creator":{"id":"https://arvasarchive.org/catalog/vihart_repositories_4_resources_271#creator","type":"document_value","attributes":{"value":"Baugher, Dorothy Lee, 1917-2009","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vihart_repositories_4_resources_271#abstract_or_scope","type":"document_value","attributes":{"value":"The Dorothy Lee Baugher Papers, 1936-2003 (bulk 1975-1981), consist of two boxes of newspaper clippings, poetry, fiction and non-fiction writings, and drawings produced by Baugher. 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Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection.","The collection is arranged in five series:","Daily News-Record  Materials, 1975-1981 Non-Fiction, undated Fiction, 2002-2003 Poetry, 1986-1998 Miscellany, 1936-2003","Obituary for Dorothy L. Baugher,  Daily News-Record , August 15, 2009.","The Schoolma'am , 1939. Harrisonburg (Va.): Madison College.","Dorothy Lee Baugher (1917-2009) graduated from Madison College in 1939. While a student, she served as a member of the art staff for the Schoolma'am yearbook. A McGaheysville native, Baugher taught art and English at Turner Ashby High School and in 1975 became the editor for the \"Footprints and Echoes\" column for the Bicentennial at the  Daily News-Record . Baugher's interests included art, pottery, writing fiction and non-fiction, and poetry.","Purchased by a private donor at Bowman Auctions (S. High St., Harrisonburg) in November 2008.","All newspaper clippings were photocopied onto non-acidic paper and the originals were disposed. In order to streamline the process of applying collection numbers, Special Collections staff completed a large-scale renumbering campaign in the spring of 2017.  This collection was previously cataloged as SC 3017.","The Dorothy Lee Baugher Papers, 1936-2003 (bulk 1975-1981), are arranged in five series and consist of two boxes of newspaper clippings, poetry, fiction and non-fiction writings, and drawings produced by Baugher. The collection also includes miscellaneous materials including correspondence, receipts, programs, and notes.","Series 1, Daily News-Record Materials, 1975-1981, is comprised of newspaper clippings written by Baugher on subjects pertaining to the United States Bicentennial (1976) as well as the city of Harrisonburg's Bicentennial (1980) in the \"Footprints and Echoes\" column of the Daily News-Record. Topics range from Revolutionary War efforts in the Valley, women's roles in the Revolution, and general daily life in the late eighteenth century. The series includes some of Baugher's typed drafts as well as her drawings, many of which were sketched on the backs of cereal and food boxes. The sketches were published alongside her articles in the  Daily News-Record . An index of these writings is available  here .","Series 2, Non-Fiction, undated, includes a variety of short stories and essays of historical and religious content. Baugher's writings reference Patrick Henry, Stonewall Jackson, Pendleton Bryan, and the Methodist Church. The non-fiction works also include narrative Bible stories about Christmas, Zachariah and Elizabeth, and Thomas the Apostle or Didymus.","Series 3, Fiction, 2002-2003, is comprised of notes, drafts, manuscripts, and short stories.  Included in this series is a children's story entitled \"Corky\" about a pig which was also illustrated by Baugher. Written under the pseudonym Dorothy Lee Desailles, \"The Reluctant Heart\" is Baugher's most extensive work. This unpublished full-length manuscript is set dually in the Caribbean and the United States with religious connotations, a variety of characters, a love-angle, and mystery. Numerous drafts of \"The Reluctant Heart\" are retained.  Ficticious short stories, notes, and resource material for potential works or works in progress are also present.","Series 4, Poetry, 1986-1998, is a collection of handwritten and typed poems written by Baugher.  Much of the poetry has religious themes with references to God and Bible verses.  Notes on potential publishing companies are also present.","Series 5, Miscellany, 1936-2003, consists of various church and community programs, correspondence, notes, and other ephemera.  Specific materials include J.C. Penney employee's sales receipts, the Turner Ashby Class of 1961 \"Progress Report\" (1981 ed.) in which class members describe their lives and families twenty years after graduating, and a Daily News-Record  article and Op-Ed piece recognizing Baugher for her work in the community. ","The copyright interests in this collection have been transferred to the James Madison University Special Collection Library. 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Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged in five series:\u003c/p\u003e","\u003clist numeration=\"arabic\" type=\"ordered\"\u003e\n      \u003citem\u003e\u003cemph render=\"italic\"\u003eDaily News-Record\u003c/emph\u003e Materials, 1975-1981\u003c/item\u003e\n      \u003citem\u003eNon-Fiction, undated\u003c/item\u003e\n      \u003citem\u003eFiction, 2002-2003\u003c/item\u003e\n      \u003citem\u003ePoetry, 1986-1998\u003c/item\u003e\n      \u003citem\u003eMiscellany, 1936-2003\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged in five series:","Daily News-Record  Materials, 1975-1981 Non-Fiction, undated Fiction, 2002-2003 Poetry, 1986-1998 Miscellany, 1936-2003"],"bibliography_html_tesm":["\u003cbibref\u003eObituary for Dorothy L. Baugher, \u003cemph render=\"italic\"\u003eDaily News-Record\u003c/emph\u003e, August 15, 2009.\u003c/bibref\u003e","\u003cbibref\u003e\u003cemph render=\"italic\"\u003eThe Schoolma'am\u003c/emph\u003e, 1939. Harrisonburg (Va.): Madison College.\u003c/bibref\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Obituary for Dorothy L. Baugher,  Daily News-Record , August 15, 2009.","The Schoolma'am , 1939. Harrisonburg (Va.): Madison College."],"bioghist_html_tesm":["\u003cp\u003eDorothy Lee Baugher (1917-2009) graduated from Madison College in 1939. While a student, she served as a member of the art staff for the Schoolma'am yearbook. A McGaheysville native, Baugher taught art and English at Turner Ashby High School and in 1975 became the editor for the \"Footprints and Echoes\" column for the Bicentennial at the \u003cemph render=\"italic\"\u003eDaily News-Record\u003c/emph\u003e. Baugher's interests included art, pottery, writing fiction and non-fiction, and poetry.\u003c/p\u003e"],"bioghist_heading_ssm":["Bio/Historical Note"],"bioghist_tesim":["Dorothy Lee Baugher (1917-2009) graduated from Madison College in 1939. While a student, she served as a member of the art staff for the Schoolma'am yearbook. A McGaheysville native, Baugher taught art and English at Turner Ashby High School and in 1975 became the editor for the \"Footprints and Echoes\" column for the Bicentennial at the  Daily News-Record . Baugher's interests included art, pottery, writing fiction and non-fiction, and poetry."],"custodhist_html_tesm":["\u003cp\u003ePurchased by a private donor at Bowman Auctions (S. High St., Harrisonburg) in November 2008.\u003c/p\u003e"],"custodhist_heading_ssm":["Provenance"],"custodhist_tesim":["Purchased by a private donor at Bowman Auctions (S. High St., Harrisonburg) in November 2008."],"prefercite_html_tesm":["\u003cp\u003e[identification of item], [box #, folder #], Dorothy Lee Baugher Papers, 1936-2003 (bulk 1975-1981), SC 0124, Special Collections, Carrier Library, James Madison University, Harrisonburg, Va.\u003c/p\u003e"],"prefercite_tesim":["[identification of item], [box #, folder #], Dorothy Lee Baugher Papers, 1936-2003 (bulk 1975-1981), SC 0124, Special Collections, Carrier Library, James Madison University, Harrisonburg, Va."],"processinfo_html_tesm":["\u003cp\u003eAll newspaper clippings were photocopied onto non-acidic paper and the originals were disposed. In order to streamline the process of applying collection numbers, Special Collections staff completed a large-scale renumbering campaign in the spring of 2017. \u003cemph render=\"bold\"\u003eThis collection was previously cataloged as SC 3017.\u003c/emph\u003e\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["All newspaper clippings were photocopied onto non-acidic paper and the originals were disposed. In order to streamline the process of applying collection numbers, Special Collections staff completed a large-scale renumbering campaign in the spring of 2017.  This collection was previously cataloged as SC 3017."],"scopecontent_html_tesm":["\u003cp\u003eThe Dorothy Lee Baugher Papers, 1936-2003 (bulk 1975-1981), are arranged in five series and consist of two boxes of newspaper clippings, poetry, fiction and non-fiction writings, and drawings produced by Baugher. The collection also includes miscellaneous materials including correspondence, receipts, programs, and notes.\u003c/p\u003e\n","\u003cp\u003eSeries 1, Daily News-Record Materials, 1975-1981, is comprised of newspaper clippings written by Baugher on subjects pertaining to the United States Bicentennial (1976) as well as the city of Harrisonburg's Bicentennial (1980) in the \"Footprints and Echoes\" column of the Daily News-Record. Topics range from Revolutionary War efforts in the Valley, women's roles in the Revolution, and general daily life in the late eighteenth century. The series includes some of Baugher's typed drafts as well as her drawings, many of which were sketched on the backs of cereal and food boxes. The sketches were published alongside her articles in the \u003cemph render=\"italic\"\u003eDaily News-Record\u003c/emph\u003e. An index of these writings is available \u003cextref type=\"simple\" actuate=\"onRequest\" show=\"new\" href=\"http://www.lib.jmu.edu/special/manuscripts/3017Baugher_Detail.pdf\"\u003ehere\u003c/extref\u003e.\u003c/p\u003e\n","\u003cp\u003eSeries 2, Non-Fiction, undated, includes a variety of short stories and essays of historical and religious content. Baugher's writings reference Patrick Henry, Stonewall Jackson, Pendleton Bryan, and the Methodist Church. The non-fiction works also include narrative Bible stories about Christmas, Zachariah and Elizabeth, and Thomas the Apostle or Didymus.\u003c/p\u003e\n","\u003cp\u003eSeries 3, Fiction, 2002-2003, is comprised of notes, drafts, manuscripts, and short stories.  Included in this series is a children's story entitled \"Corky\" about a pig which was also illustrated by Baugher. Written under the pseudonym Dorothy Lee Desailles, \"The Reluctant Heart\" is Baugher's most extensive work. This unpublished full-length manuscript is set dually in the Caribbean and the United States with religious connotations, a variety of characters, a love-angle, and mystery. Numerous drafts of \"The Reluctant Heart\" are retained.  Ficticious short stories, notes, and resource material for potential works or works in progress are also present.\u003c/p\u003e\n","\u003cp\u003eSeries 4, Poetry, 1986-1998, is a collection of handwritten and typed poems written by Baugher.  Much of the poetry has religious themes with references to God and Bible verses.  Notes on potential publishing companies are also present.\u003c/p\u003e\n","\u003cp\u003eSeries 5, Miscellany, 1936-2003, consists of various church and community programs, correspondence, notes, and other ephemera.  Specific materials include J.C. Penney employee's sales receipts, the Turner Ashby Class of 1961 \"Progress Report\" (1981 ed.) in which class members describe their lives and families twenty years after graduating, and a Daily News-Record  article and Op-Ed piece recognizing Baugher for her work in the community. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Dorothy Lee Baugher Papers, 1936-2003 (bulk 1975-1981), are arranged in five series and consist of two boxes of newspaper clippings, poetry, fiction and non-fiction writings, and drawings produced by Baugher. The collection also includes miscellaneous materials including correspondence, receipts, programs, and notes.","Series 1, Daily News-Record Materials, 1975-1981, is comprised of newspaper clippings written by Baugher on subjects pertaining to the United States Bicentennial (1976) as well as the city of Harrisonburg's Bicentennial (1980) in the \"Footprints and Echoes\" column of the Daily News-Record. Topics range from Revolutionary War efforts in the Valley, women's roles in the Revolution, and general daily life in the late eighteenth century. The series includes some of Baugher's typed drafts as well as her drawings, many of which were sketched on the backs of cereal and food boxes. The sketches were published alongside her articles in the  Daily News-Record . An index of these writings is available  here .","Series 2, Non-Fiction, undated, includes a variety of short stories and essays of historical and religious content. Baugher's writings reference Patrick Henry, Stonewall Jackson, Pendleton Bryan, and the Methodist Church. The non-fiction works also include narrative Bible stories about Christmas, Zachariah and Elizabeth, and Thomas the Apostle or Didymus.","Series 3, Fiction, 2002-2003, is comprised of notes, drafts, manuscripts, and short stories.  Included in this series is a children's story entitled \"Corky\" about a pig which was also illustrated by Baugher. Written under the pseudonym Dorothy Lee Desailles, \"The Reluctant Heart\" is Baugher's most extensive work. This unpublished full-length manuscript is set dually in the Caribbean and the United States with religious connotations, a variety of characters, a love-angle, and mystery. Numerous drafts of \"The Reluctant Heart\" are retained.  Ficticious short stories, notes, and resource material for potential works or works in progress are also present.","Series 4, Poetry, 1986-1998, is a collection of handwritten and typed poems written by Baugher.  Much of the poetry has religious themes with references to God and Bible verses.  Notes on potential publishing companies are also present.","Series 5, Miscellany, 1936-2003, consists of various church and community programs, correspondence, notes, and other ephemera.  Specific materials include J.C. Penney employee's sales receipts, the Turner Ashby Class of 1961 \"Progress Report\" (1981 ed.) in which class members describe their lives and families twenty years after graduating, and a Daily News-Record  article and Op-Ed piece recognizing Baugher for her work in the community. "],"userestrict_html_tesm":["\u003cp\u003eThe copyright interests in this collection have been transferred to the James Madison University Special Collection Library. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright interests in this collection have been transferred to the James Madison University Special Collection Library. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu)."],"abstract_html_tesm":["\u003cabstract id=\"aspace_9a930ec716172acbe7db4319c9d440ca\"\u003eThe Dorothy Lee Baugher Papers, 1936-2003 (bulk 1975-1981), consist of two boxes of newspaper clippings, poetry, fiction and non-fiction writings, and drawings produced by Baugher. The collection also includes miscellaneous materials including correspondence, receipts, programs, and notes.\u003c/abstract\u003e"],"abstract_tesim":["The Dorothy Lee Baugher Papers, 1936-2003 (bulk 1975-1981), consist of two boxes of newspaper clippings, poetry, fiction and non-fiction writings, and drawings produced by Baugher. The collection also includes miscellaneous materials including correspondence, receipts, programs, and notes."],"names_ssim":["James Madison University Libraries Special Collections","Baugher, Dorothy Lee, 1917-2009"],"corpname_ssim":["James Madison University Libraries Special Collections"],"persname_ssim":["Baugher, Dorothy Lee, 1917-2009"],"language_ssim":["English \n.    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Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection.","The collection is arranged in five series:","Daily News-Record  Materials, 1975-1981 Non-Fiction, undated Fiction, 2002-2003 Poetry, 1986-1998 Miscellany, 1936-2003","Obituary for Dorothy L. Baugher,  Daily News-Record , August 15, 2009.","The Schoolma'am , 1939. Harrisonburg (Va.): Madison College.","Dorothy Lee Baugher (1917-2009) graduated from Madison College in 1939. While a student, she served as a member of the art staff for the Schoolma'am yearbook. A McGaheysville native, Baugher taught art and English at Turner Ashby High School and in 1975 became the editor for the \"Footprints and Echoes\" column for the Bicentennial at the  Daily News-Record . Baugher's interests included art, pottery, writing fiction and non-fiction, and poetry.","Purchased by a private donor at Bowman Auctions (S. High St., Harrisonburg) in November 2008.","All newspaper clippings were photocopied onto non-acidic paper and the originals were disposed. In order to streamline the process of applying collection numbers, Special Collections staff completed a large-scale renumbering campaign in the spring of 2017.  This collection was previously cataloged as SC 3017.","The Dorothy Lee Baugher Papers, 1936-2003 (bulk 1975-1981), are arranged in five series and consist of two boxes of newspaper clippings, poetry, fiction and non-fiction writings, and drawings produced by Baugher. The collection also includes miscellaneous materials including correspondence, receipts, programs, and notes.","Series 1, Daily News-Record Materials, 1975-1981, is comprised of newspaper clippings written by Baugher on subjects pertaining to the United States Bicentennial (1976) as well as the city of Harrisonburg's Bicentennial (1980) in the \"Footprints and Echoes\" column of the Daily News-Record. Topics range from Revolutionary War efforts in the Valley, women's roles in the Revolution, and general daily life in the late eighteenth century. The series includes some of Baugher's typed drafts as well as her drawings, many of which were sketched on the backs of cereal and food boxes. The sketches were published alongside her articles in the  Daily News-Record . An index of these writings is available  here .","Series 2, Non-Fiction, undated, includes a variety of short stories and essays of historical and religious content. Baugher's writings reference Patrick Henry, Stonewall Jackson, Pendleton Bryan, and the Methodist Church. The non-fiction works also include narrative Bible stories about Christmas, Zachariah and Elizabeth, and Thomas the Apostle or Didymus.","Series 3, Fiction, 2002-2003, is comprised of notes, drafts, manuscripts, and short stories.  Included in this series is a children's story entitled \"Corky\" about a pig which was also illustrated by Baugher. Written under the pseudonym Dorothy Lee Desailles, \"The Reluctant Heart\" is Baugher's most extensive work. This unpublished full-length manuscript is set dually in the Caribbean and the United States with religious connotations, a variety of characters, a love-angle, and mystery. Numerous drafts of \"The Reluctant Heart\" are retained.  Ficticious short stories, notes, and resource material for potential works or works in progress are also present.","Series 4, Poetry, 1986-1998, is a collection of handwritten and typed poems written by Baugher.  Much of the poetry has religious themes with references to God and Bible verses.  Notes on potential publishing companies are also present.","Series 5, Miscellany, 1936-2003, consists of various church and community programs, correspondence, notes, and other ephemera.  Specific materials include J.C. Penney employee's sales receipts, the Turner Ashby Class of 1961 \"Progress Report\" (1981 ed.) in which class members describe their lives and families twenty years after graduating, and a Daily News-Record  article and Op-Ed piece recognizing Baugher for her work in the community. ","The copyright interests in this collection have been transferred to the James Madison University Special Collection Library. 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Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open for research. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged in five series:\u003c/p\u003e","\u003clist numeration=\"arabic\" type=\"ordered\"\u003e\n      \u003citem\u003e\u003cemph render=\"italic\"\u003eDaily News-Record\u003c/emph\u003e Materials, 1975-1981\u003c/item\u003e\n      \u003citem\u003eNon-Fiction, undated\u003c/item\u003e\n      \u003citem\u003eFiction, 2002-2003\u003c/item\u003e\n      \u003citem\u003ePoetry, 1986-1998\u003c/item\u003e\n      \u003citem\u003eMiscellany, 1936-2003\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged in five series:","Daily News-Record  Materials, 1975-1981 Non-Fiction, undated Fiction, 2002-2003 Poetry, 1986-1998 Miscellany, 1936-2003"],"bibliography_html_tesm":["\u003cbibref\u003eObituary for Dorothy L. Baugher, \u003cemph render=\"italic\"\u003eDaily News-Record\u003c/emph\u003e, August 15, 2009.\u003c/bibref\u003e","\u003cbibref\u003e\u003cemph render=\"italic\"\u003eThe Schoolma'am\u003c/emph\u003e, 1939. Harrisonburg (Va.): Madison College.\u003c/bibref\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Obituary for Dorothy L. Baugher,  Daily News-Record , August 15, 2009.","The Schoolma'am , 1939. Harrisonburg (Va.): Madison College."],"bioghist_html_tesm":["\u003cp\u003eDorothy Lee Baugher (1917-2009) graduated from Madison College in 1939. While a student, she served as a member of the art staff for the Schoolma'am yearbook. A McGaheysville native, Baugher taught art and English at Turner Ashby High School and in 1975 became the editor for the \"Footprints and Echoes\" column for the Bicentennial at the \u003cemph render=\"italic\"\u003eDaily News-Record\u003c/emph\u003e. Baugher's interests included art, pottery, writing fiction and non-fiction, and poetry.\u003c/p\u003e"],"bioghist_heading_ssm":["Bio/Historical Note"],"bioghist_tesim":["Dorothy Lee Baugher (1917-2009) graduated from Madison College in 1939. While a student, she served as a member of the art staff for the Schoolma'am yearbook. A McGaheysville native, Baugher taught art and English at Turner Ashby High School and in 1975 became the editor for the \"Footprints and Echoes\" column for the Bicentennial at the  Daily News-Record . Baugher's interests included art, pottery, writing fiction and non-fiction, and poetry."],"custodhist_html_tesm":["\u003cp\u003ePurchased by a private donor at Bowman Auctions (S. High St., Harrisonburg) in November 2008.\u003c/p\u003e"],"custodhist_heading_ssm":["Provenance"],"custodhist_tesim":["Purchased by a private donor at Bowman Auctions (S. High St., Harrisonburg) in November 2008."],"prefercite_html_tesm":["\u003cp\u003e[identification of item], [box #, folder #], Dorothy Lee Baugher Papers, 1936-2003 (bulk 1975-1981), SC 0124, Special Collections, Carrier Library, James Madison University, Harrisonburg, Va.\u003c/p\u003e"],"prefercite_tesim":["[identification of item], [box #, folder #], Dorothy Lee Baugher Papers, 1936-2003 (bulk 1975-1981), SC 0124, Special Collections, Carrier Library, James Madison University, Harrisonburg, Va."],"processinfo_html_tesm":["\u003cp\u003eAll newspaper clippings were photocopied onto non-acidic paper and the originals were disposed. In order to streamline the process of applying collection numbers, Special Collections staff completed a large-scale renumbering campaign in the spring of 2017. \u003cemph render=\"bold\"\u003eThis collection was previously cataloged as SC 3017.\u003c/emph\u003e\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["All newspaper clippings were photocopied onto non-acidic paper and the originals were disposed. In order to streamline the process of applying collection numbers, Special Collections staff completed a large-scale renumbering campaign in the spring of 2017.  This collection was previously cataloged as SC 3017."],"scopecontent_html_tesm":["\u003cp\u003eThe Dorothy Lee Baugher Papers, 1936-2003 (bulk 1975-1981), are arranged in five series and consist of two boxes of newspaper clippings, poetry, fiction and non-fiction writings, and drawings produced by Baugher. The collection also includes miscellaneous materials including correspondence, receipts, programs, and notes.\u003c/p\u003e\n","\u003cp\u003eSeries 1, Daily News-Record Materials, 1975-1981, is comprised of newspaper clippings written by Baugher on subjects pertaining to the United States Bicentennial (1976) as well as the city of Harrisonburg's Bicentennial (1980) in the \"Footprints and Echoes\" column of the Daily News-Record. Topics range from Revolutionary War efforts in the Valley, women's roles in the Revolution, and general daily life in the late eighteenth century. The series includes some of Baugher's typed drafts as well as her drawings, many of which were sketched on the backs of cereal and food boxes. The sketches were published alongside her articles in the \u003cemph render=\"italic\"\u003eDaily News-Record\u003c/emph\u003e. An index of these writings is available \u003cextref type=\"simple\" actuate=\"onRequest\" show=\"new\" href=\"http://www.lib.jmu.edu/special/manuscripts/3017Baugher_Detail.pdf\"\u003ehere\u003c/extref\u003e.\u003c/p\u003e\n","\u003cp\u003eSeries 2, Non-Fiction, undated, includes a variety of short stories and essays of historical and religious content. Baugher's writings reference Patrick Henry, Stonewall Jackson, Pendleton Bryan, and the Methodist Church. The non-fiction works also include narrative Bible stories about Christmas, Zachariah and Elizabeth, and Thomas the Apostle or Didymus.\u003c/p\u003e\n","\u003cp\u003eSeries 3, Fiction, 2002-2003, is comprised of notes, drafts, manuscripts, and short stories.  Included in this series is a children's story entitled \"Corky\" about a pig which was also illustrated by Baugher. Written under the pseudonym Dorothy Lee Desailles, \"The Reluctant Heart\" is Baugher's most extensive work. This unpublished full-length manuscript is set dually in the Caribbean and the United States with religious connotations, a variety of characters, a love-angle, and mystery. Numerous drafts of \"The Reluctant Heart\" are retained.  Ficticious short stories, notes, and resource material for potential works or works in progress are also present.\u003c/p\u003e\n","\u003cp\u003eSeries 4, Poetry, 1986-1998, is a collection of handwritten and typed poems written by Baugher.  Much of the poetry has religious themes with references to God and Bible verses.  Notes on potential publishing companies are also present.\u003c/p\u003e\n","\u003cp\u003eSeries 5, Miscellany, 1936-2003, consists of various church and community programs, correspondence, notes, and other ephemera.  Specific materials include J.C. Penney employee's sales receipts, the Turner Ashby Class of 1961 \"Progress Report\" (1981 ed.) in which class members describe their lives and families twenty years after graduating, and a Daily News-Record  article and Op-Ed piece recognizing Baugher for her work in the community. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Dorothy Lee Baugher Papers, 1936-2003 (bulk 1975-1981), are arranged in five series and consist of two boxes of newspaper clippings, poetry, fiction and non-fiction writings, and drawings produced by Baugher. The collection also includes miscellaneous materials including correspondence, receipts, programs, and notes.","Series 1, Daily News-Record Materials, 1975-1981, is comprised of newspaper clippings written by Baugher on subjects pertaining to the United States Bicentennial (1976) as well as the city of Harrisonburg's Bicentennial (1980) in the \"Footprints and Echoes\" column of the Daily News-Record. Topics range from Revolutionary War efforts in the Valley, women's roles in the Revolution, and general daily life in the late eighteenth century. The series includes some of Baugher's typed drafts as well as her drawings, many of which were sketched on the backs of cereal and food boxes. The sketches were published alongside her articles in the  Daily News-Record . An index of these writings is available  here .","Series 2, Non-Fiction, undated, includes a variety of short stories and essays of historical and religious content. Baugher's writings reference Patrick Henry, Stonewall Jackson, Pendleton Bryan, and the Methodist Church. The non-fiction works also include narrative Bible stories about Christmas, Zachariah and Elizabeth, and Thomas the Apostle or Didymus.","Series 3, Fiction, 2002-2003, is comprised of notes, drafts, manuscripts, and short stories.  Included in this series is a children's story entitled \"Corky\" about a pig which was also illustrated by Baugher. Written under the pseudonym Dorothy Lee Desailles, \"The Reluctant Heart\" is Baugher's most extensive work. This unpublished full-length manuscript is set dually in the Caribbean and the United States with religious connotations, a variety of characters, a love-angle, and mystery. Numerous drafts of \"The Reluctant Heart\" are retained.  Ficticious short stories, notes, and resource material for potential works or works in progress are also present.","Series 4, Poetry, 1986-1998, is a collection of handwritten and typed poems written by Baugher.  Much of the poetry has religious themes with references to God and Bible verses.  Notes on potential publishing companies are also present.","Series 5, Miscellany, 1936-2003, consists of various church and community programs, correspondence, notes, and other ephemera.  Specific materials include J.C. Penney employee's sales receipts, the Turner Ashby Class of 1961 \"Progress Report\" (1981 ed.) in which class members describe their lives and families twenty years after graduating, and a Daily News-Record  article and Op-Ed piece recognizing Baugher for her work in the community. "],"userestrict_html_tesm":["\u003cp\u003eThe copyright interests in this collection have been transferred to the James Madison University Special Collection Library. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright interests in this collection have been transferred to the James Madison University Special Collection Library. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu)."],"abstract_html_tesm":["\u003cabstract id=\"aspace_9a930ec716172acbe7db4319c9d440ca\"\u003eThe Dorothy Lee Baugher Papers, 1936-2003 (bulk 1975-1981), consist of two boxes of newspaper clippings, poetry, fiction and non-fiction writings, and drawings produced by Baugher. The collection also includes miscellaneous materials including correspondence, receipts, programs, and notes.\u003c/abstract\u003e"],"abstract_tesim":["The Dorothy Lee Baugher Papers, 1936-2003 (bulk 1975-1981), consist of two boxes of newspaper clippings, poetry, fiction and non-fiction writings, and drawings produced by Baugher. The collection also includes miscellaneous materials including correspondence, receipts, programs, and notes."],"names_ssim":["James Madison University Libraries Special Collections","Baugher, Dorothy Lee, 1917-2009"],"corpname_ssim":["James Madison University Libraries Special Collections"],"persname_ssim":["Baugher, Dorothy Lee, 1917-2009"],"language_ssim":["English \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":30,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T00:23:04.783Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vihart_repositories_4_resources_271"}},{"id":"vifgm_repositories_2_resources_90","type":"collection","attributes":{"title":"E. P. Conkle papers","creator":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_90#creator","type":"document_value","attributes":{"value":"Conkle, E. P. (Ellsworth Prouty)","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_90#abstract_or_scope","type":"document_value","attributes":{"value":"Included in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973).","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_90#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_90","ead_ssi":"vifgm_repositories_2_resources_90","_root_":"vifgm_repositories_2_resources_90","_nest_parent_":"vifgm_repositories_2_resources_90","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_90.xml","title_filing_ssi":"E. P. Conkle papers","title_ssm":["E. P. Conkle papers"],"title_tesim":["E. P. Conkle papers"],"unitdate_ssm":["1928-1994"],"unitdate_inclusive_ssm":["1928-1994"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0157","/repositories/2/resources/90"],"text":["C0157","/repositories/2/resources/90","E. P. Conkle papers","Short stories, American","American poetry -- 20th century","American drama -- 20th century","Creative writing","Theater","Theater programs","Performing arts","Poetry","Manuscripts","Correspondence","There are no access restrictions.","This collection is organized into six series by document type and genre with manuscripts arranged alphabetically by title and correspondence arranged chronologically.","Series Series 1: Correspondence and Biographical Material, 1938-1939, 1977-1994 (Box 1) Series 2: Book Manuscripts, undated (Box 1) Series 3: Play Scripts, 1928-1973, bulk 1939-1973 (Boxes 2-6) Series 4: Poetry, 1939-1973 (Box 6) Series 5: Short Stories, 1939-1973 (Box 7) Series 6: Miscellaneous, 1931-1992 (Box 7)","Ellsworth Prouty Conkle (1899-1994) was a prolific playwright and professor of playwriting. Born on July 10, 1899, Conkle grew up on a farm in the small town of Peru, Nebraska. His rural upbringing had an enduring influence on his writing as exemplified in his first published book, Crick Bottom Plays (1928), a collection of short plays which dramatize the wit and wisdom of folksy Nebraskans. After high school Conkle went to Peru State Teachers College and completed his undergraduate education in 1923 at the University of Nebraska. Conkle did graduate work at Yale University in 1926-1928 and earned his Ph.D in playwriting from the University of Iowa in 1936. From 1936-1939 Conkle worked as an assistant professor of speech at the University of Iowa. In 1939 he joined the faculty of the University of Texas at Austin as an associate professor where he became a full professor in 1945 and taught until his retirement in 1973. Conkle's former students include Tennessee Williams, Pat Hingle, Tommy Tune, and Fess Parker. ","In addition to teaching classes and developing the Department of Drama at the University of Texas, Conkle wrote numerous published and unpublished plays, several short stories, and dozens of poems. Much of his work captures the humor and wisdom of a bygone era in American folk-life, including the short play \"Sparkin'\" (1928) and the long plays \"Johnny Appleseed\" (1940) and \"No Time for Heaven\" (1972). Abraham Lincoln became another favorite subject of Conkle's, and the play \"Prologue to Glory\" (1938), a fictionalized account of Lincoln's formative years in New Salem, was chosen for production by the Federal Theatre Project and performed across the United States in 1938-1939. Capitalizing on its success, Conkle wrote a radio script based on the play, entitled Honest Abe, which was produced by CBS and aired in thirty-six parts between 1940 and 1941. Conkle died in 1994. ","Processed and finding aid completed by Carol DeAngelo, Barbara Hasse, Robert Vay, Kaycee L. Morgan and Estee L. Dudash. EAD markup completed by Eron Ackerman and Jordan Patty in April 2009.","The Special Collections Research Center also holds the  .","Included in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973). Most of the manuscripts in the collection are undated. Thus, specific dates on subsequently published materials typically refer to the date of publication, and date ranges on unpublished materials refer to letterheads indicating Conkle's employ at the University of Texas or the University of Iowa. The collection also contains playbills and director's notes from various productions of Prologue to Glory, the radio script to the CBS-produced series, Honest Abe (1940-1941), works and notes from former students, and correspondence between Conkle and his wife, Virginia McNeal Conkle. ","Series 1: Correspondence and Biographical Material contains letters written to E. P. Conkle and various articles pertaining to Conkle's career as a playwright. ","Series 2: Book Manuscripts contains typed and annotated manuscripts of E. P. Conkle's books Grandpa's Little White Rent House, A Hornbook for Playwrights, and Wake Up, Tom Aycup, or, the Tale of a Great Guy. ","Series 3: Play Scripts contains typed and annotated play scripts written by Conkle, including \"At the Depot,\" \"Day's End,\" \"Good Night, Dear Grandma,\" \"With How Little Wisdom,\" and a three-volume weekly radio script entitled \"Honest Abe.\" Also included is a play script by Patty Gideon Sloan entitled \"Mementos.\" ","Series 4: Poetry contains typed and annotated poems written by Conkle, including the collections Eleven Various Ballads, A Gift of Small Inconsequential Verses, and Thirteen Sonnets Which Speak of Time, and One More. ","Series 5: Short Stories contains typed and annotated copies of Conkle's stories \"Little Angel of the Backward Look,\" \"Traveller, and General Lee,\" and \"Miss Lute.\" ","Series 6: Miscellaneous contains various items including essays and term papers Conkle wrote as a student. ","This series contains letters written to E. P. Conkle and various articles pertaining to Conkle's career as a playwright.","facsimile","facsimile","facsimile","facsimile","facsimile","facsimile","facsimile","facsimile","facsimile","facsimile; address of the Works Progress Administration in heading","facsimile","facsimile; note in margin indicates \"Los Angeles Production,\"","This series contains typed and annotated manuscripts of books written by E. P. Conkle.","Austin, Texas; typed manuscript, 292 pages, includes cover with title","typed manuscript, 292 pages, no cover","University of Texas, Austin; typed manuscript with annotations, 135 pages","Austin, Texas; typed manuscript with revisions, 266 pages","This is the largest series of the collection, and it contains typed and annotated play scripts written by E. P. Conkle and includes one play script written by Patty Gideon Sloan entitled \"Mementos.\"","University of Texas, Austin; includes the plays \"Dusk, Dusk, Dusk,\" \"Two Minds with but Two Single Thoughts,\" \"Mr. Map and the Beautiful Hat,\" \"Oak Leaves Burning,\" and an annotated play script tentatively titled \"A Long Journey.\"","University of Texas, Austin; includes an 18 page annotated manuscript of \"Day's End: A Few Words Spoken by Mr. Lincoln, the President,\" an 11 page typed play script of \"Day's End\" with no revisions, and an 18 page annotated manuscript for \"Oak Leaves Burning.\"","University of Texas, Austin; includes typed play scripts for \"The Fancy One,\" \"Four Old Ladies and Pansy Potter,\" \"Oak Leaves Burning,\" \"Gatie, or Eight Women on a Toot,\" and \"The Jewel in Papa's Crown,\" 62 pages.","University of Texas, Austin; includes two 133 page typed play scripts for \"Good Night, Dear Grandma,\" one of which contains manuscript revisions marked \"final.\"","Columbia Broadcasting System (CBS); a radio script divided into 12 parts for weekly broadcasting, volume 1 of 3","Columbia Broadcasting System (CBS); a radio script divided into 12 parts for weekly broadcasting, volume 2 of 3","Columbia Broadcasting System (CBS); a radio script divided into 12 parts for weekly broadcasting, volume 3 of 3","University of Texas, Austin; two copies of the play script, 121 pages each","Texas; typed script of play in three acts by Patty Gideon Sloan; see Box 1, Folder 1 for correspondence with Sloan","two annotated scripts with revisions, one titled simply \"Mr. President,\" approximately 120 pages each","Austin, Texas","Austin, Texas; facsimile of typescript","cast: Clyte Cedars and Arlie Askew; place: Clyte's place","123 pages","University of Iowa, Experimental Theatre Seminar; soft-bound copy, 91 pages","two typed manuscripts","University of Texas, Austin; two copies of the play script, one 65 pages and another with revisions at 69 pages","84 pages","University of Texas, Austin; two typed copies, one marked \"Final / 1971\"","two copies, one 66 pages and the other 67 pages; the former bears a stamp of the author's agent, Frieda Fishbein","University of Texas, Austin; two copies, 113 pages each","This collection contains typed and annotated poems written by E. P. Conkle.","several copies, including one 8 page typed copy with corrections","Austin, Texas; typed poems with revisions, including \"Ballad of the Gay Cavalier,\" \"The Ballad of Henry Plummer,\" \"Ballad to a Wooden Leg,\" \"The Ballad of the Youngster and His Dog,\" \"Ballad of a Hallelujah Marriage,\" \"Ballad of the Merry Miller-Man,\" \"Ballad of the Prairies,\" \"Ballad of Aunt Susan,\" \"Ballad of Mad Beggars,\" \"Ballad of the Happy Milkmaid,\" and \"Ballad of the Cosset Lamb and the Crumpled Cow\"","two typed 45 page manuscripts of poems including \"Birds and Other Animals,\" \"Weather and Scenery,\" \"More and Less Personal,\" \"Just People,\" and \"Philosophy and Other Things\"","University of Texas, Austin; these poetry collections are respectively 22 pages, 27 pages, and 41 pages long; folder includes a title page of \"Verses for a Year\"","University of Texas, Austin; typed manuscripts with revisions","small format type scripts","This collection contains typed and annotated short stories written by E. P. Conkle.","University of Texas, Austin; two copies of the manuscript, 14 pages each, the second alternately titled, \"The Littlest Angel of the Backward Look, a Fantasy\"","University of Texas, Austin; two copies of \"Traveller, and General Lee,\" both 22 pages and one with annotations; one 43 page copy of \"Miss Lute\"","This collection contains various items including essays and term papers Conkle wrote as a student.","35 pages including bibliography; described on title page as \"a term-paper written for the class in \"Chaucer\" for Mr. Frantz\"; annotated","list of University of Texas graduate students and the titles of their theses and dissertations arranged by date","University of Texas, Austin; revised three-page essay on education written by Conkle","two pages listing titles of plays by Conkle and four lines of verse, untitled","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","Included in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973).","George Mason University. Libraries. Special Collections Research Center","Conkle, E. P. (Ellsworth Prouty)","English"],"unitid_tesim":["C0157","/repositories/2/resources/90"],"normalized_title_ssm":["E. P. Conkle papers"],"collection_title_tesim":["E. P. Conkle papers"],"collection_ssim":["E. P. Conkle papers"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Conkle, E. P. (Ellsworth Prouty)"],"creator_ssim":["Conkle, E. P. (Ellsworth Prouty)"],"creator_persname_ssim":["Conkle, E. P. (Ellsworth Prouty)"],"creators_ssim":["Conkle, E. P. (Ellsworth Prouty)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Virginia McNeal Conkle in 1994."],"access_subjects_ssim":["Short stories, American","American poetry -- 20th century","American drama -- 20th century","Creative writing","Theater","Theater programs","Performing arts","Poetry","Manuscripts","Correspondence"],"access_subjects_ssm":["Short stories, American","American poetry -- 20th century","American drama -- 20th century","Creative writing","Theater","Theater programs","Performing arts","Poetry","Manuscripts","Correspondence"],"has_online_content_ssim":["false"],"extent_ssm":["3.5 Linear Feet 7 boxes"],"extent_tesim":["3.5 Linear Feet 7 boxes"],"genreform_ssim":["Poetry","Manuscripts","Correspondence"],"date_range_isim":[1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThis collection is organized into six series by document type and genre with manuscripts arranged alphabetically by title and correspondence arranged chronologically.\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Correspondence and Biographical Material, 1938-1939, 1977-1994 (Box 1)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Book Manuscripts, undated (Box 1)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Play Scripts, 1928-1973, bulk 1939-1973 (Boxes 2-6)\u003c/item\u003e\n      \u003citem\u003eSeries 4: Poetry, 1939-1973 (Box 6)\u003c/item\u003e\n      \u003citem\u003eSeries 5: Short Stories, 1939-1973 (Box 7)\u003c/item\u003e\n      \u003citem\u003eSeries 6: Miscellaneous, 1931-1992 (Box 7)\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is organized into six series by document type and genre with manuscripts arranged alphabetically by title and correspondence arranged chronologically.","Series Series 1: Correspondence and Biographical Material, 1938-1939, 1977-1994 (Box 1) Series 2: Book Manuscripts, undated (Box 1) Series 3: Play Scripts, 1928-1973, bulk 1939-1973 (Boxes 2-6) Series 4: Poetry, 1939-1973 (Box 6) Series 5: Short Stories, 1939-1973 (Box 7) Series 6: Miscellaneous, 1931-1992 (Box 7)"],"bioghist_html_tesm":["\u003cp\u003eEllsworth Prouty Conkle (1899-1994) was a prolific playwright and professor of playwriting. Born on July 10, 1899, Conkle grew up on a farm in the small town of Peru, Nebraska. His rural upbringing had an enduring influence on his writing as exemplified in his first published book, Crick Bottom Plays (1928), a collection of short plays which dramatize the wit and wisdom of folksy Nebraskans. After high school Conkle went to Peru State Teachers College and completed his undergraduate education in 1923 at the University of Nebraska. Conkle did graduate work at Yale University in 1926-1928 and earned his Ph.D in playwriting from the University of Iowa in 1936. From 1936-1939 Conkle worked as an assistant professor of speech at the University of Iowa. In 1939 he joined the faculty of the University of Texas at Austin as an associate professor where he became a full professor in 1945 and taught until his retirement in 1973. Conkle's former students include Tennessee Williams, Pat Hingle, Tommy Tune, and Fess Parker. \u003c/p\u003e\n","\u003cp\u003eIn addition to teaching classes and developing the Department of Drama at the University of Texas, Conkle wrote numerous published and unpublished plays, several short stories, and dozens of poems. Much of his work captures the humor and wisdom of a bygone era in American folk-life, including the short play \"Sparkin'\" (1928) and the long plays \"Johnny Appleseed\" (1940) and \"No Time for Heaven\" (1972). Abraham Lincoln became another favorite subject of Conkle's, and the play \"Prologue to Glory\" (1938), a fictionalized account of Lincoln's formative years in New Salem, was chosen for production by the Federal Theatre Project and performed across the United States in 1938-1939. Capitalizing on its success, Conkle wrote a radio script based on the play, entitled Honest Abe, which was produced by CBS and aired in thirty-six parts between 1940 and 1941. Conkle died in 1994. \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Ellsworth Prouty Conkle (1899-1994) was a prolific playwright and professor of playwriting. Born on July 10, 1899, Conkle grew up on a farm in the small town of Peru, Nebraska. His rural upbringing had an enduring influence on his writing as exemplified in his first published book, Crick Bottom Plays (1928), a collection of short plays which dramatize the wit and wisdom of folksy Nebraskans. After high school Conkle went to Peru State Teachers College and completed his undergraduate education in 1923 at the University of Nebraska. Conkle did graduate work at Yale University in 1926-1928 and earned his Ph.D in playwriting from the University of Iowa in 1936. From 1936-1939 Conkle worked as an assistant professor of speech at the University of Iowa. In 1939 he joined the faculty of the University of Texas at Austin as an associate professor where he became a full professor in 1945 and taught until his retirement in 1973. Conkle's former students include Tennessee Williams, Pat Hingle, Tommy Tune, and Fess Parker. ","In addition to teaching classes and developing the Department of Drama at the University of Texas, Conkle wrote numerous published and unpublished plays, several short stories, and dozens of poems. Much of his work captures the humor and wisdom of a bygone era in American folk-life, including the short play \"Sparkin'\" (1928) and the long plays \"Johnny Appleseed\" (1940) and \"No Time for Heaven\" (1972). Abraham Lincoln became another favorite subject of Conkle's, and the play \"Prologue to Glory\" (1938), a fictionalized account of Lincoln's formative years in New Salem, was chosen for production by the Federal Theatre Project and performed across the United States in 1938-1939. Capitalizing on its success, Conkle wrote a radio script based on the play, entitled Honest Abe, which was produced by CBS and aired in thirty-six parts between 1940 and 1941. Conkle died in 1994. "],"prefercite_html_tesm":["\u003cp\u003eE. P. Conkle papers, C0157, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["E. P. Conkle papers, C0157, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed and finding aid completed by Carol DeAngelo, Barbara Hasse, Robert Vay, Kaycee L. Morgan and Estee L. Dudash. EAD markup completed by Eron Ackerman and Jordan Patty in April 2009.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed and finding aid completed by Carol DeAngelo, Barbara Hasse, Robert Vay, Kaycee L. Morgan and Estee L. Dudash. EAD markup completed by Eron Ackerman and Jordan Patty in April 2009."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the \u003cextptr show=\"new\" title=\"Jay Bradford Fowler, Jr. papers\" href=\"https://aspace.gmu.edu/resources/c0046\"\u003e\u003c/extptr\u003e.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the  ."],"scopecontent_html_tesm":["\u003cp\u003eIncluded in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973). Most of the manuscripts in the collection are undated. Thus, specific dates on subsequently published materials typically refer to the date of publication, and date ranges on unpublished materials refer to letterheads indicating Conkle's employ at the University of Texas or the University of Iowa. The collection also contains playbills and director's notes from various productions of Prologue to Glory, the radio script to the CBS-produced series, Honest Abe (1940-1941), works and notes from former students, and correspondence between Conkle and his wife, Virginia McNeal Conkle. \u003c/p\u003e\n","\u003cp\u003eSeries 1: Correspondence and Biographical Material contains letters written to E. P. Conkle and various articles pertaining to Conkle's career as a playwright. \u003c/p\u003e\n","\u003cp\u003eSeries 2: Book Manuscripts contains typed and annotated manuscripts of E. P. Conkle's books Grandpa's Little White Rent House, A Hornbook for Playwrights, and Wake Up, Tom Aycup, or, the Tale of a Great Guy. \u003c/p\u003e\n","\u003cp\u003eSeries 3: Play Scripts contains typed and annotated play scripts written by Conkle, including \"At the Depot,\" \"Day's End,\" \"Good Night, Dear Grandma,\" \"With How Little Wisdom,\" and a three-volume weekly radio script entitled \"Honest Abe.\" Also included is a play script by Patty Gideon Sloan entitled \"Mementos.\" \u003c/p\u003e\n","\u003cp\u003eSeries 4: Poetry contains typed and annotated poems written by Conkle, including the collections Eleven Various Ballads, A Gift of Small Inconsequential Verses, and Thirteen Sonnets Which Speak of Time, and One More. \u003c/p\u003e\n","\u003cp\u003eSeries 5: Short Stories contains typed and annotated copies of Conkle's stories \"Little Angel of the Backward Look,\" \"Traveller, and General Lee,\" and \"Miss Lute.\" \u003c/p\u003e\n","\u003cp\u003eSeries 6: Miscellaneous contains various items including essays and term papers Conkle wrote as a student. \u003c/p\u003e","\u003cp\u003eThis series contains letters written to E. P. Conkle and various articles pertaining to Conkle's career as a playwright.\u003c/p\u003e","\u003cp\u003efacsimile\u003c/p\u003e","\u003cp\u003efacsimile\u003c/p\u003e","\u003cp\u003efacsimile\u003c/p\u003e","\u003cp\u003efacsimile\u003c/p\u003e","\u003cp\u003efacsimile\u003c/p\u003e","\u003cp\u003efacsimile\u003c/p\u003e","\u003cp\u003efacsimile\u003c/p\u003e","\u003cp\u003efacsimile\u003c/p\u003e","\u003cp\u003efacsimile\u003c/p\u003e","\u003cp\u003efacsimile; address of the Works Progress Administration in heading\u003c/p\u003e","\u003cp\u003efacsimile\u003c/p\u003e","\u003cp\u003efacsimile; note in margin indicates \"Los Angeles Production,\"\u003c/p\u003e","\u003cp\u003eThis series contains typed and annotated manuscripts of books written by E. P. Conkle.\u003c/p\u003e","\u003cp\u003eAustin, Texas; typed manuscript, 292 pages, includes cover with title\u003c/p\u003e","\u003cp\u003etyped manuscript, 292 pages, no cover\u003c/p\u003e","\u003cp\u003eUniversity of Texas, Austin; typed manuscript with annotations, 135 pages\u003c/p\u003e","\u003cp\u003eAustin, Texas; typed manuscript with revisions, 266 pages\u003c/p\u003e","\u003cp\u003eThis is the largest series of the collection, and it contains typed and annotated play scripts written by E. P. Conkle and includes one play script written by Patty Gideon Sloan entitled \"Mementos.\"\u003c/p\u003e","\u003cp\u003eUniversity of Texas, Austin; includes the plays \"Dusk, Dusk, Dusk,\" \"Two Minds with but Two Single Thoughts,\" \"Mr. Map and the Beautiful Hat,\" \"Oak Leaves Burning,\" and an annotated play script tentatively titled \"A Long Journey.\"\u003c/p\u003e","\u003cp\u003eUniversity of Texas, Austin; includes an 18 page annotated manuscript of \"Day's End: A Few Words Spoken by Mr. Lincoln, the President,\" an 11 page typed play script of \"Day's End\" with no revisions, and an 18 page annotated manuscript for \"Oak Leaves Burning.\"\u003c/p\u003e","\u003cp\u003eUniversity of Texas, Austin; includes typed play scripts for \"The Fancy One,\" \"Four Old Ladies and Pansy Potter,\" \"Oak Leaves Burning,\" \"Gatie, or Eight Women on a Toot,\" and \"The Jewel in Papa's Crown,\" 62 pages.\u003c/p\u003e","\u003cp\u003eUniversity of Texas, Austin; includes two 133 page typed play scripts for \"Good Night, Dear Grandma,\" one of which contains manuscript revisions marked \"final.\"\u003c/p\u003e","\u003cp\u003eColumbia Broadcasting System (CBS); a radio script divided into 12 parts for weekly broadcasting, volume 1 of 3\u003c/p\u003e","\u003cp\u003eColumbia Broadcasting System (CBS); a radio script divided into 12 parts for weekly broadcasting, volume 2 of 3\u003c/p\u003e","\u003cp\u003eColumbia Broadcasting System (CBS); a radio script divided into 12 parts for weekly broadcasting, volume 3 of 3\u003c/p\u003e","\u003cp\u003eUniversity of Texas, Austin; two copies of the play script, 121 pages each\u003c/p\u003e","\u003cp\u003eTexas; typed script of play in three acts by Patty Gideon Sloan; see Box 1, Folder 1 for correspondence with Sloan\u003c/p\u003e","\u003cp\u003etwo annotated scripts with revisions, one titled simply \"Mr. President,\" approximately 120 pages each\u003c/p\u003e","\u003cp\u003eAustin, Texas\u003c/p\u003e","\u003cp\u003eAustin, Texas; facsimile of typescript\u003c/p\u003e","\u003cp\u003ecast: Clyte Cedars and Arlie Askew; place: Clyte's place\u003c/p\u003e","\u003cp\u003e123 pages\u003c/p\u003e","\u003cp\u003eUniversity of Iowa, Experimental Theatre Seminar; soft-bound copy, 91 pages\u003c/p\u003e","\u003cp\u003etwo typed manuscripts\u003c/p\u003e","\u003cp\u003eUniversity of Texas, Austin; two copies of the play script, one 65 pages and another with revisions at 69 pages\u003c/p\u003e","\u003cp\u003e84 pages\u003c/p\u003e","\u003cp\u003eUniversity of Texas, Austin; two typed copies, one marked \"Final / 1971\"\u003c/p\u003e","\u003cp\u003etwo copies, one 66 pages and the other 67 pages; the former bears a stamp of the author's agent, Frieda Fishbein\u003c/p\u003e","\u003cp\u003eUniversity of Texas, Austin; two copies, 113 pages each\u003c/p\u003e","\u003cp\u003eThis collection contains typed and annotated poems written by E. P. Conkle.\u003c/p\u003e","\u003cp\u003eseveral copies, including one 8 page typed copy with corrections\u003c/p\u003e","\u003cp\u003eAustin, Texas; typed poems with revisions, including \"Ballad of the Gay Cavalier,\" \"The Ballad of Henry Plummer,\" \"Ballad to a Wooden Leg,\" \"The Ballad of the Youngster and His Dog,\" \"Ballad of a Hallelujah Marriage,\" \"Ballad of the Merry Miller-Man,\" \"Ballad of the Prairies,\" \"Ballad of Aunt Susan,\" \"Ballad of Mad Beggars,\" \"Ballad of the Happy Milkmaid,\" and \"Ballad of the Cosset Lamb and the Crumpled Cow\"\u003c/p\u003e","\u003cp\u003etwo typed 45 page manuscripts of poems including \"Birds and Other Animals,\" \"Weather and Scenery,\" \"More and Less Personal,\" \"Just People,\" and \"Philosophy and Other Things\"\u003c/p\u003e","\u003cp\u003eUniversity of Texas, Austin; these poetry collections are respectively 22 pages, 27 pages, and 41 pages long; folder includes a title page of \"Verses for a Year\"\u003c/p\u003e","\u003cp\u003eUniversity of Texas, Austin; typed manuscripts with revisions\u003c/p\u003e","\u003cp\u003esmall format type scripts\u003c/p\u003e","\u003cp\u003eThis collection contains typed and annotated short stories written by E. P. Conkle.\u003c/p\u003e","\u003cp\u003eUniversity of Texas, Austin; two copies of the manuscript, 14 pages each, the second alternately titled, \"The Littlest Angel of the Backward Look, a Fantasy\"\u003c/p\u003e","\u003cp\u003eUniversity of Texas, Austin; two copies of \"Traveller, and General Lee,\" both 22 pages and one with annotations; one 43 page copy of \"Miss Lute\"\u003c/p\u003e","\u003cp\u003eThis collection contains various items including essays and term papers Conkle wrote as a student.\u003c/p\u003e","\u003cp\u003e35 pages including bibliography; described on title page as \"a term-paper written for the class in \"Chaucer\" for Mr. Frantz\"; annotated\u003c/p\u003e","\u003cp\u003elist of University of Texas graduate students and the titles of their theses and dissertations arranged by date\u003c/p\u003e","\u003cp\u003eUniversity of Texas, Austin; revised three-page essay on education written by Conkle\u003c/p\u003e","\u003cp\u003etwo pages listing titles of plays by Conkle and four lines of verse, untitled\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note"],"scopecontent_tesim":["Included in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973). Most of the manuscripts in the collection are undated. Thus, specific dates on subsequently published materials typically refer to the date of publication, and date ranges on unpublished materials refer to letterheads indicating Conkle's employ at the University of Texas or the University of Iowa. The collection also contains playbills and director's notes from various productions of Prologue to Glory, the radio script to the CBS-produced series, Honest Abe (1940-1941), works and notes from former students, and correspondence between Conkle and his wife, Virginia McNeal Conkle. ","Series 1: Correspondence and Biographical Material contains letters written to E. P. Conkle and various articles pertaining to Conkle's career as a playwright. ","Series 2: Book Manuscripts contains typed and annotated manuscripts of E. P. Conkle's books Grandpa's Little White Rent House, A Hornbook for Playwrights, and Wake Up, Tom Aycup, or, the Tale of a Great Guy. ","Series 3: Play Scripts contains typed and annotated play scripts written by Conkle, including \"At the Depot,\" \"Day's End,\" \"Good Night, Dear Grandma,\" \"With How Little Wisdom,\" and a three-volume weekly radio script entitled \"Honest Abe.\" Also included is a play script by Patty Gideon Sloan entitled \"Mementos.\" ","Series 4: Poetry contains typed and annotated poems written by Conkle, including the collections Eleven Various Ballads, A Gift of Small Inconsequential Verses, and Thirteen Sonnets Which Speak of Time, and One More. ","Series 5: Short Stories contains typed and annotated copies of Conkle's stories \"Little Angel of the Backward Look,\" \"Traveller, and General Lee,\" and \"Miss Lute.\" ","Series 6: Miscellaneous contains various items including essays and term papers Conkle wrote as a student. ","This series contains letters written to E. P. Conkle and various articles pertaining to Conkle's career as a playwright.","facsimile","facsimile","facsimile","facsimile","facsimile","facsimile","facsimile","facsimile","facsimile","facsimile; address of the Works Progress Administration in heading","facsimile","facsimile; note in margin indicates \"Los Angeles Production,\"","This series contains typed and annotated manuscripts of books written by E. P. Conkle.","Austin, Texas; typed manuscript, 292 pages, includes cover with title","typed manuscript, 292 pages, no cover","University of Texas, Austin; typed manuscript with annotations, 135 pages","Austin, Texas; typed manuscript with revisions, 266 pages","This is the largest series of the collection, and it contains typed and annotated play scripts written by E. P. Conkle and includes one play script written by Patty Gideon Sloan entitled \"Mementos.\"","University of Texas, Austin; includes the plays \"Dusk, Dusk, Dusk,\" \"Two Minds with but Two Single Thoughts,\" \"Mr. Map and the Beautiful Hat,\" \"Oak Leaves Burning,\" and an annotated play script tentatively titled \"A Long Journey.\"","University of Texas, Austin; includes an 18 page annotated manuscript of \"Day's End: A Few Words Spoken by Mr. Lincoln, the President,\" an 11 page typed play script of \"Day's End\" with no revisions, and an 18 page annotated manuscript for \"Oak Leaves Burning.\"","University of Texas, Austin; includes typed play scripts for \"The Fancy One,\" \"Four Old Ladies and Pansy Potter,\" \"Oak Leaves Burning,\" \"Gatie, or Eight Women on a Toot,\" and \"The Jewel in Papa's Crown,\" 62 pages.","University of Texas, Austin; includes two 133 page typed play scripts for \"Good Night, Dear Grandma,\" one of which contains manuscript revisions marked \"final.\"","Columbia Broadcasting System (CBS); a radio script divided into 12 parts for weekly broadcasting, volume 1 of 3","Columbia Broadcasting System (CBS); a radio script divided into 12 parts for weekly broadcasting, volume 2 of 3","Columbia Broadcasting System (CBS); a radio script divided into 12 parts for weekly broadcasting, volume 3 of 3","University of Texas, Austin; two copies of the play script, 121 pages each","Texas; typed script of play in three acts by Patty Gideon Sloan; see Box 1, Folder 1 for correspondence with Sloan","two annotated scripts with revisions, one titled simply \"Mr. President,\" approximately 120 pages each","Austin, Texas","Austin, Texas; facsimile of typescript","cast: Clyte Cedars and Arlie Askew; place: Clyte's place","123 pages","University of Iowa, Experimental Theatre Seminar; soft-bound copy, 91 pages","two typed manuscripts","University of Texas, Austin; two copies of the play script, one 65 pages and another with revisions at 69 pages","84 pages","University of Texas, Austin; two typed copies, one marked \"Final / 1971\"","two copies, one 66 pages and the other 67 pages; the former bears a stamp of the author's agent, Frieda Fishbein","University of Texas, Austin; two copies, 113 pages each","This collection contains typed and annotated poems written by E. P. Conkle.","several copies, including one 8 page typed copy with corrections","Austin, Texas; typed poems with revisions, including \"Ballad of the Gay Cavalier,\" \"The Ballad of Henry Plummer,\" \"Ballad to a Wooden Leg,\" \"The Ballad of the Youngster and His Dog,\" \"Ballad of a Hallelujah Marriage,\" \"Ballad of the Merry Miller-Man,\" \"Ballad of the Prairies,\" \"Ballad of Aunt Susan,\" \"Ballad of Mad Beggars,\" \"Ballad of the Happy Milkmaid,\" and \"Ballad of the Cosset Lamb and the Crumpled Cow\"","two typed 45 page manuscripts of poems including \"Birds and Other Animals,\" \"Weather and Scenery,\" \"More and Less Personal,\" \"Just People,\" and \"Philosophy and Other Things\"","University of Texas, Austin; these poetry collections are respectively 22 pages, 27 pages, and 41 pages long; folder includes a title page of \"Verses for a Year\"","University of Texas, Austin; typed manuscripts with revisions","small format type scripts","This collection contains typed and annotated short stories written by E. P. Conkle.","University of Texas, Austin; two copies of the manuscript, 14 pages each, the second alternately titled, \"The Littlest Angel of the Backward Look, a Fantasy\"","University of Texas, Austin; two copies of \"Traveller, and General Lee,\" both 22 pages and one with annotations; one 43 page copy of \"Miss Lute\"","This collection contains various items including essays and term papers Conkle wrote as a student.","35 pages including bibliography; described on title page as \"a term-paper written for the class in \"Chaucer\" for Mr. Frantz\"; annotated","list of University of Texas graduate students and the titles of their theses and dissertations arranged by date","University of Texas, Austin; revised three-page essay on education written by Conkle","two pages listing titles of plays by Conkle and four lines of verse, untitled"],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_e4cc520ef016e4cf4b96e754985251fb\" label=\"Abstract\"\u003eIncluded in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973).\u003c/abstract\u003e"],"abstract_tesim":["Included in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973)."],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Conkle, E. P. (Ellsworth Prouty)"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"names_coll_ssim":["Conkle, E. P. (Ellsworth Prouty)"],"persname_ssim":["Conkle, E. P. (Ellsworth Prouty)"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":63,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T05:14:16.259Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_90","ead_ssi":"vifgm_repositories_2_resources_90","_root_":"vifgm_repositories_2_resources_90","_nest_parent_":"vifgm_repositories_2_resources_90","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_90.xml","title_filing_ssi":"E. P. Conkle papers","title_ssm":["E. P. Conkle papers"],"title_tesim":["E. P. Conkle papers"],"unitdate_ssm":["1928-1994"],"unitdate_inclusive_ssm":["1928-1994"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0157","/repositories/2/resources/90"],"text":["C0157","/repositories/2/resources/90","E. P. Conkle papers","Short stories, American","American poetry -- 20th century","American drama -- 20th century","Creative writing","Theater","Theater programs","Performing arts","Poetry","Manuscripts","Correspondence","There are no access restrictions.","This collection is organized into six series by document type and genre with manuscripts arranged alphabetically by title and correspondence arranged chronologically.","Series Series 1: Correspondence and Biographical Material, 1938-1939, 1977-1994 (Box 1) Series 2: Book Manuscripts, undated (Box 1) Series 3: Play Scripts, 1928-1973, bulk 1939-1973 (Boxes 2-6) Series 4: Poetry, 1939-1973 (Box 6) Series 5: Short Stories, 1939-1973 (Box 7) Series 6: Miscellaneous, 1931-1992 (Box 7)","Ellsworth Prouty Conkle (1899-1994) was a prolific playwright and professor of playwriting. Born on July 10, 1899, Conkle grew up on a farm in the small town of Peru, Nebraska. His rural upbringing had an enduring influence on his writing as exemplified in his first published book, Crick Bottom Plays (1928), a collection of short plays which dramatize the wit and wisdom of folksy Nebraskans. After high school Conkle went to Peru State Teachers College and completed his undergraduate education in 1923 at the University of Nebraska. Conkle did graduate work at Yale University in 1926-1928 and earned his Ph.D in playwriting from the University of Iowa in 1936. From 1936-1939 Conkle worked as an assistant professor of speech at the University of Iowa. In 1939 he joined the faculty of the University of Texas at Austin as an associate professor where he became a full professor in 1945 and taught until his retirement in 1973. Conkle's former students include Tennessee Williams, Pat Hingle, Tommy Tune, and Fess Parker. ","In addition to teaching classes and developing the Department of Drama at the University of Texas, Conkle wrote numerous published and unpublished plays, several short stories, and dozens of poems. Much of his work captures the humor and wisdom of a bygone era in American folk-life, including the short play \"Sparkin'\" (1928) and the long plays \"Johnny Appleseed\" (1940) and \"No Time for Heaven\" (1972). Abraham Lincoln became another favorite subject of Conkle's, and the play \"Prologue to Glory\" (1938), a fictionalized account of Lincoln's formative years in New Salem, was chosen for production by the Federal Theatre Project and performed across the United States in 1938-1939. Capitalizing on its success, Conkle wrote a radio script based on the play, entitled Honest Abe, which was produced by CBS and aired in thirty-six parts between 1940 and 1941. Conkle died in 1994. ","Processed and finding aid completed by Carol DeAngelo, Barbara Hasse, Robert Vay, Kaycee L. Morgan and Estee L. Dudash. EAD markup completed by Eron Ackerman and Jordan Patty in April 2009.","The Special Collections Research Center also holds the  .","Included in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973). Most of the manuscripts in the collection are undated. Thus, specific dates on subsequently published materials typically refer to the date of publication, and date ranges on unpublished materials refer to letterheads indicating Conkle's employ at the University of Texas or the University of Iowa. The collection also contains playbills and director's notes from various productions of Prologue to Glory, the radio script to the CBS-produced series, Honest Abe (1940-1941), works and notes from former students, and correspondence between Conkle and his wife, Virginia McNeal Conkle. ","Series 1: Correspondence and Biographical Material contains letters written to E. P. Conkle and various articles pertaining to Conkle's career as a playwright. ","Series 2: Book Manuscripts contains typed and annotated manuscripts of E. P. Conkle's books Grandpa's Little White Rent House, A Hornbook for Playwrights, and Wake Up, Tom Aycup, or, the Tale of a Great Guy. ","Series 3: Play Scripts contains typed and annotated play scripts written by Conkle, including \"At the Depot,\" \"Day's End,\" \"Good Night, Dear Grandma,\" \"With How Little Wisdom,\" and a three-volume weekly radio script entitled \"Honest Abe.\" Also included is a play script by Patty Gideon Sloan entitled \"Mementos.\" ","Series 4: Poetry contains typed and annotated poems written by Conkle, including the collections Eleven Various Ballads, A Gift of Small Inconsequential Verses, and Thirteen Sonnets Which Speak of Time, and One More. ","Series 5: Short Stories contains typed and annotated copies of Conkle's stories \"Little Angel of the Backward Look,\" \"Traveller, and General Lee,\" and \"Miss Lute.\" ","Series 6: Miscellaneous contains various items including essays and term papers Conkle wrote as a student. ","This series contains letters written to E. P. Conkle and various articles pertaining to Conkle's career as a playwright.","facsimile","facsimile","facsimile","facsimile","facsimile","facsimile","facsimile","facsimile","facsimile","facsimile; address of the Works Progress Administration in heading","facsimile","facsimile; note in margin indicates \"Los Angeles Production,\"","This series contains typed and annotated manuscripts of books written by E. P. Conkle.","Austin, Texas; typed manuscript, 292 pages, includes cover with title","typed manuscript, 292 pages, no cover","University of Texas, Austin; typed manuscript with annotations, 135 pages","Austin, Texas; typed manuscript with revisions, 266 pages","This is the largest series of the collection, and it contains typed and annotated play scripts written by E. P. Conkle and includes one play script written by Patty Gideon Sloan entitled \"Mementos.\"","University of Texas, Austin; includes the plays \"Dusk, Dusk, Dusk,\" \"Two Minds with but Two Single Thoughts,\" \"Mr. Map and the Beautiful Hat,\" \"Oak Leaves Burning,\" and an annotated play script tentatively titled \"A Long Journey.\"","University of Texas, Austin; includes an 18 page annotated manuscript of \"Day's End: A Few Words Spoken by Mr. Lincoln, the President,\" an 11 page typed play script of \"Day's End\" with no revisions, and an 18 page annotated manuscript for \"Oak Leaves Burning.\"","University of Texas, Austin; includes typed play scripts for \"The Fancy One,\" \"Four Old Ladies and Pansy Potter,\" \"Oak Leaves Burning,\" \"Gatie, or Eight Women on a Toot,\" and \"The Jewel in Papa's Crown,\" 62 pages.","University of Texas, Austin; includes two 133 page typed play scripts for \"Good Night, Dear Grandma,\" one of which contains manuscript revisions marked \"final.\"","Columbia Broadcasting System (CBS); a radio script divided into 12 parts for weekly broadcasting, volume 1 of 3","Columbia Broadcasting System (CBS); a radio script divided into 12 parts for weekly broadcasting, volume 2 of 3","Columbia Broadcasting System (CBS); a radio script divided into 12 parts for weekly broadcasting, volume 3 of 3","University of Texas, Austin; two copies of the play script, 121 pages each","Texas; typed script of play in three acts by Patty Gideon Sloan; see Box 1, Folder 1 for correspondence with Sloan","two annotated scripts with revisions, one titled simply \"Mr. President,\" approximately 120 pages each","Austin, Texas","Austin, Texas; facsimile of typescript","cast: Clyte Cedars and Arlie Askew; place: Clyte's place","123 pages","University of Iowa, Experimental Theatre Seminar; soft-bound copy, 91 pages","two typed manuscripts","University of Texas, Austin; two copies of the play script, one 65 pages and another with revisions at 69 pages","84 pages","University of Texas, Austin; two typed copies, one marked \"Final / 1971\"","two copies, one 66 pages and the other 67 pages; the former bears a stamp of the author's agent, Frieda Fishbein","University of Texas, Austin; two copies, 113 pages each","This collection contains typed and annotated poems written by E. P. Conkle.","several copies, including one 8 page typed copy with corrections","Austin, Texas; typed poems with revisions, including \"Ballad of the Gay Cavalier,\" \"The Ballad of Henry Plummer,\" \"Ballad to a Wooden Leg,\" \"The Ballad of the Youngster and His Dog,\" \"Ballad of a Hallelujah Marriage,\" \"Ballad of the Merry Miller-Man,\" \"Ballad of the Prairies,\" \"Ballad of Aunt Susan,\" \"Ballad of Mad Beggars,\" \"Ballad of the Happy Milkmaid,\" and \"Ballad of the Cosset Lamb and the Crumpled Cow\"","two typed 45 page manuscripts of poems including \"Birds and Other Animals,\" \"Weather and Scenery,\" \"More and Less Personal,\" \"Just People,\" and \"Philosophy and Other Things\"","University of Texas, Austin; these poetry collections are respectively 22 pages, 27 pages, and 41 pages long; folder includes a title page of \"Verses for a Year\"","University of Texas, Austin; typed manuscripts with revisions","small format type scripts","This collection contains typed and annotated short stories written by E. P. Conkle.","University of Texas, Austin; two copies of the manuscript, 14 pages each, the second alternately titled, \"The Littlest Angel of the Backward Look, a Fantasy\"","University of Texas, Austin; two copies of \"Traveller, and General Lee,\" both 22 pages and one with annotations; one 43 page copy of \"Miss Lute\"","This collection contains various items including essays and term papers Conkle wrote as a student.","35 pages including bibliography; described on title page as \"a term-paper written for the class in \"Chaucer\" for Mr. Frantz\"; annotated","list of University of Texas graduate students and the titles of their theses and dissertations arranged by date","University of Texas, Austin; revised three-page essay on education written by Conkle","two pages listing titles of plays by Conkle and four lines of verse, untitled","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","Included in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973).","George Mason University. Libraries. Special Collections Research Center","Conkle, E. P. (Ellsworth Prouty)","English"],"unitid_tesim":["C0157","/repositories/2/resources/90"],"normalized_title_ssm":["E. P. Conkle papers"],"collection_title_tesim":["E. P. Conkle papers"],"collection_ssim":["E. P. Conkle papers"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Conkle, E. P. (Ellsworth Prouty)"],"creator_ssim":["Conkle, E. P. (Ellsworth Prouty)"],"creator_persname_ssim":["Conkle, E. P. (Ellsworth Prouty)"],"creators_ssim":["Conkle, E. P. (Ellsworth Prouty)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Virginia McNeal Conkle in 1994."],"access_subjects_ssim":["Short stories, American","American poetry -- 20th century","American drama -- 20th century","Creative writing","Theater","Theater programs","Performing arts","Poetry","Manuscripts","Correspondence"],"access_subjects_ssm":["Short stories, American","American poetry -- 20th century","American drama -- 20th century","Creative writing","Theater","Theater programs","Performing arts","Poetry","Manuscripts","Correspondence"],"has_online_content_ssim":["false"],"extent_ssm":["3.5 Linear Feet 7 boxes"],"extent_tesim":["3.5 Linear Feet 7 boxes"],"genreform_ssim":["Poetry","Manuscripts","Correspondence"],"date_range_isim":[1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThis collection is organized into six series by document type and genre with manuscripts arranged alphabetically by title and correspondence arranged chronologically.\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Correspondence and Biographical Material, 1938-1939, 1977-1994 (Box 1)\u003c/item\u003e\n      \u003citem\u003eSeries 2: Book Manuscripts, undated (Box 1)\u003c/item\u003e\n      \u003citem\u003eSeries 3: Play Scripts, 1928-1973, bulk 1939-1973 (Boxes 2-6)\u003c/item\u003e\n      \u003citem\u003eSeries 4: Poetry, 1939-1973 (Box 6)\u003c/item\u003e\n      \u003citem\u003eSeries 5: Short Stories, 1939-1973 (Box 7)\u003c/item\u003e\n      \u003citem\u003eSeries 6: Miscellaneous, 1931-1992 (Box 7)\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is organized into six series by document type and genre with manuscripts arranged alphabetically by title and correspondence arranged chronologically.","Series Series 1: Correspondence and Biographical Material, 1938-1939, 1977-1994 (Box 1) Series 2: Book Manuscripts, undated (Box 1) Series 3: Play Scripts, 1928-1973, bulk 1939-1973 (Boxes 2-6) Series 4: Poetry, 1939-1973 (Box 6) Series 5: Short Stories, 1939-1973 (Box 7) Series 6: Miscellaneous, 1931-1992 (Box 7)"],"bioghist_html_tesm":["\u003cp\u003eEllsworth Prouty Conkle (1899-1994) was a prolific playwright and professor of playwriting. Born on July 10, 1899, Conkle grew up on a farm in the small town of Peru, Nebraska. His rural upbringing had an enduring influence on his writing as exemplified in his first published book, Crick Bottom Plays (1928), a collection of short plays which dramatize the wit and wisdom of folksy Nebraskans. After high school Conkle went to Peru State Teachers College and completed his undergraduate education in 1923 at the University of Nebraska. Conkle did graduate work at Yale University in 1926-1928 and earned his Ph.D in playwriting from the University of Iowa in 1936. From 1936-1939 Conkle worked as an assistant professor of speech at the University of Iowa. In 1939 he joined the faculty of the University of Texas at Austin as an associate professor where he became a full professor in 1945 and taught until his retirement in 1973. Conkle's former students include Tennessee Williams, Pat Hingle, Tommy Tune, and Fess Parker. \u003c/p\u003e\n","\u003cp\u003eIn addition to teaching classes and developing the Department of Drama at the University of Texas, Conkle wrote numerous published and unpublished plays, several short stories, and dozens of poems. Much of his work captures the humor and wisdom of a bygone era in American folk-life, including the short play \"Sparkin'\" (1928) and the long plays \"Johnny Appleseed\" (1940) and \"No Time for Heaven\" (1972). Abraham Lincoln became another favorite subject of Conkle's, and the play \"Prologue to Glory\" (1938), a fictionalized account of Lincoln's formative years in New Salem, was chosen for production by the Federal Theatre Project and performed across the United States in 1938-1939. Capitalizing on its success, Conkle wrote a radio script based on the play, entitled Honest Abe, which was produced by CBS and aired in thirty-six parts between 1940 and 1941. Conkle died in 1994. \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Ellsworth Prouty Conkle (1899-1994) was a prolific playwright and professor of playwriting. Born on July 10, 1899, Conkle grew up on a farm in the small town of Peru, Nebraska. His rural upbringing had an enduring influence on his writing as exemplified in his first published book, Crick Bottom Plays (1928), a collection of short plays which dramatize the wit and wisdom of folksy Nebraskans. After high school Conkle went to Peru State Teachers College and completed his undergraduate education in 1923 at the University of Nebraska. Conkle did graduate work at Yale University in 1926-1928 and earned his Ph.D in playwriting from the University of Iowa in 1936. From 1936-1939 Conkle worked as an assistant professor of speech at the University of Iowa. In 1939 he joined the faculty of the University of Texas at Austin as an associate professor where he became a full professor in 1945 and taught until his retirement in 1973. Conkle's former students include Tennessee Williams, Pat Hingle, Tommy Tune, and Fess Parker. ","In addition to teaching classes and developing the Department of Drama at the University of Texas, Conkle wrote numerous published and unpublished plays, several short stories, and dozens of poems. Much of his work captures the humor and wisdom of a bygone era in American folk-life, including the short play \"Sparkin'\" (1928) and the long plays \"Johnny Appleseed\" (1940) and \"No Time for Heaven\" (1972). Abraham Lincoln became another favorite subject of Conkle's, and the play \"Prologue to Glory\" (1938), a fictionalized account of Lincoln's formative years in New Salem, was chosen for production by the Federal Theatre Project and performed across the United States in 1938-1939. Capitalizing on its success, Conkle wrote a radio script based on the play, entitled Honest Abe, which was produced by CBS and aired in thirty-six parts between 1940 and 1941. Conkle died in 1994. "],"prefercite_html_tesm":["\u003cp\u003eE. P. Conkle papers, C0157, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["E. P. Conkle papers, C0157, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed and finding aid completed by Carol DeAngelo, Barbara Hasse, Robert Vay, Kaycee L. Morgan and Estee L. Dudash. EAD markup completed by Eron Ackerman and Jordan Patty in April 2009.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed and finding aid completed by Carol DeAngelo, Barbara Hasse, Robert Vay, Kaycee L. Morgan and Estee L. Dudash. EAD markup completed by Eron Ackerman and Jordan Patty in April 2009."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the \u003cextptr show=\"new\" title=\"Jay Bradford Fowler, Jr. papers\" href=\"https://aspace.gmu.edu/resources/c0046\"\u003e\u003c/extptr\u003e.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the  ."],"scopecontent_html_tesm":["\u003cp\u003eIncluded in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973). Most of the manuscripts in the collection are undated. Thus, specific dates on subsequently published materials typically refer to the date of publication, and date ranges on unpublished materials refer to letterheads indicating Conkle's employ at the University of Texas or the University of Iowa. The collection also contains playbills and director's notes from various productions of Prologue to Glory, the radio script to the CBS-produced series, Honest Abe (1940-1941), works and notes from former students, and correspondence between Conkle and his wife, Virginia McNeal Conkle. \u003c/p\u003e\n","\u003cp\u003eSeries 1: Correspondence and Biographical Material contains letters written to E. P. Conkle and various articles pertaining to Conkle's career as a playwright. \u003c/p\u003e\n","\u003cp\u003eSeries 2: Book Manuscripts contains typed and annotated manuscripts of E. P. Conkle's books Grandpa's Little White Rent House, A Hornbook for Playwrights, and Wake Up, Tom Aycup, or, the Tale of a Great Guy. \u003c/p\u003e\n","\u003cp\u003eSeries 3: Play Scripts contains typed and annotated play scripts written by Conkle, including \"At the Depot,\" \"Day's End,\" \"Good Night, Dear Grandma,\" \"With How Little Wisdom,\" and a three-volume weekly radio script entitled \"Honest Abe.\" Also included is a play script by Patty Gideon Sloan entitled \"Mementos.\" \u003c/p\u003e\n","\u003cp\u003eSeries 4: Poetry contains typed and annotated poems written by Conkle, including the collections Eleven Various Ballads, A Gift of Small Inconsequential Verses, and Thirteen Sonnets Which Speak of Time, and One More. \u003c/p\u003e\n","\u003cp\u003eSeries 5: Short Stories contains typed and annotated copies of Conkle's stories \"Little Angel of the Backward Look,\" \"Traveller, and General Lee,\" and \"Miss Lute.\" \u003c/p\u003e\n","\u003cp\u003eSeries 6: Miscellaneous contains various items including essays and term papers Conkle wrote as a student. \u003c/p\u003e","\u003cp\u003eThis series contains letters written to E. P. Conkle and various articles pertaining to Conkle's career as a playwright.\u003c/p\u003e","\u003cp\u003efacsimile\u003c/p\u003e","\u003cp\u003efacsimile\u003c/p\u003e","\u003cp\u003efacsimile\u003c/p\u003e","\u003cp\u003efacsimile\u003c/p\u003e","\u003cp\u003efacsimile\u003c/p\u003e","\u003cp\u003efacsimile\u003c/p\u003e","\u003cp\u003efacsimile\u003c/p\u003e","\u003cp\u003efacsimile\u003c/p\u003e","\u003cp\u003efacsimile\u003c/p\u003e","\u003cp\u003efacsimile; address of the Works Progress Administration in heading\u003c/p\u003e","\u003cp\u003efacsimile\u003c/p\u003e","\u003cp\u003efacsimile; note in margin indicates \"Los Angeles Production,\"\u003c/p\u003e","\u003cp\u003eThis series contains typed and annotated manuscripts of books written by E. P. Conkle.\u003c/p\u003e","\u003cp\u003eAustin, Texas; typed manuscript, 292 pages, includes cover with title\u003c/p\u003e","\u003cp\u003etyped manuscript, 292 pages, no cover\u003c/p\u003e","\u003cp\u003eUniversity of Texas, Austin; typed manuscript with annotations, 135 pages\u003c/p\u003e","\u003cp\u003eAustin, Texas; typed manuscript with revisions, 266 pages\u003c/p\u003e","\u003cp\u003eThis is the largest series of the collection, and it contains typed and annotated play scripts written by E. P. Conkle and includes one play script written by Patty Gideon Sloan entitled \"Mementos.\"\u003c/p\u003e","\u003cp\u003eUniversity of Texas, Austin; includes the plays \"Dusk, Dusk, Dusk,\" \"Two Minds with but Two Single Thoughts,\" \"Mr. Map and the Beautiful Hat,\" \"Oak Leaves Burning,\" and an annotated play script tentatively titled \"A Long Journey.\"\u003c/p\u003e","\u003cp\u003eUniversity of Texas, Austin; includes an 18 page annotated manuscript of \"Day's End: A Few Words Spoken by Mr. Lincoln, the President,\" an 11 page typed play script of \"Day's End\" with no revisions, and an 18 page annotated manuscript for \"Oak Leaves Burning.\"\u003c/p\u003e","\u003cp\u003eUniversity of Texas, Austin; includes typed play scripts for \"The Fancy One,\" \"Four Old Ladies and Pansy Potter,\" \"Oak Leaves Burning,\" \"Gatie, or Eight Women on a Toot,\" and \"The Jewel in Papa's Crown,\" 62 pages.\u003c/p\u003e","\u003cp\u003eUniversity of Texas, Austin; includes two 133 page typed play scripts for \"Good Night, Dear Grandma,\" one of which contains manuscript revisions marked \"final.\"\u003c/p\u003e","\u003cp\u003eColumbia Broadcasting System (CBS); a radio script divided into 12 parts for weekly broadcasting, volume 1 of 3\u003c/p\u003e","\u003cp\u003eColumbia Broadcasting System (CBS); a radio script divided into 12 parts for weekly broadcasting, volume 2 of 3\u003c/p\u003e","\u003cp\u003eColumbia Broadcasting System (CBS); a radio script divided into 12 parts for weekly broadcasting, volume 3 of 3\u003c/p\u003e","\u003cp\u003eUniversity of Texas, Austin; two copies of the play script, 121 pages each\u003c/p\u003e","\u003cp\u003eTexas; typed script of play in three acts by Patty Gideon Sloan; see Box 1, Folder 1 for correspondence with Sloan\u003c/p\u003e","\u003cp\u003etwo annotated scripts with revisions, one titled simply \"Mr. President,\" approximately 120 pages each\u003c/p\u003e","\u003cp\u003eAustin, Texas\u003c/p\u003e","\u003cp\u003eAustin, Texas; facsimile of typescript\u003c/p\u003e","\u003cp\u003ecast: Clyte Cedars and Arlie Askew; place: Clyte's place\u003c/p\u003e","\u003cp\u003e123 pages\u003c/p\u003e","\u003cp\u003eUniversity of Iowa, Experimental Theatre Seminar; soft-bound copy, 91 pages\u003c/p\u003e","\u003cp\u003etwo typed manuscripts\u003c/p\u003e","\u003cp\u003eUniversity of Texas, Austin; two copies of the play script, one 65 pages and another with revisions at 69 pages\u003c/p\u003e","\u003cp\u003e84 pages\u003c/p\u003e","\u003cp\u003eUniversity of Texas, Austin; two typed copies, one marked \"Final / 1971\"\u003c/p\u003e","\u003cp\u003etwo copies, one 66 pages and the other 67 pages; the former bears a stamp of the author's agent, Frieda Fishbein\u003c/p\u003e","\u003cp\u003eUniversity of Texas, Austin; two copies, 113 pages each\u003c/p\u003e","\u003cp\u003eThis collection contains typed and annotated poems written by E. P. Conkle.\u003c/p\u003e","\u003cp\u003eseveral copies, including one 8 page typed copy with corrections\u003c/p\u003e","\u003cp\u003eAustin, Texas; typed poems with revisions, including \"Ballad of the Gay Cavalier,\" \"The Ballad of Henry Plummer,\" \"Ballad to a Wooden Leg,\" \"The Ballad of the Youngster and His Dog,\" \"Ballad of a Hallelujah Marriage,\" \"Ballad of the Merry Miller-Man,\" \"Ballad of the Prairies,\" \"Ballad of Aunt Susan,\" \"Ballad of Mad Beggars,\" \"Ballad of the Happy Milkmaid,\" and \"Ballad of the Cosset Lamb and the Crumpled Cow\"\u003c/p\u003e","\u003cp\u003etwo typed 45 page manuscripts of poems including \"Birds and Other Animals,\" \"Weather and Scenery,\" \"More and Less Personal,\" \"Just People,\" and \"Philosophy and Other Things\"\u003c/p\u003e","\u003cp\u003eUniversity of Texas, Austin; these poetry collections are respectively 22 pages, 27 pages, and 41 pages long; folder includes a title page of \"Verses for a Year\"\u003c/p\u003e","\u003cp\u003eUniversity of Texas, Austin; typed manuscripts with revisions\u003c/p\u003e","\u003cp\u003esmall format type scripts\u003c/p\u003e","\u003cp\u003eThis collection contains typed and annotated short stories written by E. P. Conkle.\u003c/p\u003e","\u003cp\u003eUniversity of Texas, Austin; two copies of the manuscript, 14 pages each, the second alternately titled, \"The Littlest Angel of the Backward Look, a Fantasy\"\u003c/p\u003e","\u003cp\u003eUniversity of Texas, Austin; two copies of \"Traveller, and General Lee,\" both 22 pages and one with annotations; one 43 page copy of \"Miss Lute\"\u003c/p\u003e","\u003cp\u003eThis collection contains various items including essays and term papers Conkle wrote as a student.\u003c/p\u003e","\u003cp\u003e35 pages including bibliography; described on title page as \"a term-paper written for the class in \"Chaucer\" for Mr. Frantz\"; annotated\u003c/p\u003e","\u003cp\u003elist of University of Texas graduate students and the titles of their theses and dissertations arranged by date\u003c/p\u003e","\u003cp\u003eUniversity of Texas, Austin; revised three-page essay on education written by Conkle\u003c/p\u003e","\u003cp\u003etwo pages listing titles of plays by Conkle and four lines of verse, untitled\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note","Scope and Contents note"],"scopecontent_tesim":["Included in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973). Most of the manuscripts in the collection are undated. Thus, specific dates on subsequently published materials typically refer to the date of publication, and date ranges on unpublished materials refer to letterheads indicating Conkle's employ at the University of Texas or the University of Iowa. The collection also contains playbills and director's notes from various productions of Prologue to Glory, the radio script to the CBS-produced series, Honest Abe (1940-1941), works and notes from former students, and correspondence between Conkle and his wife, Virginia McNeal Conkle. ","Series 1: Correspondence and Biographical Material contains letters written to E. P. Conkle and various articles pertaining to Conkle's career as a playwright. ","Series 2: Book Manuscripts contains typed and annotated manuscripts of E. P. Conkle's books Grandpa's Little White Rent House, A Hornbook for Playwrights, and Wake Up, Tom Aycup, or, the Tale of a Great Guy. ","Series 3: Play Scripts contains typed and annotated play scripts written by Conkle, including \"At the Depot,\" \"Day's End,\" \"Good Night, Dear Grandma,\" \"With How Little Wisdom,\" and a three-volume weekly radio script entitled \"Honest Abe.\" Also included is a play script by Patty Gideon Sloan entitled \"Mementos.\" ","Series 4: Poetry contains typed and annotated poems written by Conkle, including the collections Eleven Various Ballads, A Gift of Small Inconsequential Verses, and Thirteen Sonnets Which Speak of Time, and One More. ","Series 5: Short Stories contains typed and annotated copies of Conkle's stories \"Little Angel of the Backward Look,\" \"Traveller, and General Lee,\" and \"Miss Lute.\" ","Series 6: Miscellaneous contains various items including essays and term papers Conkle wrote as a student. ","This series contains letters written to E. P. Conkle and various articles pertaining to Conkle's career as a playwright.","facsimile","facsimile","facsimile","facsimile","facsimile","facsimile","facsimile","facsimile","facsimile","facsimile; address of the Works Progress Administration in heading","facsimile","facsimile; note in margin indicates \"Los Angeles Production,\"","This series contains typed and annotated manuscripts of books written by E. P. Conkle.","Austin, Texas; typed manuscript, 292 pages, includes cover with title","typed manuscript, 292 pages, no cover","University of Texas, Austin; typed manuscript with annotations, 135 pages","Austin, Texas; typed manuscript with revisions, 266 pages","This is the largest series of the collection, and it contains typed and annotated play scripts written by E. P. Conkle and includes one play script written by Patty Gideon Sloan entitled \"Mementos.\"","University of Texas, Austin; includes the plays \"Dusk, Dusk, Dusk,\" \"Two Minds with but Two Single Thoughts,\" \"Mr. Map and the Beautiful Hat,\" \"Oak Leaves Burning,\" and an annotated play script tentatively titled \"A Long Journey.\"","University of Texas, Austin; includes an 18 page annotated manuscript of \"Day's End: A Few Words Spoken by Mr. Lincoln, the President,\" an 11 page typed play script of \"Day's End\" with no revisions, and an 18 page annotated manuscript for \"Oak Leaves Burning.\"","University of Texas, Austin; includes typed play scripts for \"The Fancy One,\" \"Four Old Ladies and Pansy Potter,\" \"Oak Leaves Burning,\" \"Gatie, or Eight Women on a Toot,\" and \"The Jewel in Papa's Crown,\" 62 pages.","University of Texas, Austin; includes two 133 page typed play scripts for \"Good Night, Dear Grandma,\" one of which contains manuscript revisions marked \"final.\"","Columbia Broadcasting System (CBS); a radio script divided into 12 parts for weekly broadcasting, volume 1 of 3","Columbia Broadcasting System (CBS); a radio script divided into 12 parts for weekly broadcasting, volume 2 of 3","Columbia Broadcasting System (CBS); a radio script divided into 12 parts for weekly broadcasting, volume 3 of 3","University of Texas, Austin; two copies of the play script, 121 pages each","Texas; typed script of play in three acts by Patty Gideon Sloan; see Box 1, Folder 1 for correspondence with Sloan","two annotated scripts with revisions, one titled simply \"Mr. President,\" approximately 120 pages each","Austin, Texas","Austin, Texas; facsimile of typescript","cast: Clyte Cedars and Arlie Askew; place: Clyte's place","123 pages","University of Iowa, Experimental Theatre Seminar; soft-bound copy, 91 pages","two typed manuscripts","University of Texas, Austin; two copies of the play script, one 65 pages and another with revisions at 69 pages","84 pages","University of Texas, Austin; two typed copies, one marked \"Final / 1971\"","two copies, one 66 pages and the other 67 pages; the former bears a stamp of the author's agent, Frieda Fishbein","University of Texas, Austin; two copies, 113 pages each","This collection contains typed and annotated poems written by E. P. Conkle.","several copies, including one 8 page typed copy with corrections","Austin, Texas; typed poems with revisions, including \"Ballad of the Gay Cavalier,\" \"The Ballad of Henry Plummer,\" \"Ballad to a Wooden Leg,\" \"The Ballad of the Youngster and His Dog,\" \"Ballad of a Hallelujah Marriage,\" \"Ballad of the Merry Miller-Man,\" \"Ballad of the Prairies,\" \"Ballad of Aunt Susan,\" \"Ballad of Mad Beggars,\" \"Ballad of the Happy Milkmaid,\" and \"Ballad of the Cosset Lamb and the Crumpled Cow\"","two typed 45 page manuscripts of poems including \"Birds and Other Animals,\" \"Weather and Scenery,\" \"More and Less Personal,\" \"Just People,\" and \"Philosophy and Other Things\"","University of Texas, Austin; these poetry collections are respectively 22 pages, 27 pages, and 41 pages long; folder includes a title page of \"Verses for a Year\"","University of Texas, Austin; typed manuscripts with revisions","small format type scripts","This collection contains typed and annotated short stories written by E. P. Conkle.","University of Texas, Austin; two copies of the manuscript, 14 pages each, the second alternately titled, \"The Littlest Angel of the Backward Look, a Fantasy\"","University of Texas, Austin; two copies of \"Traveller, and General Lee,\" both 22 pages and one with annotations; one 43 page copy of \"Miss Lute\"","This collection contains various items including essays and term papers Conkle wrote as a student.","35 pages including bibliography; described on title page as \"a term-paper written for the class in \"Chaucer\" for Mr. Frantz\"; annotated","list of University of Texas graduate students and the titles of their theses and dissertations arranged by date","University of Texas, Austin; revised three-page essay on education written by Conkle","two pages listing titles of plays by Conkle and four lines of verse, untitled"],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_e4cc520ef016e4cf4b96e754985251fb\" label=\"Abstract\"\u003eIncluded in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973).\u003c/abstract\u003e"],"abstract_tesim":["Included in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973)."],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Conkle, E. P. (Ellsworth Prouty)"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"names_coll_ssim":["Conkle, E. P. (Ellsworth Prouty)"],"persname_ssim":["Conkle, E. P. (Ellsworth Prouty)"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":63,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T05:14:16.259Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_90"}},{"id":"vihart_repositories_4_resources_488","type":"collection","attributes":{"title":"Furious Flower Poetry Center Records","creator":{"id":"https://arvasarchive.org/catalog/vihart_repositories_4_resources_488#creator","type":"document_value","attributes":{"value":"James Madison University. Furious Flower Poetry Center","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vihart_repositories_4_resources_488#abstract_or_scope","type":"document_value","attributes":{"value":"The Furious Flower Poetry Center Records, consisting of 17.6 cubic feet (43 boxes, 1 rolled storage container), document the departmental activities of the Furious Flower Poetry Center.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vihart_repositories_4_resources_488#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vihart_repositories_4_resources_488","ead_ssi":"vihart_repositories_4_resources_488","_root_":"vihart_repositories_4_resources_488","_nest_parent_":"vihart_repositories_4_resources_488","ead_source_url_ssi":"data/oai/JMU/repositories_4_resources_488.xml","aspace_url_ssi":"https://aspace.lib.jmu.edu/repositories/4/resources/488","title_ssm":["Furious Flower Poetry Center Records"],"title_tesim":["Furious Flower Poetry Center Records"],"unitdate_ssm":["1970-2024"],"unitdate_inclusive_ssm":["1970-2024"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["UA 0017","/repositories/4/resources/488"],"text":["UA 0017","/repositories/4/resources/488","Furious Flower Poetry Center Records","United States -- Poetry","United States -- Intellectual life -- 20th century","United States -- Intellectual life -- 21st century","American poetry -- African American authors","Poetry -- History and criticism","African American poets","African Americans -- Poetry","African Americans -- Intellectual life -- 20th century","African Americans -- Intellectual life -- 21st century","Administrative records","Grant Proposals","Letters (correspondence)","Electronic mail","Compact discs","Posters","DVDs","Poetry","Exhibit scripts","Photographs","Calendars (documents)","Programs (documents)","Collection is open to research. Currently, the silk banners used in the 2004 and 2014 Furious Flower Poetry Conferences may only be requested (in writing) by Furious Flower Poetry Center staff. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","running time:","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Original audiovisual and media are in process and not available pending reformatting.","It is anticipated that the Furious Flower Poetry Center will continue to donate conference files approximately every ten years and other administrative records on a more frequent basis.","Processing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.","Small Purchase Credit Card Statements were discarded due to lack of research value.","Due to duplication elsewhere in Special Collections the following issues of Madison (known as Montpelier from 1977-2005), many with articles pertaining to Furious Flower Poetry Center, were returned to the donor: Summer 2003, Winter 2005, Spring 2006, Fall 2006, Summer 2006, Spring 2007, Summer 2007, Fall 2007, Fall 2008, Winter 2008, Summer 2009, Fall 2009, Spring/Summer 2010, Spring/Summer 2011, Fall 2011, Spring/Summer 2015. These issues were loose when donated and were not a part of any pre-established order or foldering system.","The collection is arranged into four series. Series are arranged chronologically; Series 2, 3, and 4 are further arranged alphabetically according to a particular publication or event.","Grants and Financial Files, 2004-2021 Publications and Manuscripts, 1993-2012 Events, Programs, and Workshops, 1990-2019 Conference Records, 1970-2015","The series is arranged chronologically into three sub-series:","Sub-series 4.1: 1994 Conference, 1970-2009 Sub-series 4.2: 2004 Conference, 2002-2007 Sub-series 4.3: 2014 Conference, 2013-2015","Event footage is arranged chronologically by capture time, with the exception of the \"supercuts,\" consisting of video montages, which are arranged by program day. See the Interviews with Poets sub-group for additional arrangement details.","\"Furious Flower Poetry Center.\" James Madison University. Accessed August 09, 2016. https://www.jmu.edu/furiousflower/index.shtml.","The Furious Flower Poetry Center (FFPC) was established in 1999 by Joanne V. Gabbin when she was the director of James Madison University's Honors Program. With this flagship of the Honors Program, she continued the kind of programming she had begun by hosting the 1994 Furious Flower Poetry Conference, which was the nation's first scholarly conference on Black poetry. The conference, entitled Furious Flower: A Revolution in African American Poetry, was dedicated to acclaimed poet Gwendolyn Brooks and featured scholars, critics, and the most accomplished and esteemed poets of the time including Nikki Giovanni, Rita Dove, Sonia Sanchez, Michael S. Harper, Haki Madhubuti, and Gwendolyn Brooks herself. The name \"Furious Flower\" is derived from Brooks' poem Second Sermon on the Warpland in which she writes:","The time\ncracks into furious flower. Lifts its face\nall unashamed. And sways in wicked grace.","Many who participated in the inaugural Furious Flower conference had their roots in the Black Arts Movement. The Black Arts Movement emerged in the wake of the Black Power Movement of the 1960s and 1970s and was comprised of politically motivated black visionaries, poets, artists, dramatists, musicians, and writers. The conference was met with overwhelming praise and The Washington Post called it an historic event. ","Due to the success of the 1994 Furious Flower Conference, the Furious Flower Poetry Center (FFPC) was established in 1999 and the Conference became a decennial event, held every ten years. The subsequent conferences were Regenerating the Black Poetic Tradition (2004) and Seeding the Future of African American Poetry (2014). Conference programming is comprised of concerts, readings, roundtable and panel discussions, and paper presentations.","In 2005, following the success of the second Furious Flower Poetry Conference (2004), JMU gave the FFPC its official charter, making it the first academic center in the United States devoted to Black poetry. Gabbin became its executive director, leaving the Honors Program after 19 years of service.","Today, the FFPC is committed to \"cultivating, honoring, and promoting the diverse voices of African American poets by making the genre accessible to a wide audience and collaborating with educational and cultural institutions, literary organizations, and artists.\" It hosts visiting poets for readings at JMU and nearby venues; sponsors workshops; holds an annual poetry camp for elementary and middle school-aged children; produces texts, videos, DVDs and other materials on African-American poetry; and gathers poets and other scholars for intimate panels and seminars, as well as major conferences. FFPC has held four decennial Furious Flower Conferences: \"A Revolution in African American Poetry\" (1994), \"Regenerating the Black Poetic Tradition\" (2004), \"Seeding the Future of African American Poetry\" (2014), and \"Furious Flower IV: Celebrating the Worlds of Black Poetry (2024).","FFPC is located off of Martin Luther King Jr. Way/Historic Cantrell Avenue. Beyond her duties as Executive Director of the Furious Flower Poetry Center, Joanne Gabbin is a professor of English at JMU, a published author, and a member of the International Literary Hall of Fame for Writers of African Descent.","The 1994 Conference Video Recordings, 1994 September 29-October 1, were produced by John L. Hodges. The videos represent the raw footage captured during the 1994 Conference.","Additional information on the Dark Room Collective can be found  here.","The donor's original order, including folder titles, was maintained whenever possible. The archivist imposed an order on any unordered files, titled any untitled files, and created discrete series. Social security numbers and bank account numbers have been redacted from materials. When possible, newspapers and clippings were photocopied and originals returned to donor. All material contained within three-ring binders was disbound and foldered in original order. During processing several folders were discovered to be empty. Their folder titles are as follows: Dream in Color Drafts, WHSV Children First 2010, WVPT Kid's Book Festival 2010, Poetry Month 2010, Winter Poetry Contest 2010, Marilyn Nelson Reading 2010, 73 Poems Honorariums (Music). The empty folders were discarded. Numerous folders with small purchase credit card statements and receipts were also discarded. Series I has also been renamed \"Grants and Financial Files.\"","In April 2022, the contents of the Furious Flower Poetry Center Conference Records (UA 0018) were incorporated into the Furious Flower Poetry Center Records (UA 0017) due to the collections' shared provenance and their creation by the same administrative body. The conference records were added as a separate series with subseries for each of the decennial conferences. At this same time, accruals received after initial processing were physically arranged to match their intellectual arrangement. Additional financial files deemed to have limited research value were also weeded in April 2022. Administrative receipts, travel vouchers, travel expenses and reimbursements, travel authorizations, purchase orders, invoices for supplies, monthly detail budget reports, and budget revisions were returned to FFPC.","Processing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.","The donor's original order, including folder titles, was maintained whenever possible. The archivist imposed an order on any unordered files, titled any untitled files, and created discrete series. Social security numbers and bank account numbers have been redacted from materials. When possible, newspapers and clippings were photocopied and originals returned to donor. The collection of magnesium letterpress die plates are individually boxed and organized by the poem's appearance in the publication Furious Flower: A Revolution in African American Poetry into larger boxes (one record storage box and one oversize Hollinger box). Furious Flower Poetry Center donated a box of rolled posters in cardboard tubes, all identical, from the 1994 and 2004 conferences – each cardboard tube contained one 1994 poster and one 2004 poster. Due to duplication elsewhere in this collection, only one set of posters was retained. They were flattened and placed in the Oversize series. Processing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.","Video recordings were digitized for preservation and research access by Scene Savers in 2016 and 2017. Select records were decribed by JMU graduate assistant Mitchell Teal in 2018 and 2019 for research access through JMU Scholarly Commons in support of a JMU X-Labs course. Description is ongoing as of 2022. Access to content will be made available once description is complete, barring any copyright or other use restrictions.","See \"1994 Conference Program, 1994\" in Series 1 for original conference program.","See the file Poetry Reading 2, 1994 September 29, located in the 1994 Conference Video Recordings sub-group.","See the file Critics' Roundtable: Critical Theories and Approaches in African American Poetry, 1994 September 30, located in the 1994 Conference Video Recordings sub-group.","See the file Critics' Roundtable: Writing a Literary History of African American Poetry, 1994 October 1, located in the 1994 Conference Video Recordings sub-group.","See the file Poetry Reading 5, 1994 September 29, located in the 1994 Conference Video Recordings sub-group.","Sam Allen, Alvin Aubert, Amiri Baraka Interviews Final Cut","Sam Allen, Alvin Aubert, Amiri Baraka Interviews Final Cut","Toi Derricotte, Haki Madhubuti, and Naomi Long Madgett Interviews Final Cut","Toi Derricotte, Haki Madhubuti, and Naomi Long Madgett Interviews Final Cut","Namoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A","Namoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B","Namoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A","Namoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B","Namoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A","Namoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B"," Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A"," Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B"," Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A"," Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B"," Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A"," Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B"," Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A"," Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B","Michael Harper interviewed by Aldon Nielsen Part 2, Camera A. Toi Derricotte interviewed by Opal Moore Camera A","Michael Harper interviewed by Aldon Nielsen Part 2, Camera B. Toi Derricotte interviewed by Opal Moore Camera B","Mari Evans, Everett Hoagland, and Sonia Sanchez Interviews Final Cut","Mari Evans, Everett Hoagland, and Sonia Sanchez Interviews Final Cut","The Furious Flower Poetry Center Records, 1970-2024, consisting of 17.6 cubic feet (43 boxes, 1 rolled storage container), document the departmental activities of the Furious Flower Poetry Center, a unit formerly of the JMU Honor's Program that became its own separate academic center of the University in 2005. A portion of the material contained within the records derive from events and programs sponsored by the Furious Flower Poetry Center including 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton, Lineage: The Margaret Walker Song Cycle, and an annual children's poetry camp. Specific types of materials include event posters and brochures, exhibit panels, logistical and planning documentation, and email correspondence. Materials related to publications produced by the Center such as Mourning Katrina: A Poetic Response to Tragedy and Shaping Memories: Reflections of African American Women Writers are comprised of draft manuscripts and correspondence with poets and publishers. Grant proposals and awards, many of which relate to the aforementioned events and projects, are also represented. Materials related to the decennial Furious Flower poetry conferences, including administrative documentation and video recordings, are represented in the Conference Records series.","Arranged chronologically. ","FFPC relies heavily on funding from corporate entities and non-profits to subsidize and off-set the cost of furthering their mission of promoting African-American poetry. As such, this series contains grant proposals and awards (all closed) relating to events, publications, and other projects sponsored by the Furious Flower Poetry Center. Projects represented in this series include \"Dream in Color,\" an online curriculum sponsored by Target that enabled elementary, middle, and high-school students to discover the works of African-American poets; and the publication of Mourning Katrina, an anthology of poems by observers and survivors of Hurricane Katrina. All grant materials were removed from three-ring binders and foldered, maintaining original order.","Arranged chronologically by project date and sub-arranged alphabetically within each project.","This series contains material related to publications and manuscripts produced by the Furious Flower Poetry Center. In many cases this refers to books in the typical sense (Mourning Katrina: A Poetic Response to Tragedy, Furious Flower: African-American Poetry from the Black Arts Movement to the Present), Furious Flower Poetry Center also oversaw the publication of The Painted Word – a set of notecards and a corresponding calendar of poets' portraits. Correspondence with various publishers is also included.","Arranged chronologically by event and sub-arranged alphabetically within each event.","This series is comprised of material relating primarily to the many events, programs, and workshops hosted and sponsored by the Furious Flower Poetry Center. Major events represented in this series include Tell Me Your Names: The Poetry of Lucille Clifton, a week-long seminar held June 14 –June 21, 2009 and 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton, a tribute program held September 21, 2010. Of particular interest are 57 oversize exhibit panels from Among Poets: Lucille Clifton Commemorative Exhibition. This 2012 exhibition held at the Reginald F. Lewis Museum and the Enoch Pratt Free Library, both in Baltimore, Maryland, primarily feature photographs by Lynda Koolish of Lucille Clifton, her contemporaries, and her family and friends. The Center's annual Children's Poetry Camp is also well documented. Researchers should note that there are some files in this series (e.g. materials concerning Oni Lasana Productions) that are not directly related to events held by FFPC. These events are likely ones attended by FFPC staff or documented because they serve as examples of comparable outreach initiatives or similar types of promotion.","One file of materials related to the Furious Flower Poetry Center's 25th Anniversary Celebration, held in September 2019 at the National Museum of African American History and Culture, include promotional material, a schedule of events, and a copy of the invocation presented by Rev. Edward A. Scott. Of particular interest is a promotional card inscribed by Qiniso \"Qibho\" Motsa, a poet, musicion, author, and social activist from Eswatini.","This series comprises materials related to the decennial Furious Flower poetry conferences, beginning with the inaugural conference in 1994. A significant portion of the records include logistical and planning documentation for each conference as well as marking and promotional items. These materials are comprised of calls for papers, contracts, correspondence, address lists, ticket requests, travel, transportation, and lodging reservations, and menus. The records include nontraditional items as well. Of interest are exhibit panels (text labels and images) describing and depicting the participants of the 1994 conference. Magnesium letterpress die plates used to print a limited edition portfolio Furious Flower: A Revolution in African American Poetry, a special collection of 23 poems selected by poets (who participated in the 1994 conference) to represent their work, are included. Six silk banners that adorned the Wilson Hall auditorium during the 2004 and 2014 conferences are included.","Arranged alphabetically with the exception of the Exhibit of Participants materials and the magnesium letterpress die plates which are located at the end of the series due to their size. Note that the numbering system for the letterpress die plates is sequential based on each poem's order in the publication Furious Flower: A Revolution in African American Poetry. As such the first folder/four-flap enclosure in box nine is labeled 9:21b. This is the plate for page two of the 21st poem in the publication.\nMaterials in this series primarily document the planning and implementation of the 1994 Furious Flower Poetry Conference: A Revolution in African American Poetry. Records include travel and lodging reservations, correspondence with participating poets, financial documentation and budgets, and mailing lists. Marketing and promotional items such as posters and brochures are included. Conference evaluations completed by attendees and folders labeled \"Positive Responses\" document the overwhelming success of the conference. Of particular interest are exhibit components from the 1994 conference that include text labels and images of each participating poet. The photographs for these panels were taken by C. B. Claiborne. Copy 225 of 300 of Furious Flower: A Revolution in African American Poetry is located in box 2, folder 5. The magnesium letterpress die plates used to print this collection of poetry are also included here. Each plate is individually housed in a four-flap enclosure and then boxed in order of appearance in the publication. Of significance are the video recordings documenting conference proceedings and interviews with Black poets.","This series contains 45 video recordings captured by John L. Hodges during the 1994 Furious Flower Poetry Conference as well as interviews with poets.","Opening invocation and welcome to participants for the 1994 Furious Flower Conference at James Madison University. The Opening Session was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 8:30 a.m. This footage was originally recorded on 1 MII videocassette.","The Critics' Roundtable, \"African American Poetry and the Vernacular Matrix,\" was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 9:30 a.m.","Original 1994 Furious Flower Poetry Conference program reads, \"African American poetry, perhaps more so than fiction and drama, has lent and continues to lend itself to the thematic and formalistic expression of its matrixing in African American culture, in the vernacular (folk and popular) culture in particular. This roundtable will investigate the nature and extent of this matrixing. It will consider the relationship of the folk to the popular vernacular mode, whether \"continuity\" or \"disjuncture\" best describes that relationship and how the difference between the two is imprinted upon the literature. It will also consider the nature and validity of rural/urban, southern/northern distinctions as they apply to cultural expressive manifestations such as the blues, and the degree to which these distinctions spill over into the poetry as a literary production. (Alvin Aubert)\"","This footage was originally recorded on 3 MII videocassettes.","Michael S. Harper's Keynote speech at the 1994 Furious Flower Conference. The session continued with poetry readings by Elizabeth Alexander, Gerald Barrax, Toi Derricotte, and E. Ethelbert Miller. The Keynote Speech and Poetry Reading was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 1 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by Sam Allen, Pinkie Gordon Lane, Haki Madhubuti, and Naomi Long Madgett at the 1994 Furious Flower Conference. The Poetry Reading was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 4:45 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by Amiri Baraka, Mari Evans, Michael S. Harper, and Sonia Sanchez at the 1994 Furious Flower Conference. The JMU Jazz Ensemble opened the session by playing \"Cherry Juice.\" The Poetry Reading was held at Wilson Hall, James Madison University on Thursday, September 29, 1994 at  8 p.m. ","This footage was originally recorded on 2 MII videocassettes.","The Critics' Roundtable, \"Critical Theories and Approaches in African American Poetry,\" was held at the Grafton-Stovall Theatre at James Madison University on Friday, September 30, 1994 at 9:30 a.m. ","Original 1994 Furious Flower Poetry Conference program reads, \"The work of literary theory and of theorizing in other areas of the human sciences is to specify what conditions obtain among those who create, those who make use of creations, and the languages (or signs) that enable creators and consumers to negotiate in a world of social constructions. In short, theory is obligated to explain relations between people and artifacts in the contexts of history and culture. In that sense, theory is necessary for rigorous examination of African American poetry. How might theory advance the study and appreciation of African American poetry? Within the frame of this questions, scholars on the panel will be asked to address what kind of critical or cultural theory seems most appropriate for understanding poetry, how such theories influence interpretive methods and approaches, and how must theorists themselves grapple with their own historicity in light of African American poetry's evolution from orature to literature to newer genres that mix orality and literacy. The aim of the panel is to clarify some problems of theory and poetry as they affect various audiences (Jerry W. Ward, Jr.)\" ","This footage was originally recorded on 4 MII videocassettes.","Rita Dove and Gwendolyn Brooks' Keynote Speeches at the 1994 Furious Flower Conference. The Keynotes were held at Wilson Hall, James Madison University on Friday, September 30, 1994 at 1 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by Dolores Kendrick, Nikki Giovanni, and Eugene Redmond at the 1994 Furious Flower Conference. The Poetry Reading was held at Wilson Hall, James Madison University on Friday, September 30, 1994 at 3 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Tribute Banquet to honor important black poets at the 1994 Furious Flower Conference. Mari Evans, Raymond Patterson, Margaret Walker, Naomi Long Madgett, Samuel W. Allen, Pinkie Gordon Lane, and Gwendolyn Brooks were the honored poets. The banquet was held at Phillips Hall, James Madison University on Friday, September 30, 1994 at 7 p.m. ","This footage was originally recorded on 2 MII videocassettes.","The Critics' Roundtable, \"Writing a Literary History of African American Poetry,\" was held at the Grafton-Stovall Theatre at James Madison University on Saturday, October 1, 1994 at 9:30 a.m. ","Original 1994 Furious Flower Poetry Conference program reads, \"As the drum stands at the crossroads of traditional African and African American culture, so the poets stand at the center of the drum providing the cadence, connections and continuity that define their literary history. Panelists on this roundtable will speak on periodicity and identify significant literary movements from the Harlem Renaissance through the Black Arts Movement to hip-hop. In an attempt to provide a valid historical framework for the poetry, panelists will discuss major literary milestones and important poets emerging during the twentieth century. (Eugene Redmond)\" ","This footage was originally recorded on 3 MII videocassettes.","Poetry Free Read at the 1994 Furious Flower Conference. The Free Read was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994. ","This footage was originally recorded on a MII videocassette.","Poetry Readings by Jacqueline Brice-Finch, Gwen Butler, Kalamu ya Salaam, Jeannette Drake, Sybil Kein, Adam David Miller, Brenda Marie Osbey, Fabu Carter, Ester Iverem, and Mona Lisa Saloy at the 1994 Furious Flower Conference. The Poetry Reading was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994 at 2 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by The Dark Room Collective at the 1994 Furious Flower Conference. Established in Boston in 1988, The Dark Room Collective was first a reading series and later a small community of black poets and writers. The Dark Room Collective's poetry reading at the 1994 conference was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994 at 4:15 p.m. ","Tape 1 begins with the last 10 minutes of Poetry Reading 5 and The Dark Room Collective reading starts at the 12 minute mark. ","This footage was originally recorded on 2 MII videocassettes.","Conference Finale for the 1994 Furious Flower Conference. A celebration of black arts and culture, the conference finale featured musical and spoken word performances by Mellasenah Morris, the JMU Contemporary Gospel Singers, Val Gray Ward, and Bernice Johnson Reagon. The Conference Finale was held at Wilson Hall, James Madison University on Saturday, October 1, 1994 at 8 p.m. ","This footage was originally recorded on 6 MII videocassettes.","Supercuts of the 1994 Furious Flower Conference, featuring footage from all 3 days of the conference. This footage was originally recorded on 10 MII videocassettes.","Supercut 1/10 of the 1994 Furious Flower Conference, featuring selections from the conference opening session and Critics' Roundtable: African American Poetry and the Vernacular Matrix. ","This footage was originally recorded on a MII videocassette.","Supercut 2/10 of the 1994 Furious Flower Conference, featuring selections from Poetry Reading 1 (Elizabeth Alexander, Gerald Barrax; Toi Derricotte; and E. Ethelbert Miller) and Poetry Reading 2 (Sam Allen, Pinkie Gordon Lane, Haki Madhubuti, Naomi Long Madgett). ","This footage was originally recorded on a MII videocassette.","Supercut 3/10 of the 1994 Furious Flower Conference, featuring selections from Poetry Reading 2 (Naomi Long Madgett) and Poetry Reading 3 (Amiri Baraka, Mari Evans, Michael S. Harper, Sonia Sanchez). ","This footage was originally recorded on a MII videocassette.","Supercut 4/10 of the 1994 Furious Flower Conference, featuring selections from Critics' Roundtable: Critical Theories and Approaches in African American Poetry and the keynote speeches by Rita Dove and Gwendolyn Brooks. ","This footage was originally recorded on a MII videocassette.","Supercut 5/10 of the 1994 Furious Flower Conference, featuring the remainder of  Gwendolyn Brooks' keynote speech and selections from Poetry Reading 4 (Dolores Kendrick, Nikki Giovanni, Eugene Redmond). ","This footage was originally recorded on a MII videocassette.","Supercut 6/10 of the 1994 Furious Flower Conference, featuring selections from the Tribute Banquet. ","This footage was originally recorded on a MII videocassette.","Supercut 7/10 of the 1994 Furious Flower Conference, featuring selections from Critics' Roundtable: Writing a Literary History of African American Poetry. ","This footage was originally recorded on a MII videocassette. ","Supercut 8/10 of the 1994 Furious Flower Conference, featuring selections from  Poetry Reading 5 (Jacqueline Brice-Finch, Gwen Butler, Kalamu ya Salaam, Jeannette Drake, Sybil Kein, Adam David Miller, Brenda Marie Osbey, Fabu Carter, Ester Iverem, Mona Lisa Saloy, and Quo Vadis Gex-Breaux). ","This footage was originally recorded on a MII videocassette.","Supercut 9/10 of the 1994 Furious Flower Conference, featuring selections from The Dark Room Collective: A Fisted Reading. ","This footage was originally recorded on a MII videocassette. ","Supercut 10/10 of the 1994 Furious Flower Conference, featuring selections from the Conference Finale. ","This footage was originally recorded on a MII videocassette. ","Audience footage of Poetry Reading 2 from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Footage of posters, books, various artifacts, and exhibits at the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Audience footage of Critics' Roundtable: Critical Theories and Approaches in African American Poetry from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Audience footage of Critics' Roundtable: Writing a Literary History of African American Poetry from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Audience footage of Poetry Reading 5 from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Interview with E. Ethelbert Miller at the 1994 Furious Flower Conference. Miller was interviewed by Eugenia Collier in this recording. This footage was originally recorded on MII videocassettes.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Eugene Redmond interviewed by Jabari Asim, Major Jackson interviewed by Vera Beatty, Dolores Kendrick  interviewed by Judith Thomas. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Gerald Barrax interviewed by Joyce Pettis and Nikki Giovanni interviewed by Virginia Fowler. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Major Jackson interviewed by Vera Beatty, Dolres Kendrick interviewed by Judith Thomas, Pinkie Gordon Lane interviewed by Sandra Govan, and Michael S. Harper interviewed by Aldon Nielsen. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Mari Evans interviewed by Val Gray Ward, Everett Hoagland interviewed by Kalamu ya Salaam, and Sonia Sanchez interviewed by Lorenzo Thomas. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Sam Allen interviewed by Jerry Ward, Alvin Aubert interviewed by Lenard Moore, and Amiri Baraka interviewed by Askia Touré. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Sherley Anne Williams interviewed by Deborah McDowell. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Toi Derricotte interviewed by Opal Moore, Haki Madhubuti interviewed by Sonia Sanchez, and Naomi Long Madgett interviewed by Eleanor Traylor. This footage was originally recorded on a MII videocassette.","Arranged alphabetically.","Materials in this series primarily document the planning and implementation of the 2004 Furious Flower Poetry Conference: Regenerating the Black Poetic Tradition. Records include travel and lodging reservations, correspondence with participating poets, financial documentation and budgets, and mailing lists. Marketing and promotional items such as posters and brochures are included. During the 2004 conference, notable African American scholars including Tony Bolden, Hilary Holladay, and Monifa Love conducted interviews with presenting conference poets including Houston Baker, Rita Dove, and Tony Medina. The corresponding transcripts are included and are particularly significant to African American poetry scholarship. Of particular interest is congratulatory correspondence and RSVP regrets for the 2004 conference from Julian Bond, Governor Mark Warner, Senator George Allen, the office of President George W. Bush and Senator John Kerry, President and CEO of the NAACP Kweisi Mfume, and many others. Some of these letters were printed in the official conference program. Also of interest are evaluations completed by conference attendees. Six  silk banners used to decorate the Wilson Hall auditorium during the conference are included in this series. The banners are rolled onto dowels and housed in a rolled storage container. Currently, the silk banners may only be requested (in writing) by Furious Flower Poetry Center staff.","Opening Session and welcome to participants for the 2004 Furious Flower Conference at James Madison University. The first recording is a copy of the ten-minute documentary that was shown during the opening session and the second tape features performances and remarks from the session itself. The Opening Session was held at College Center at James Madison University on Thursday, September 23, 2004 at 8:30 a.m.","This footage was originally recorded on 1 MDV and 1 DVCAM videocassettes.","The first Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Trudier Harris moderated the session while Maryemma Graham, Hilary Holladay, and Tony Bolden critically discussed turn of the twentieth century poetry, The Black Arts Movement, and modern Black poetry. The session was held at College Center Ballroom at James Madison University on Thursday, September 23, 2004 at 9:30 a.m. ","This footage was originally recorded on 3 DVCAM videocassettes.","Footage of the luncheon hosted by the George Moses Horton Society at the 2004 Furious Flower Conference. The 2004 Furious Flower Poetry Conference program reads, \"Members of the George Moses Horton Society, based at the University of North Carolina, Chapel Hill, will host a luncheon on Thursday, September 23. The Horton Society was concieved by Trudier Harris in the spring of 1996 as a way to encourage sustained scholarly focus on the works of African American poets and to foster presentation and publishing opportunities for that scholarship. Yusef Komunyakaa and T.J. Anderson are the featured speakers.\" This footage only shows a portion of the presentation by T.J. Anderson and Yusef Komunyakaa before cutting off abruptly. The luncheon was held in the College Center Ballroom, James Madison University on Thursday, September 23, 2004 at 11:45 a.m. ","This footage was originally recorded on 1 DVCAM videocassette.","Keynote Speech and Poetry Reading 1 at the 2004 Furious Flower Conference. Houston A. Baker Jr. gave his keynote speech entitled, \"The Poetry of Impulse: Six Inches of African Stone and Lyrical Black Consciousness\" after an introduction by Trudier Harris. The session continued a presentation of the Furious Flower Lifetime Achievement Award to Houston A. Baker Jr. by Jerry W. Ward Jr. and Joanne Gabbin. Susan Facknitz introduced the next segment, a poetry reading with Jabari Asim, Major Jackson, Tony Medina, Opal Moore, Sharan Strange, and Yusef Komunyakaa. The Keynote Speech and Poetry Reading 1 was held at Wilson Hall Auditorium, James Madison University on Friday, September 23, 1994 at 1:15 p.m.","This footage was originally recorded on 2 DVCAM videocassettes. ","Footage of Concurrent Sessions and the Furious Flower Art Opening Reception at the 2004 Furious Flower Conference. The first half of the footage shows snippets of concurrent sessions held in various rooms in Taylor Hall from 4:30-5:45pm on Thursday, September 23, 2004. The second half of the footage features the art opening reception, about which the original 2004 Furious Flower Poetry Conference program states, \"Commissioned to bring visual attention to the work of African American poets and symbolizing the flowering of African American poetry, this important and original work of art by Atlanta artist Malaika Favorite will be unveiled.\" The reception was held in Taylor Hall Room 405 at James Madison University on Thursday, September 23, 2004 at 6:45 p.m. ","This footage was originally recorded on 2 DVCAM videocassettes.","Poetry Reading 2 at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Brenda Marie Osbey, Kevin Young, E. Ethelbert Miller, Haki Madhubuti, Lucille Clifton, and Nikki Giovanni.  Kalamu ya Salaam introduced the poets at the beginning of the session. The Poetry Reading was held in Wilson Hall Auditorium at James Madison University on Thursday, September 23, 2004 at 8 p.m. ","This footage was originally recorded on 2 DVCAM videocassettes.","The second Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Daryl C. Dance moderated the session while Velma Pollard, Mark Sanders, Eleanor Traylor, and Omékongo Dibinga presented about the topic cross pollination in the African diaspora. The session was held at College Center Ballroom at James Madison University on Friday, September 24, 2004 at 9:30 a.m. ","This footage was originally recorded on 3 DVCAM videocassettes.","Laureate's Circle poetry reading at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Eugene Redmond, Dolores Kendrick, Askia Touré, Rita Dove, Amiri Baraka, and Sonia Sanchez. Joanne Gabbin introduced the poets at the beginning of the session. The Laureate's Circle reading was held in Wilson Hall Auditorium, James Madison University on Friday, September 24, 2004 at 1:30 p.m. ","This footage was originally recorded on 3 VHS videocassettes.","Poetry Reading 3 at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Harryette Mullen, Alvin Aubert, Nikky Finney, Everett Hoagland, jessica Care moore, and Kalamu ya Salaam. Tony Medina introduced the poets at the beginning of the session. The Poetry Reading was held in Wilson Hall Auditorium at James Madison University on Friday, September 24, 2004 at 3:30 p.m. This footage was originally recorded on 2 VHS videocassettes.","Tribute Banquet for the 2004 Furious Flower Conference at James Madison University. Furious Flower Lifetime Achievement Awards were presented to the following poets: Alvin Aubert, Amiri Baraka, Lucille Clifton, Nikki Giovanni, Haki Madhubuti, Velma Pollard, Eugene Redmond, Sonia Sanchez, and Askia Touré. The event also featured music by D.J. Renegade and the following as presenters: Melba Boyd, William \"Billy Joe\" Harris, Hilary Holladay, Sandra Govan, Quraysh Ali Lansana, Daryl Dance, Howard Rambsy, Lamont Steptoe, and Eleanor Traylor. The banquet was held in the College Center Ballroom, James Madison University on Friday, September 24, 2004 at 7:30 p.m. ","This footage was originally recorded on 4 DVCAM videocassettes.  ","Poetry Jam event at the 2004 Furious Flower Poetry Conference at James Madison University. The original 2004 Furious Flower Poetry Conference program reads, \"Outstanding poets read and perform their work. Music will be provided by the Joel Dias-Porter Quartet. Porter, aka D.J. Renegade, will emcee the event on Friday, September 24 at 10:30 p.m.\" Participants included Joel Dias-Porter, Quo Vadis Gex Breaux, Mona Lisa Saloy, Lenard Moore, Angela Shannon, Lamont Steptoe, and Samantha Thornhill. The event was held at College Center Ballroom, James Madison University on Friday, September 24, 2004 at 10:30 p.m. ","This footage was originally recorded on 1 DVCAM videocassette.","The third Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Opal Moore moderated the session while E. Ethelbert Miller, Toi Derricotte, Kelli Norman Ellis, and Sharan Strange discussed the need for MFA writing programs at historically Black colleges and universities, the development of Cave Canem, Chicago State University's MFA writing program, and the history of the Dark Room Collective. The session was held at Grafton Stovall Theater, James Madison University on Saturday, September 25, 2004 at 9:30 a.m. ","This footage was originally recorded on 3 DVCAM videocassettes.","Cave Canem Reunion Luncheon and Open Mic event at the 2004 Furious Flower Conference at James Madison University. The footage begins with the presentation segments of the Cave Canem luncheon before switching to the Open Mic event. Tyehimba Jess was the Emcee for the Open Mic Reading and many poets read their poetry. The luncheon was held in the Phillips Center Ballroom, James Madison University on Saturday, September 25, 2004 at 12:00 p.m. and the Open Mic Reading was held in Grafton Stovall Theater,  at 1:30 p.m. ","This footage was originally recorded on 3 DVCAM videocassettes.","Cave Canem Reunion Reading at the 2004 Furious Flower Conference at James Madision University. The footage begins with a circle jam poetry reading before switching to the Cave Canem Reading. Cornelius Eady, Marilyn Nelson, Kwame Dawes, Elizabeth Alexander, and Toi Derricotte each read their poetry as part of this event. The reading was held in Grafton Stovall Theater, James Madison University on Saturday, September 25, 2004 at 3:30 p.m. ","This footage was originally recorded on 2 DVCAM videocassettes.","Conference Finale for the 2004 Furious Flower Conference. The event featured two musical groups: \"Fertile Ground\" a soul and jazz band from Baltimore, Maryland and \"The Full Moon of Sonia\" which sets Sonia Sanchez's poetry to music. The Conference Finale was held at Wilson Hall Auditorium, James Madison University on Saturday, September 25, 2004 at 8 p.m. ","This footage was originally recorded on 2 videocassettes.","Lifetime Achievement Award Banquet for the 2024 Furious Flower Conference at James Madison University. jessica Care moore and Tony Medina hosted the banquet and David Berry provided the music. Furious Flower Lifetime Achievement Awards were presented to the following poets: Elizabeth Alexander, Kwame Dawes, Cornelius Eady, Nikky Finney, Lorna Goodison, E. Ethelbert Miller, Harryette Mullen, Niyi Osundare, Timothy Seibles, and Patricia Smith. The banquet was held in the Festival Ballroom at James Madison University on Wednesday, September 18, 2024 at 6 p.m.","Opening session and welcome to the participants for the 2024 Furious Flower Conference at James Madison University. A video introduction featuring Afaa M. Weaver opened the session, followed by an in memoriam slideshow. Lauren Alleyne presented an overview of the Furious Flower Poetry Center's work since the 2014 conference. Traci Zimmerman, the Dean of the College of Arts and Letters Dean and interim-Provost, Bob Kolvoord made remarks, and Bethany Nowviskie, Dean of JMU Libraries, gave a presentation about the Mellon Foundation grant partnership between Furious Flower and JMU Libraries. The Opening Session was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 8:15 a.m.","Keynote Reading and Conversation with honored poets, Elizabeth Alexander \u0026 Kwame Dawes, at the 2024 Furious Flower Conference. Alexander and Dawes read poetry and engaged in discussion with Shara McCallum and Terrance Hayes. The Keynote Reading and Conversation was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 9:15 a.m.","The Worlds of Black Poetry: Critical Portals, Pathways, and Emergences panel at the 2024 Furious Flower Conference at James Madison University.  Keith Leonard, Jahan Ramazani, Evie Shockley, and Mecca Jamilah Sullivan each presented a paper showcasing the depth and breath of the worlds of Black poetry. Topics of discussion included: avant-garde poetry, elegy and Caribbean poetry, Black confessional poetry, Black feminism, and Black queer poetics. This panel was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 11:15 a.m.","A Decade of Poetic Experiment: 2014 to 2024 panel at the 2024 Furious Flower Conference at James Madison University. Aldon Lynn Nielsen, C.S. Giscombe, Meta DuEwa Jones, Mark McMorris, Duriel E. Harris, and Douglas Kearney engaged in a round table discussion about the past decade in Black poetry. Experimentation by poets and critics is of particular focus during this panel. This discussion was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 2 p.m.","Furious Flower Poetry Prize Winner \u0026 Honorable Mention Reading at the 2024 Furious Flower Conference. Winner, Michelle Alexander, Honorable Mention, Raejeana Brooks, and judge, Roger Reeves, read poetry and answered questions from the audience. The Furious Flower Poetry Prize Winner \u0026 Honorable Mention Reading was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 3:30 p.m.","Black Universe I: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Rita Dove, Jericho Brown, Camille T. Dungy, Alexis Pauline Gumbs, Malika Booker, Patricia Jabbeh Wesley, Tyehimba Jess, Remica Bingham-Risher, Matthew Shenoda, Lillian-Yvonne Bertram, Cornelius Eady, Frank X. Walker, and Nikky Finney. The Black Universe I: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 7 p.m.","Dear Yusef: Celebrating the Life \u0026 Work of Poet \u0026 Professor Yusef Komunyakaa panel at the 2024 Furious Flower Conference. Lynne Thompson, Joel Dias-Porter, Linda Susan Jackson, and Dante Micheaux discussed a new anthology entitled \"Dear Yusef.\" Panelists also shared their personal experiences working with Yusef Kumanyaka and read poetry from the anthology. The session closed with the presenters answering audience questions. This panel was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 8:15 a.m.","Walk With Me: Freedom Fighter's Homage presentation and performance at the 2024 Furious Flower Conference. The session featured a discussion, live performances, and answering questions from the audience. The performance itself examined the long road to freedom for Black people in America and included song, spoken word poetry, and dance. This session was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 9:45 a.m.","Laureate Reading and Conversation at the 2024 Furious Flower Conference. Rita Dove, Poet Laureate of the United States, 1993-1995, introduced poet laureates from across the country and moderated a conversation after the readings. Featured poets included: Angela Jackson (Illinois), Curtis Crisler (Indiana), Amanda Johnston (Texas), avery r. young (Chicago, IL), and Glenis Redmond (Greenville, SC).  The Laureate Reading and Conversation was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 11:15 a.m.","Magnitude \u0026 Bond: A Preview of a Field Study on Black Literary Organizations panel at the 2024 Furious Flower Conference. Lisa Willis, Candace G. Wiley, Nichelle M. Hayes, and Duriel E. Harris discussed the Magnitude and Bond field study. The presenters represented four organizations that are participating in the field study: Cave Canem, The Watering Hole, Center for Black Literature \u0026 Culture (CBLC), and Obsidian: Literature \u0026 Arts in the African Diaspora. The group conversed about why the field study is important, positives and negatives they have experienced as leaders of Black literary arts organizations, and how organizations were chosen for the field study. The session closed with a questions from the audience. This panel was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 2 p.m.","Black Universe II: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Ross Gay, Erica Hunt, francine j. harris, Roger Reeves, DaMaris Hill, Efe Paul Azino, Merle Collins, Danez Smith, Tara Betts, A. B. Spellman, Lorna Goodison, E. Ethelbert Miller, and Harryette Mullen. The Black Universe II: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 7 p.m.","Growing a New Garden: Furious Flowering in Classrooms panel at the 2024 Furious Flower Conference. Panelists Anastacia-Reneé, allia abdullah-matta, Brian Hannon, Carmin Wong, and Keisha-Gaye Anderson discussed the Furious Flower Syllabus project, an open access syllabus for a range of educational contexts. Each presenter highlighted their favorite poem featured in the project curriculum, conversed about creating the syllabus, and expressed the importance of such an undertaking. This panel was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 8:15 a.m.","Black Universe III: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Kei Miller, Shara McCallum, Tim Seibles, Anastacia Renée, Gregory Pardlo. Joanne Gabbin introduced each poet with a personally written haiku. The Black Universe III: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 9:45 a.m.","Black Joy in Song performance at the 2024 Furious Flower Conference. Sonya Gabrielle Baker, Albert Lee, and Jeremiah Padilla performed poetry set to music, incorporating both vocal and instrumental music. This performance was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 12:30 p.m.","A Vital History: The Cambridge Anthology Roundtable at the 2024 Furious Flower Conference. Panelists Matt Sandler, Carlyn Ferrari, Marta Werbanowska, McKinley Melton, Annette Debo, and Emily Ruth Rutter discussed an upcoming anthology. Each panelist described their essay from the anthology, including topics such as Black poets of the abolition movement, Black women poets, the Black eco-poetic tradition, elegy, and more. The session concluded with a panel discussion and audience questions. This panel was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 2 p.m.","Black Universe IV: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Terrance Hayes, Evie Shockley, Niyi Osundare, Canisia Lubrin, Patricia Smith, and Kwame Dawes. Lauren Alleyne closed the session by reading a new poem. The Black Universe IV: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 3:30 p.m.","Closing Remarks for the 2024 Furious Flower Conference. Lauren Alleyne, the Executive Director of the Furious Flower Poetry Center, concluded the conference by expressing gratitude for everyone involved with the event in some way. This event was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 5 p.m.","Interview with Camille Dungy, Ross Gay, Alexis Pauline Gumbs, and Niyi Osundare at the 2024 Furious Flower conference. Nate Marshall moderated the conversation, posing questions about the theme Black planet. The group discussed the relationship between Black identity and the environment, how crafting poetry allows them to explore new relationships with the natural world, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.","Interview with Erica Hunt, A.B. Spellman, and Glenis Redmond at the 2024 Furious Flower Conference. Keisha-Gaye Anderson moderated the conversation, posing questions about the theme life in poetry. The group discussed why they chose poetry, pivotal moments in their careers, the role of community and collaboration in their development as poets, advice for emerging poets, lessons learned, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.","Interview with Malika Booker, Danez Smith, and Frank X. Walker at the 2024 Furious Flower Conference. Keith Leonard moderated the conversation, posing questions about the theme collectives and community. The group discussed why it is important to be involved in their respective communities or collectives, the importance of inter-generational connections, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.","Interview with Anastacia Renée, Canisia Lubrin, and Lillian Yvonne Bertram at the 2024 Furious Flower conference. Mecca Jamilah Sullivan moderated the conversation, posing questions about the theme poetic experimentation. The group discussed what poetic experimentation means to them, the experience of experimentation, what is lost when discussing the process of experimentation, and what the worlds of black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Evie Shockley, Remica Bingham-Risher, Terrance Hayes, and DaMaris Hill at the 2024 Furious Flower Conference. Meta DuEwa Jones moderated the conversation, posing questions about the theme creative scholarship. The group discussed what scholarship means to them, how the market does or does not affect their work, their collaborative practices, the worlds of black poetry as they relate to their scholarly, creative, and critical work, and finding joy in their work. The interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Matthew Shenoda, Efe Paul Azino, and Patricia Jabbeh Wesley at the 2024 Furious Flower Conference. Gbenga Adesina moderated the conversation, posing questions about the theme continental conversations. The group discussed diasporic influences, how their work may shape poetry moving forward, and the books or projects they currently working on. This interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Tara Betts, avery r. young, Danez Smith, and Mahogany L. Browne  at the 2024 Furious Flower Conference. McKinley Melton moderated the conversation, posing questions about the theme performance. The group discussed what the worlds of Black poetry mean to them, how they see their work engaging in the expansiveness of poetic performance, the best lessons they have learned from their time as poets and performers, and what it means to be at Furious Flower. This interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Tyehimba Jess, francine j. harris, jessica Care moore and Airea D. Matthews at the 2024 Furious Flower conference. Ajanaé Dawkins moderated the conversation, posing questions about the theme Detroit conversations. Each poet read one of their poems, discussed how the school of Detroit poetry shaped them, and talked about the evolution of Detroit poetry. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.","Interview with Lorna Goodison, Merle Collins, Kei Miller, and Malika Booker at the 2024 Furious Flower conference. Jahan Ramazani moderated the conversation, posing questions about the theme Caribbean conversations. The group discussed Caribbean identity, diasporic identity, the distinctiveness of the Caribbean experience, and what the worlds of Black poetry mean to them. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.","Interview with Roger Reeves, Jericho Brown, and Gregory Pardlo at the 2024 Furious Flower conference. Curtis Crisler moderated the conversation, posing questions about the theme Black masculinity. The group discussed their definitions of Black masculinity, how they show vulnerability in their poetry, and what the worlds of Black poetry mean to them. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.","A copy of Mourning Katrina: A Poetic Response to Tragedy Buena Vista, Va.: Mariner Publishing, 2009 and 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton Harrisonburg, Va.: Virginia Tech Printing Services, 2010 were removed from Series 2, catalogued, and placed in the Special Collections rare book collection. ","The following titles were removed from Series 3 and catalogued: Opala, Joseph A. The Gullah: rice, slavery and the Sierra Leone-American connection. Freetown, Sierra Leone: USIS, 1987; Opala, Joseph. Krio in a nutshell.: Krio Grammar with Lessons, Exercise and Vocabulary, Vol. 1. Freetown, Sierra Leone: [publisher not identified], 1991; Opala, Joseph. Krio in a nutshell.: Krio Conversation with Dialogues, Stories, Proverbs, etc., Vol. 2. Freetown, Sierra Leone: [publisher not identified], 1991; Geraty, Virginia Mixson. Bittle en' t'ing': Gullah cooking with Maum Chrish'. Orangeburg, S.C.: Sandlapper Pub., 1992.","A broadside printing of Rita Dove's \"Ode to My Right Knee\" (no. 39 of 100) was removed from the collection and cataloged separately.","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","The Furious Flower Poetry Center Records, consisting of 17.6 cubic feet (43 boxes, 1 rolled storage container), document the departmental activities of the Furious Flower Poetry Center.","James Madison University Libraries Special Collections","James Madison University. Furious Flower Poetry Center","Furious Flower Conference (1st ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 1994 :.)","Furious Flower Conference (2nd ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 2004 :.)","Furious Flower Conference (3rd ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 2014 :.)","Furious Flower Poetry Center (1999-2004)","James Madison University. Jazz Ensemble","Berry Media Group","Gabbin, Joanne V. (Joanne Veal), 1946-","Alleyne, Lauren K.","Hodges, John L.","Wright, Steven","Facknitz, Susan","Brice-Finch, Jacqueline","Claiborne, C. B. (Claudius B.)","Carrier, Ronald E., 1932-2017","Hunt, Doris","Ward, Val Gray (1932-08-21-2024-03-07)","Brown, Vernisha","Aubert, Alvin (1930-03-12-2014-12-06)","Alexander, Elizabeth, 1962-","Traylor, Eleanor W.","Williams, Sherley Anne, 1944-1999","Stover, Darrell \"SCIPOET\"","Drew, Shahara","Miller, Adam David (1922-10-08-2020-11-04)","Love, Monifa A.","Thompson, Mylea","Harper, Michael S. (Michael Steven), 1938-2016","Ellis, Thomas Sayers (1963)","Keene, John (John R.), 1965-","Barrax, Gerald W. (Gerald William) (1933-06-21-2019-12-07)","Derricotte, Toi, 1941-","Miller, E. Ethelbert (Eugene Ethelbert) (1950-11-20)","Allen, Samuel W. (Samuel Washington) (1917-12-09-2015-06-27)","Phillips, Carl, 1959-","Lane, Pinkie Gordon (1923-2008-12-03)","Madhubuti, Haki R., 1942-","Madgett, Naomi Cornelia Long (1923-07-23-2020-11-05)","Baraka, Amiri, 1934-2014","Touré, Askia M. (1938-10-13)","Evans, Mari, 1919-2017","Sanchez, Sonia, 1934-","Ward, Jerry W., Jr. (Jerry Washington), 1943-","Joyce, Joyce Ann, 1949-","Nielsen, Aldon Lynn (1950-10-20)","Rampersad, Arnold (1941-11-13)","Thomas, Lorenzo, 1944-2005","Renegade, D. J.","Salaam, Kalamu ya, 1947-","McDowell, Deborah E., 1951-","Dove, Rita (1952-08-28)","Kendrick, Dolores, 1927-2017","Brooks, Gwendolyn, 1917-2000","Giovanni, Nikki (1943-2024)","Redmond, Eugene (Eugene B.) (1937-12-01)","Gayles, Gloria Jean Wade (19380701)","Collier, Eugenia W. (1928-04-06)","Patterson, Raymond R. (1929-12-14-2001-04-05)","Graham, Maryemma (1949-06-13)","Moore, Opal (1953)","Gabbin, Alexander L. (1945)","Asim, Jabari, 1962-","Braxton, Joanne M. (1950)","Taylor, Clyde (1931-07-03-2024-01-24)","Steptoe, Lamont B., 1949-","Gillespie, Carmen (1965-06-17-2019-08-30)","Coates, Ta-Nehisi (Ta-Nehisi Paul) (1975-09-30)","Rice, Dorothy Marie, 1948-","Blackman, Toni","Alexander, Kwame (1968-08-21)","deGannes, Nehassaiu","Kein, Sybil (1939-09-29-2022-10-28)","Osbey, Brenda Marie (1957-12-12)","Iverem, Esther, 1960-","Saloy, Mona Lisa (19500701)","Drake, Jeannette M.","Fabu","Dance, Daryl Cumber (1938-01-17)","Trethewey, Natasha D., 1966-","Jackson, Major, 1968-","Beatty, Vera L.","Strange, Sharan (1959)","Young, Kevin (Kevin Lowell), 1970-","Gex, Quo Vadis","Bullock, Byron","Morris, Mellasenah Young","Reagon, Bernice Johnson, 1942-","Pettis, Joyce Owens","Fowler, Virginia C., 1948-","Goven, Sandra","Hoagland, Everett (1942-12-18)","Moore, Lenard D., 1958-","Brown, Douglas T.","Harris, Trudier (1948-02)","Holladay, Hilary (1961-07-03)","Bolden, Tony","Clifton, Lucille, 1936-2010","Hughes, Langston (James Mercer Langston), 1902-1967","Anderson, T. J., III, 1958-","Komunyakaa, Yusef (1947-04-29)","Baker, Houston A., Jr., 1943-","Medina, Tony (1966-01-10)","Debo, Annette, 1964-","Favorite, Malaika, 1949-","Pollard, Velma (1937-03-26)","Sanders, Mark A., 1963-","Dibinga, Omékongo","Mullen, Harryette Romell (1953-07-01)","Finney, Nikky (1957-08-26)","Moore, Jessica Care","Boyd, Melba Joyce (1950-04-02)","Harris, William J., 1942-","Lansana, Quraysh Ali (1964-09-13)","Rambsy, Howard (1976)","Rose, Linwood H. (Linwood Howard), 1951-","Thornhill, Samantha","Shannon, Angela","Ellis, Kelly Norman, 1964-","Jess, Tyehimba","Betts, Tara","Singleton, Giovanni","Harris, Duriel E.","Walker, Frank X., 1961-","Sheba Queen","Moon, Kamilah Aisha (1972-09-05)","Martin, Dawn Lundy (1975)","Obadike, Mendi Lewis, 1973-","Shockley, Evie, 1965-","Eady, Cornelius, 1954-","Nelson, Marilyn, 1946-","Dawes, Kwame Senu Neville, 1962-","Warner, Mark R. (Mark Robert) (1954-12-15)","Allen, George, 1952-","Mfume, Kweisi (1948-10-24)","Okai, Atukwei, 1941-","Bond, Julian (Horace Julian), 1940-2015","Obama, Barack","Goodison, Lorna (1947-08-01)","Osundare, Niyi, 1947-","Seibles, Tim (1955)","Smith, Patricia, 1955-","Adesina, Gbenga","Berry, David E., 1982-","Melton, McKinley","Jones, Meta DuEwa","Marshall, Nate, (Poet)","Oliver, Patrick M.","Morgan, Shauna M.","Weaver, Afaa M. (Afaa Michael), 1951-","Kolvoord, Robert","Zimmerman, Traci","Nowviskie, Bethany","McCallum, Shara, 1972-","Hayes, Terrance (1971)","Leonard, Keith D., 1969-","Ramazani, Jahan, 1960-","Sullivan, Mecca Jamillah","Jaji, Tsitsi (Tsitsi Ella)","Giscombe, C. S. (Cecil S.), 1950-","McMorris, Mark","Scheyer, Lauri (1952-09-08)","Williams, Tyrone (1954-02-24-2024-03-11)","Reeves, Roger","Alexander, Michelle, (Poet)","Brooks, RaeJeana","Brown, Jericho","Dungy, Camille T. (Camille Thornton), 1972-","Gumbs, Alexis Pauline, 1982-","Booker, Malika (1970)","Wesley, Patricia Jabbeh (1955-08-07)","Bingham-Risher, Remica (1981)","Shenoda, Matthew (1977-07-14)","Bertram, Lillian-Yvonne, 1983-","Thompson, Lynne, 1951-","Dias-Porter, Joel.","Jackson, Linda Susan","Micheaux, Dante","Sealey, Nicole","Faison, Latorial (1973)","Pinson, Hermine (1953-07-20)","Glenn, Leah","Crisler, Curtis L.","Johnston, Amanda, 1977-","young, avery r.","Redmond, Glenis (1963-08-27)","Willis, Lisa (20)","Wiley, Candace G.","Hayes, Nichelle M.","Gay, Ross (Ross Alexander), 1974-","Hunt, Erica, 1955-","Harris, Francine J.","Azino, Efe Paul (20)","Collins, Merle (1950-09-29)","Smith, Danez","Spellman, A. B., 1935-","Anastacia-Reneé","abdullah-matta, allia","Hannon, Brian James","Wong, Carmin.","Anderson, Keisha-Gaye","Miller, Kei (1978)","Pardlo, Gregory","Padilla, Jeremiah.","Baker, Sonya G.","Lee, Albert Rudolph","Sandler, Matt","Ferrari, Carlyn Ena, 1984-","Werbanowska, Marta.","Rutter, Emily Ruth (1978-02-28)","Lubrin, Canisia, 1984-","Browne, Mahogany L.","English"],"unitid_tesim":["UA 0017","/repositories/4/resources/488"],"normalized_title_ssm":["Furious Flower Poetry Center Records"],"collection_title_tesim":["Furious Flower Poetry Center Records"],"collection_ssim":["Furious Flower Poetry Center Records"],"repository_ssm":["James Madison University"],"repository_ssim":["James Madison University"],"geogname_ssm":["United States -- Poetry","United States -- Intellectual life -- 20th century","United States -- Intellectual life -- 21st century"],"geogname_ssim":["United States -- Poetry","United States -- Intellectual life -- 20th century","United States -- Intellectual life -- 21st century"],"creator_ssm":["James Madison University. Furious Flower Poetry Center","Gabbin, Joanne V. (Joanne Veal), 1946-","Alleyne, Lauren K."],"creator_ssim":["James Madison University. Furious Flower Poetry Center","Gabbin, Joanne V. (Joanne Veal), 1946-","Alleyne, Lauren K."],"creator_persname_ssim":["Gabbin, Joanne V. (Joanne Veal), 1946-","Alleyne, Lauren K."],"creator_corpname_ssim":["James Madison University. Furious Flower Poetry Center"],"creators_ssim":["Gabbin, Joanne V. (Joanne Veal), 1946-","Alleyne, Lauren K.","James Madison University. Furious Flower Poetry Center"],"places_ssim":["United States -- Poetry","United States -- Intellectual life -- 20th century","United States -- Intellectual life -- 21st century"],"access_terms_ssm":["Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu)."],"acqinfo_ssim":["Furious Flower Poetry Center transferred these materials to Special Collections on May 16 and June 29, 2016. Subsequent transfers occurred in September 2017, September 2019, April 2023, and October 2024."],"access_subjects_ssim":["American poetry -- African American authors","Poetry -- History and criticism","African American poets","African Americans -- Poetry","African Americans -- Intellectual life -- 20th century","African Americans -- Intellectual life -- 21st century","Administrative records","Grant Proposals","Letters (correspondence)","Electronic mail","Compact discs","Posters","DVDs","Poetry","Exhibit scripts","Photographs","Calendars (documents)","Programs (documents)"],"access_subjects_ssm":["American poetry -- African American authors","Poetry -- History and criticism","African American poets","African Americans -- Poetry","African Americans -- Intellectual life -- 20th century","African Americans -- Intellectual life -- 21st century","Administrative records","Grant Proposals","Letters (correspondence)","Electronic mail","Compact discs","Posters","DVDs","Poetry","Exhibit scripts","Photographs","Calendars (documents)","Programs (documents)"],"has_online_content_ssim":["false"],"extent_ssm":["17.6 cubic feet 43 boxes, 1 rolled storage container"],"extent_tesim":["17.6 cubic feet 43 boxes, 1 rolled storage container"],"genreform_ssim":["Administrative records","Grant Proposals","Letters (correspondence)","Electronic mail","Compact discs","Posters","DVDs","Poetry","Exhibit scripts","Photographs","Calendars (documents)","Programs (documents)"],"date_range_isim":[1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020,2021,2022,2023,2024],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research. Currently, the silk banners used in the 2004 and 2014 Furious Flower Poetry Conferences may only be requested (in writing) by Furious Flower Poetry Center staff. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital 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Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003erunning time:\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eOriginal audiovisual and media are in process and not available pending reformatting.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions"],"accessrestrict_tesim":["Collection is open to research. Currently, the silk banners used in the 2004 and 2014 Furious Flower Poetry Conferences may only be requested (in writing) by Furious Flower Poetry Center staff. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","running time:","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Original audiovisual and media are in process and not available pending reformatting."],"accruals_html_tesm":["\u003cp\u003eIt is anticipated that the Furious Flower Poetry Center will continue to donate conference files approximately every ten years and other administrative records on a more frequent basis.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["It is anticipated that the Furious Flower Poetry Center will continue to donate conference files approximately every ten years and other administrative records on a more frequent basis."],"altformavail_html_tesm":["\u003cp\u003eProcessing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.\u003c/p\u003e"],"altformavail_heading_ssm":["Other Formats Available"],"altformavail_tesim":["Processing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions."],"appraisal_html_tesm":["\u003cp\u003eSmall Purchase Credit Card Statements were discarded due to lack of research value.\u003c/p\u003e\n","\u003cp\u003eDue to duplication elsewhere in Special Collections the following issues of Madison (known as Montpelier from 1977-2005), many with articles pertaining to Furious Flower Poetry Center, were returned to the donor: Summer 2003, Winter 2005, Spring 2006, Fall 2006, Summer 2006, Spring 2007, Summer 2007, Fall 2007, Fall 2008, Winter 2008, Summer 2009, Fall 2009, Spring/Summer 2010, Spring/Summer 2011, Fall 2011, Spring/Summer 2015. These issues were loose when donated and were not a part of any pre-established order or foldering system.\u003c/p\u003e"],"appraisal_heading_ssm":[" Appraisal Information"],"appraisal_tesim":["Small Purchase Credit Card Statements were discarded due to lack of research value.","Due to duplication elsewhere in Special Collections the following issues of Madison (known as Montpelier from 1977-2005), many with articles pertaining to Furious Flower Poetry Center, were returned to the donor: Summer 2003, Winter 2005, Spring 2006, Fall 2006, Summer 2006, Spring 2007, Summer 2007, Fall 2007, Fall 2008, Winter 2008, Summer 2009, Fall 2009, Spring/Summer 2010, Spring/Summer 2011, Fall 2011, Spring/Summer 2015. These issues were loose when donated and were not a part of any pre-established order or foldering system."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into four series. Series are arranged chronologically; Series 2, 3, and 4 are further arranged alphabetically according to a particular publication or event.\u003c/p\u003e","\u003clist numeration=\"arabic\" type=\"ordered\"\u003e\n      \u003citem\u003eGrants and Financial Files, 2004-2021\u003c/item\u003e\n      \u003citem\u003ePublications and Manuscripts, 1993-2012\u003c/item\u003e\n      \u003citem\u003eEvents, Programs, and Workshops, 1990-2019\u003c/item\u003e\n      \u003citem\u003eConference Records, 1970-2015\u003c/item\u003e\n    \u003c/list\u003e","\u003cp\u003eThe series is arranged chronologically into three sub-series:\u003c/p\u003e\n","\u003clist numeration=\"arabic\" type=\"ordered\"\u003e\u003citem\u003eSub-series 4.1: 1994 Conference, 1970-2009\u003c/item\u003e\u003citem\u003eSub-series 4.2: 2004 Conference, 2002-2007\u003c/item\u003e\u003citem\u003eSub-series 4.3: 2014 Conference, 2013-2015\u003c/item\u003e\u003c/list\u003e","\u003cp\u003eEvent footage is arranged chronologically by capture time, with the exception of the \"supercuts,\" consisting of video montages, which are arranged by program day. See the Interviews with Poets sub-group for additional arrangement details.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement","Arrangement","Arrangement"],"arrangement_tesim":["The collection is arranged into four series. Series are arranged chronologically; Series 2, 3, and 4 are further arranged alphabetically according to a particular publication or event.","Grants and Financial Files, 2004-2021 Publications and Manuscripts, 1993-2012 Events, Programs, and Workshops, 1990-2019 Conference Records, 1970-2015","The series is arranged chronologically into three sub-series:","Sub-series 4.1: 1994 Conference, 1970-2009 Sub-series 4.2: 2004 Conference, 2002-2007 Sub-series 4.3: 2014 Conference, 2013-2015","Event footage is arranged chronologically by capture time, with the exception of the \"supercuts,\" consisting of video montages, which are arranged by program day. See the Interviews with Poets sub-group for additional arrangement details."],"bibliography_html_tesm":["\u003cbibref\u003e\"Furious Flower Poetry Center.\" James Madison University. Accessed August 09, 2016. https://www.jmu.edu/furiousflower/index.shtml.\u003c/bibref\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["\"Furious Flower Poetry Center.\" James Madison University. Accessed August 09, 2016. https://www.jmu.edu/furiousflower/index.shtml."],"bioghist_html_tesm":["\u003cp\u003eThe Furious Flower Poetry Center (FFPC) was established in 1999 by Joanne V. Gabbin when she was the director of James Madison University's Honors Program. With this flagship of the Honors Program, she continued the kind of programming she had begun by hosting the 1994 Furious Flower Poetry Conference, which was the nation's first scholarly conference on Black poetry. The conference, entitled Furious Flower: A Revolution in African American Poetry, was dedicated to acclaimed poet Gwendolyn Brooks and featured scholars, critics, and the most accomplished and esteemed poets of the time including Nikki Giovanni, Rita Dove, Sonia Sanchez, Michael S. Harper, Haki Madhubuti, and Gwendolyn Brooks herself. The name \"Furious Flower\" is derived from Brooks' poem Second Sermon on the Warpland in which she writes:\u003c/p\u003e\n","\u003cp\u003eThe time\ncracks into furious flower. Lifts its face\nall unashamed. And sways in wicked grace.\u003c/p\u003e\n","\u003cp\u003eMany who participated in the inaugural Furious Flower conference had their roots in the Black Arts Movement. The Black Arts Movement emerged in the wake of the Black Power Movement of the 1960s and 1970s and was comprised of politically motivated black visionaries, poets, artists, dramatists, musicians, and writers. The conference was met with overwhelming praise and The Washington Post called it an historic event. \u003c/p\u003e\n","\u003cp\u003eDue to the success of the 1994 Furious Flower Conference, the Furious Flower Poetry Center (FFPC) was established in 1999 and the Conference became a decennial event, held every ten years. The subsequent conferences were Regenerating the Black Poetic Tradition (2004) and Seeding the Future of African American Poetry (2014). Conference programming is comprised of concerts, readings, roundtable and panel discussions, and paper presentations.\u003c/p\u003e\n","\u003cp\u003eIn 2005, following the success of the second Furious Flower Poetry Conference (2004), JMU gave the FFPC its official charter, making it the first academic center in the United States devoted to Black poetry. Gabbin became its executive director, leaving the Honors Program after 19 years of service.\u003c/p\u003e\n","\u003cp\u003eToday, the FFPC is committed to \"cultivating, honoring, and promoting the diverse voices of African American poets by making the genre accessible to a wide audience and collaborating with educational and cultural institutions, literary organizations, and artists.\" It hosts visiting poets for readings at JMU and nearby venues; sponsors workshops; holds an annual poetry camp for elementary and middle school-aged children; produces texts, videos, DVDs and other materials on African-American poetry; and gathers poets and other scholars for intimate panels and seminars, as well as major conferences. FFPC has held four decennial Furious Flower Conferences: \"A Revolution in African American Poetry\" (1994), \"Regenerating the Black Poetic Tradition\" (2004), \"Seeding the Future of African American Poetry\" (2014), and \"Furious Flower IV: Celebrating the Worlds of Black Poetry (2024).\u003c/p\u003e\n","\u003cp\u003eFFPC is located off of Martin Luther King Jr. Way/Historic Cantrell Avenue. Beyond her duties as Executive Director of the Furious Flower Poetry Center, Joanne Gabbin is a professor of English at JMU, a published author, and a member of the International Literary Hall of Fame for Writers of African Descent.\u003c/p\u003e","\u003cp\u003eThe 1994 Conference Video Recordings, 1994 September 29-October 1, were produced by John L. Hodges. The videos represent the raw footage captured during the 1994 Conference.\u003c/p\u003e"],"bioghist_heading_ssm":["Administrative History","Bio/Historical Note"],"bioghist_tesim":["The Furious Flower Poetry Center (FFPC) was established in 1999 by Joanne V. Gabbin when she was the director of James Madison University's Honors Program. With this flagship of the Honors Program, she continued the kind of programming she had begun by hosting the 1994 Furious Flower Poetry Conference, which was the nation's first scholarly conference on Black poetry. The conference, entitled Furious Flower: A Revolution in African American Poetry, was dedicated to acclaimed poet Gwendolyn Brooks and featured scholars, critics, and the most accomplished and esteemed poets of the time including Nikki Giovanni, Rita Dove, Sonia Sanchez, Michael S. Harper, Haki Madhubuti, and Gwendolyn Brooks herself. The name \"Furious Flower\" is derived from Brooks' poem Second Sermon on the Warpland in which she writes:","The time\ncracks into furious flower. Lifts its face\nall unashamed. And sways in wicked grace.","Many who participated in the inaugural Furious Flower conference had their roots in the Black Arts Movement. The Black Arts Movement emerged in the wake of the Black Power Movement of the 1960s and 1970s and was comprised of politically motivated black visionaries, poets, artists, dramatists, musicians, and writers. The conference was met with overwhelming praise and The Washington Post called it an historic event. ","Due to the success of the 1994 Furious Flower Conference, the Furious Flower Poetry Center (FFPC) was established in 1999 and the Conference became a decennial event, held every ten years. The subsequent conferences were Regenerating the Black Poetic Tradition (2004) and Seeding the Future of African American Poetry (2014). Conference programming is comprised of concerts, readings, roundtable and panel discussions, and paper presentations.","In 2005, following the success of the second Furious Flower Poetry Conference (2004), JMU gave the FFPC its official charter, making it the first academic center in the United States devoted to Black poetry. Gabbin became its executive director, leaving the Honors Program after 19 years of service.","Today, the FFPC is committed to \"cultivating, honoring, and promoting the diverse voices of African American poets by making the genre accessible to a wide audience and collaborating with educational and cultural institutions, literary organizations, and artists.\" It hosts visiting poets for readings at JMU and nearby venues; sponsors workshops; holds an annual poetry camp for elementary and middle school-aged children; produces texts, videos, DVDs and other materials on African-American poetry; and gathers poets and other scholars for intimate panels and seminars, as well as major conferences. FFPC has held four decennial Furious Flower Conferences: \"A Revolution in African American Poetry\" (1994), \"Regenerating the Black Poetic Tradition\" (2004), \"Seeding the Future of African American Poetry\" (2014), and \"Furious Flower IV: Celebrating the Worlds of Black Poetry (2024).","FFPC is located off of Martin Luther King Jr. Way/Historic Cantrell Avenue. Beyond her duties as Executive Director of the Furious Flower Poetry Center, Joanne Gabbin is a professor of English at JMU, a published author, and a member of the International Literary Hall of Fame for Writers of African Descent.","The 1994 Conference Video Recordings, 1994 September 29-October 1, were produced by John L. Hodges. The videos represent the raw footage captured during the 1994 Conference."],"odd_html_tesm":["\u003cp\u003eAdditional information on the Dark Room Collective can be found \u003ca href=\"https://poets.org/text/brief-guide-dark-room-collective\"\u003ehere.\u003c/a\u003e\u003c/p\u003e"],"odd_heading_ssm":["General Note"],"odd_tesim":["Additional information on the Dark Room Collective can be found  here."],"otherfindaid_html_tesm":["\u003cp\u003e\u003ca href=\"https://us.preservica.com/explorer/explorer.html#prop:4\u0026amp;695ef954-06ba-43a6-b341-cc3edf3fc1e6\"\u003ePreservica Internal\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://jmu.access.preservica.com/archive/sdb%3Acollection|695ef954-06ba-43a6-b341-cc3edf3fc1e6/\"\u003ePreservica Access\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://us.preservica.com/explorer/explorer.html#prop:4\u0026amp;9e242b35-14e6-4742-bd85-186794dcc4ec\"\u003ePreservica Internal\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://jmu.access.preservica.com/archive/sdb%3Acollection|9e242b35-14e6-4742-bd85-186794dcc4ec/\"\u003ePreservica Access\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://us.preservica.com/explorer/explorer.html#prop:4\u0026amp;ac68aac5-b304-45cc-aeb4-0905f8a57259\"\u003ePreservica Internal\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://jmu.access.preservica.com/archive/sdb%3Acollection|ac68aac5-b304-45cc-aeb4-0905f8a57259/\"\u003ePreservica Access\u003c/a\u003e\u003c/p\u003e"],"otherfindaid_heading_ssm":["Preservica Internal URL","Preservica Public URL","Preservica Internal URL","Preservica Public URL","Preservica Internal URL","Preservica Public URL"],"otherfindaid_tesim":["Preservica Internal","Preservica Access","Preservica Internal","Preservica Access","Preservica Internal","Preservica Access"],"prefercite_html_tesm":["\u003cp\u003e[identification of item], [box #, folder #], Furious Flower Poetry Center Records, 1970-2021, UA 0017, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA.\u003c/p\u003e","\u003cp\u003e[Identification of item, (including title and date)], [box #, folder # OR identifier], Furious Flower Poetry Center Records, 1970-2021, UA 0017, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA\u003c/p\u003e"],"prefercite_tesim":["[identification of item], [box #, folder #], Furious Flower Poetry Center Records, 1970-2021, UA 0017, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA.","[Identification of item, (including title and date)], [box #, folder # OR identifier], Furious Flower Poetry Center Records, 1970-2021, UA 0017, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA"],"processinfo_html_tesm":["\u003cp\u003eThe donor's original order, including folder titles, was maintained whenever possible. The archivist imposed an order on any unordered files, titled any untitled files, and created discrete series. Social security numbers and bank account numbers have been redacted from materials. When possible, newspapers and clippings were photocopied and originals returned to donor. All material contained within three-ring binders was disbound and foldered in original order. During processing several folders were discovered to be empty. Their folder titles are as follows: Dream in Color Drafts, WHSV Children First 2010, WVPT Kid's Book Festival 2010, Poetry Month 2010, Winter Poetry Contest 2010, Marilyn Nelson Reading 2010, 73 Poems Honorariums (Music). The empty folders were discarded. Numerous folders with small purchase credit card statements and receipts were also discarded. Series I has also been renamed \"Grants and Financial Files.\"\u003c/p\u003e","\u003cp\u003eIn April 2022, the contents of the Furious Flower Poetry Center Conference Records (UA 0018) were incorporated into the Furious Flower Poetry Center Records (UA 0017) due to the collections' shared provenance and their creation by the same administrative body. The conference records were added as a separate series with subseries for each of the decennial conferences. At this same time, accruals received after initial processing were physically arranged to match their intellectual arrangement. Additional financial files deemed to have limited research value were also weeded in April 2022. Administrative receipts, travel vouchers, travel expenses and reimbursements, travel authorizations, purchase orders, invoices for supplies, monthly detail budget reports, and budget revisions were returned to FFPC.\u003c/p\u003e","\u003cp\u003eProcessing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.\u003c/p\u003e","\u003cp\u003eThe donor's original order, including folder titles, was maintained whenever possible. The archivist imposed an order on any unordered files, titled any untitled files, and created discrete series. Social security numbers and bank account numbers have been redacted from materials. When possible, newspapers and clippings were photocopied and originals returned to donor. The collection of magnesium letterpress die plates are individually boxed and organized by the poem's appearance in the publication Furious Flower: A Revolution in African American Poetry into larger boxes (one record storage box and one oversize Hollinger box). Furious Flower Poetry Center donated a box of rolled posters in cardboard tubes, all identical, from the 1994 and 2004 conferences – each cardboard tube contained one 1994 poster and one 2004 poster. Due to duplication elsewhere in this collection, only one set of posters was retained. They were flattened and placed in the Oversize series. Processing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.\u003c/p\u003e","\u003cp\u003eVideo recordings were digitized for preservation and research access by Scene Savers in 2016 and 2017. Select records were decribed by JMU graduate assistant Mitchell Teal in 2018 and 2019 for research access through JMU Scholarly Commons in support of a JMU X-Labs course. Description is ongoing as of 2022. Access to content will be made available once description is complete, barring any copyright or other use restrictions.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information","Processing Information","Processing Note"],"processinfo_tesim":["The donor's original order, including folder titles, was maintained whenever possible. The archivist imposed an order on any unordered files, titled any untitled files, and created discrete series. Social security numbers and bank account numbers have been redacted from materials. When possible, newspapers and clippings were photocopied and originals returned to donor. All material contained within three-ring binders was disbound and foldered in original order. During processing several folders were discovered to be empty. Their folder titles are as follows: Dream in Color Drafts, WHSV Children First 2010, WVPT Kid's Book Festival 2010, Poetry Month 2010, Winter Poetry Contest 2010, Marilyn Nelson Reading 2010, 73 Poems Honorariums (Music). The empty folders were discarded. Numerous folders with small purchase credit card statements and receipts were also discarded. Series I has also been renamed \"Grants and Financial Files.\"","In April 2022, the contents of the Furious Flower Poetry Center Conference Records (UA 0018) were incorporated into the Furious Flower Poetry Center Records (UA 0017) due to the collections' shared provenance and their creation by the same administrative body. The conference records were added as a separate series with subseries for each of the decennial conferences. At this same time, accruals received after initial processing were physically arranged to match their intellectual arrangement. Additional financial files deemed to have limited research value were also weeded in April 2022. Administrative receipts, travel vouchers, travel expenses and reimbursements, travel authorizations, purchase orders, invoices for supplies, monthly detail budget reports, and budget revisions were returned to FFPC.","Processing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.","The donor's original order, including folder titles, was maintained whenever possible. The archivist imposed an order on any unordered files, titled any untitled files, and created discrete series. Social security numbers and bank account numbers have been redacted from materials. When possible, newspapers and clippings were photocopied and originals returned to donor. The collection of magnesium letterpress die plates are individually boxed and organized by the poem's appearance in the publication Furious Flower: A Revolution in African American Poetry into larger boxes (one record storage box and one oversize Hollinger box). Furious Flower Poetry Center donated a box of rolled posters in cardboard tubes, all identical, from the 1994 and 2004 conferences – each cardboard tube contained one 1994 poster and one 2004 poster. Due to duplication elsewhere in this collection, only one set of posters was retained. They were flattened and placed in the Oversize series. Processing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.","Video recordings were digitized for preservation and research access by Scene Savers in 2016 and 2017. Select records were decribed by JMU graduate assistant Mitchell Teal in 2018 and 2019 for research access through JMU Scholarly Commons in support of a JMU X-Labs course. Description is ongoing as of 2022. Access to content will be made available once description is complete, barring any copyright or other use restrictions."],"relatedmaterial_html_tesm":["\u003cp\u003eSee \"1994 Conference Program, 1994\" in Series 1 for original conference program.\u003c/p\u003e","\u003cp\u003eSee the file Poetry Reading 2, 1994 September 29, located in the 1994 Conference Video Recordings sub-group.\u003c/p\u003e","\u003cp\u003eSee the file Critics' Roundtable: Critical Theories and Approaches in African American Poetry, 1994 September 30, located in the 1994 Conference Video Recordings sub-group.\u003c/p\u003e","\u003cp\u003eSee the file Critics' Roundtable: Writing a Literary History of African American Poetry, 1994 October 1, located in the 1994 Conference Video Recordings sub-group.\u003c/p\u003e","\u003cp\u003eSee the file Poetry Reading 5, 1994 September 29, located in the 1994 Conference Video Recordings sub-group.\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29908\"\u003eSam Allen, Alvin Aubert, Amiri Baraka Interviews Final Cut\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29908\"\u003eSam Allen, Alvin Aubert, Amiri Baraka Interviews Final Cut\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29910\"\u003eToi Derricotte, Haki Madhubuti, and Naomi Long Madgett Interviews Final Cut\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29910\"\u003eToi Derricotte, Haki Madhubuti, and Naomi Long Madgett Interviews Final Cut\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30094\"\u003eNamoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A\u003c/a\u003e\u003c/p\u003e\n","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30095\"\u003eNamoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30094\"\u003eNamoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A\u003c/a\u003e\u003c/p\u003e\n","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30095\"\u003eNamoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30094\"\u003eNamoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A\u003c/a\u003e\u003c/p\u003e\n","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30095\"\u003eNamoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29998\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A\u003c/a\u003e\u003c/p\u003e\n","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29999\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29998\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A\u003c/a\u003e\u003c/p\u003e\n","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29999\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29998\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A\u003c/a\u003e\u003c/p\u003e\n","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29999\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29998\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A\u003c/a\u003e\u003c/p\u003e\n","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29999\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30039\"\u003eMichael Harper interviewed by Aldon Nielsen Part 2, Camera A. Toi Derricotte interviewed by Opal Moore Camera A\u003c/a\u003e\u003c/p\u003e\n","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30040\"\u003eMichael Harper interviewed by Aldon Nielsen Part 2, Camera B. Toi Derricotte interviewed by Opal Moore Camera B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29907\"\u003eMari Evans, Everett Hoagland, and Sonia Sanchez Interviews Final Cut\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29907\"\u003eMari Evans, Everett Hoagland, and Sonia Sanchez Interviews Final Cut\u003c/a\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials"],"relatedmaterial_tesim":["See \"1994 Conference Program, 1994\" in Series 1 for original conference program.","See the file Poetry Reading 2, 1994 September 29, located in the 1994 Conference Video Recordings sub-group.","See the file Critics' Roundtable: Critical Theories and Approaches in African American Poetry, 1994 September 30, located in the 1994 Conference Video Recordings sub-group.","See the file Critics' Roundtable: Writing a Literary History of African American Poetry, 1994 October 1, located in the 1994 Conference Video Recordings sub-group.","See the file Poetry Reading 5, 1994 September 29, located in the 1994 Conference Video Recordings sub-group.","Sam Allen, Alvin Aubert, Amiri Baraka Interviews Final Cut","Sam Allen, Alvin Aubert, Amiri Baraka Interviews Final Cut","Toi Derricotte, Haki Madhubuti, and Naomi Long Madgett Interviews Final Cut","Toi Derricotte, Haki Madhubuti, and Naomi Long Madgett Interviews Final Cut","Namoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A","Namoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B","Namoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A","Namoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B","Namoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A","Namoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B"," Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A"," Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B"," Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A"," Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B"," Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A"," Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B"," Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A"," Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B","Michael Harper interviewed by Aldon Nielsen Part 2, Camera A. Toi Derricotte interviewed by Opal Moore Camera A","Michael Harper interviewed by Aldon Nielsen Part 2, Camera B. Toi Derricotte interviewed by Opal Moore Camera B","Mari Evans, Everett Hoagland, and Sonia Sanchez Interviews Final Cut","Mari Evans, Everett Hoagland, and Sonia Sanchez Interviews Final Cut"],"scopecontent_html_tesm":["\u003cp\u003eThe Furious Flower Poetry Center Records, 1970-2024, consisting of 17.6 cubic feet (43 boxes, 1 rolled storage container), document the departmental activities of the Furious Flower Poetry Center, a unit formerly of the JMU Honor's Program that became its own separate academic center of the University in 2005. A portion of the material contained within the records derive from events and programs sponsored by the Furious Flower Poetry Center including 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton, Lineage: The Margaret Walker Song Cycle, and an annual children's poetry camp. Specific types of materials include event posters and brochures, exhibit panels, logistical and planning documentation, and email correspondence. Materials related to publications produced by the Center such as Mourning Katrina: A Poetic Response to Tragedy and Shaping Memories: Reflections of African American Women Writers are comprised of draft manuscripts and correspondence with poets and publishers. Grant proposals and awards, many of which relate to the aforementioned events and projects, are also represented. Materials related to the decennial Furious Flower poetry conferences, including administrative documentation and video recordings, are represented in the Conference Records series.\u003c/p\u003e","\u003cp\u003eArranged chronologically. \u003c/p\u003e\n","\u003cp\u003eFFPC relies heavily on funding from corporate entities and non-profits to subsidize and off-set the cost of furthering their mission of promoting African-American poetry. As such, this series contains grant proposals and awards (all closed) relating to events, publications, and other projects sponsored by the Furious Flower Poetry Center. Projects represented in this series include \"Dream in Color,\" an online curriculum sponsored by Target that enabled elementary, middle, and high-school students to discover the works of African-American poets; and the publication of Mourning Katrina, an anthology of poems by observers and survivors of Hurricane Katrina. All grant materials were removed from three-ring binders and foldered, maintaining original order.\u003c/p\u003e","\u003cp\u003eArranged chronologically by project date and sub-arranged alphabetically within each project.\u003c/p\u003e\n","\u003cp\u003eThis series contains material related to publications and manuscripts produced by the Furious Flower Poetry Center. In many cases this refers to books in the typical sense (Mourning Katrina: A Poetic Response to Tragedy, Furious Flower: African-American Poetry from the Black Arts Movement to the Present), Furious Flower Poetry Center also oversaw the publication of The Painted Word – a set of notecards and a corresponding calendar of poets' portraits. Correspondence with various publishers is also included.\u003c/p\u003e","\u003cp\u003eArranged chronologically by event and sub-arranged alphabetically within each event.\u003c/p\u003e\n","\u003cp\u003eThis series is comprised of material relating primarily to the many events, programs, and workshops hosted and sponsored by the Furious Flower Poetry Center. Major events represented in this series include Tell Me Your Names: The Poetry of Lucille Clifton, a week-long seminar held June 14 –June 21, 2009 and 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton, a tribute program held September 21, 2010. Of particular interest are 57 oversize exhibit panels from Among Poets: Lucille Clifton Commemorative Exhibition. This 2012 exhibition held at the Reginald F. Lewis Museum and the Enoch Pratt Free Library, both in Baltimore, Maryland, primarily feature photographs by Lynda Koolish of Lucille Clifton, her contemporaries, and her family and friends. The Center's annual Children's Poetry Camp is also well documented. Researchers should note that there are some files in this series (e.g. materials concerning Oni Lasana Productions) that are not directly related to events held by FFPC. These events are likely ones attended by FFPC staff or documented because they serve as examples of comparable outreach initiatives or similar types of promotion.\u003c/p\u003e\n","\u003cp\u003eOne file of materials related to the Furious Flower Poetry Center's 25th Anniversary Celebration, held in September 2019 at the National Museum of African American History and Culture, include promotional material, a schedule of events, and a copy of the invocation presented by Rev. Edward A. Scott. Of particular interest is a promotional card inscribed by Qiniso \"Qibho\" Motsa, a poet, musicion, author, and social activist from Eswatini.\u003c/p\u003e","\u003cp\u003eThis series comprises materials related to the decennial Furious Flower poetry conferences, beginning with the inaugural conference in 1994. A significant portion of the records include logistical and planning documentation for each conference as well as marking and promotional items. These materials are comprised of calls for papers, contracts, correspondence, address lists, ticket requests, travel, transportation, and lodging reservations, and menus. The records include nontraditional items as well. Of interest are exhibit panels (text labels and images) describing and depicting the participants of the 1994 conference. Magnesium letterpress die plates used to print a limited edition portfolio Furious Flower: A Revolution in African American Poetry, a special collection of 23 poems selected by poets (who participated in the 1994 conference) to represent their work, are included. Six silk banners that adorned the Wilson Hall auditorium during the 2004 and 2014 conferences are included.\u003c/p\u003e","\u003cp\u003eArranged alphabetically with the exception of the Exhibit of Participants materials and the magnesium letterpress die plates which are located at the end of the series due to their size. Note that the numbering system for the letterpress die plates is sequential based on each poem's order in the publication Furious Flower: A Revolution in African American Poetry. As such the first folder/four-flap enclosure in box nine is labeled 9:21b. This is the plate for page two of the 21st poem in the publication.\nMaterials in this series primarily document the planning and implementation of the 1994 Furious Flower Poetry Conference: A Revolution in African American Poetry. Records include travel and lodging reservations, correspondence with participating poets, financial documentation and budgets, and mailing lists. Marketing and promotional items such as posters and brochures are included. Conference evaluations completed by attendees and folders labeled \"Positive Responses\" document the overwhelming success of the conference. Of particular interest are exhibit components from the 1994 conference that include text labels and images of each participating poet. The photographs for these panels were taken by C. B. Claiborne. Copy 225 of 300 of Furious Flower: A Revolution in African American Poetry is located in box 2, folder 5. The magnesium letterpress die plates used to print this collection of poetry are also included here. Each plate is individually housed in a four-flap enclosure and then boxed in order of appearance in the publication. Of significance are the video recordings documenting conference proceedings and interviews with Black poets.\u003c/p\u003e","\u003cp\u003eThis series contains 45 video recordings captured by John L. Hodges during the 1994 Furious Flower Poetry Conference as well as interviews with poets.\u003c/p\u003e","\u003cp\u003eOpening invocation and welcome to participants for the 1994 Furious Flower Conference at James Madison University. The Opening Session was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 8:30 a.m. This footage was originally recorded on 1 MII videocassette.\u003c/p\u003e","\u003cp\u003eThe Critics' Roundtable, \"African American Poetry and the Vernacular Matrix,\" was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 9:30 a.m.\u003c/p\u003e\n","\u003cp\u003eOriginal 1994 Furious Flower Poetry Conference program reads, \"African American poetry, perhaps more so than fiction and drama, has lent and continues to lend itself to the thematic and formalistic expression of its matrixing in African American culture, in the vernacular (folk and popular) culture in particular. This roundtable will investigate the nature and extent of this matrixing. It will consider the relationship of the folk to the popular vernacular mode, whether \"continuity\" or \"disjuncture\" best describes that relationship and how the difference between the two is imprinted upon the literature. It will also consider the nature and validity of rural/urban, southern/northern distinctions as they apply to cultural expressive manifestations such as the blues, and the degree to which these distinctions spill over into the poetry as a literary production. (Alvin Aubert)\"\u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 3 MII videocassettes.\u003c/p\u003e","\u003cp\u003eMichael S. Harper's Keynote speech at the 1994 Furious Flower Conference. The session continued with poetry readings by Elizabeth Alexander, Gerald Barrax, Toi Derricotte, and E. Ethelbert Miller. The Keynote Speech and Poetry Reading was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 1 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003ePoetry Readings by Sam Allen, Pinkie Gordon Lane, Haki Madhubuti, and Naomi Long Madgett at the 1994 Furious Flower Conference. The Poetry Reading was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 4:45 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003ePoetry Readings by Amiri Baraka, Mari Evans, Michael S. Harper, and Sonia Sanchez at the 1994 Furious Flower Conference. The JMU Jazz Ensemble opened the session by playing \"Cherry Juice.\" The Poetry Reading was held at Wilson Hall, James Madison University on Thursday, September 29, 1994 at  8 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003eThe Critics' Roundtable, \"Critical Theories and Approaches in African American Poetry,\" was held at the Grafton-Stovall Theatre at James Madison University on Friday, September 30, 1994 at 9:30 a.m. \u003c/p\u003e\n","\u003cp\u003eOriginal 1994 Furious Flower Poetry Conference program reads, \"The work of literary theory and of theorizing in other areas of the human sciences is to specify what conditions obtain among those who create, those who make use of creations, and the languages (or signs) that enable creators and consumers to negotiate in a world of social constructions. In short, theory is obligated to explain relations between people and artifacts in the contexts of history and culture. In that sense, theory is necessary for rigorous examination of African American poetry. How might theory advance the study and appreciation of African American poetry? Within the frame of this questions, scholars on the panel will be asked to address what kind of critical or cultural theory seems most appropriate for understanding poetry, how such theories influence interpretive methods and approaches, and how must theorists themselves grapple with their own historicity in light of African American poetry's evolution from orature to literature to newer genres that mix orality and literacy. The aim of the panel is to clarify some problems of theory and poetry as they affect various audiences (Jerry W. Ward, Jr.)\" \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 4 MII videocassettes.\u003c/p\u003e","\u003cp\u003eRita Dove and Gwendolyn Brooks' Keynote Speeches at the 1994 Furious Flower Conference. The Keynotes were held at Wilson Hall, James Madison University on Friday, September 30, 1994 at 1 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003ePoetry Readings by Dolores Kendrick, Nikki Giovanni, and Eugene Redmond at the 1994 Furious Flower Conference. The Poetry Reading was held at Wilson Hall, James Madison University on Friday, September 30, 1994 at 3 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003eTribute Banquet to honor important black poets at the 1994 Furious Flower Conference. Mari Evans, Raymond Patterson, Margaret Walker, Naomi Long Madgett, Samuel W. Allen, Pinkie Gordon Lane, and Gwendolyn Brooks were the honored poets. The banquet was held at Phillips Hall, James Madison University on Friday, September 30, 1994 at 7 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003eThe Critics' Roundtable, \"Writing a Literary History of African American Poetry,\" was held at the Grafton-Stovall Theatre at James Madison University on Saturday, October 1, 1994 at 9:30 a.m. \u003c/p\u003e\n","\u003cp\u003eOriginal 1994 Furious Flower Poetry Conference program reads, \"As the drum stands at the crossroads of traditional African and African American culture, so the poets stand at the center of the drum providing the cadence, connections and continuity that define their literary history. Panelists on this roundtable will speak on periodicity and identify significant literary movements from the Harlem Renaissance through the Black Arts Movement to hip-hop. In an attempt to provide a valid historical framework for the poetry, panelists will discuss major literary milestones and important poets emerging during the twentieth century. (Eugene Redmond)\" \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 3 MII videocassettes.\u003c/p\u003e","\u003cp\u003ePoetry Free Read at the 1994 Furious Flower Conference. The Free Read was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003ePoetry Readings by Jacqueline Brice-Finch, Gwen Butler, Kalamu ya Salaam, Jeannette Drake, Sybil Kein, Adam David Miller, Brenda Marie Osbey, Fabu Carter, Ester Iverem, and Mona Lisa Saloy at the 1994 Furious Flower Conference. The Poetry Reading was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994 at 2 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003ePoetry Readings by The Dark Room Collective at the 1994 Furious Flower Conference. Established in Boston in 1988, The Dark Room Collective was first a reading series and later a small community of black poets and writers. The Dark Room Collective's poetry reading at the 1994 conference was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994 at 4:15 p.m. \u003c/p\u003e\n","\u003cp\u003eTape 1 begins with the last 10 minutes of Poetry Reading 5 and The Dark Room Collective reading starts at the 12 minute mark. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003eConference Finale for the 1994 Furious Flower Conference. A celebration of black arts and culture, the conference finale featured musical and spoken word performances by Mellasenah Morris, the JMU Contemporary Gospel Singers, Val Gray Ward, and Bernice Johnson Reagon. The Conference Finale was held at Wilson Hall, James Madison University on Saturday, October 1, 1994 at 8 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 6 MII videocassettes.\u003c/p\u003e","\u003cp\u003eSupercuts of the 1994 Furious Flower Conference, featuring footage from all 3 days of the conference. This footage was originally recorded on 10 MII videocassettes.\u003c/p\u003e","\u003cp\u003eSupercut 1/10 of the 1994 Furious Flower Conference, featuring selections from the conference opening session and Critics' Roundtable: African American Poetry and the Vernacular Matrix. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eSupercut 2/10 of the 1994 Furious Flower Conference, featuring selections from Poetry Reading 1 (Elizabeth Alexander, Gerald Barrax; Toi Derricotte; and E. Ethelbert Miller) and Poetry Reading 2 (Sam Allen, Pinkie Gordon Lane, Haki Madhubuti, Naomi Long Madgett). \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eSupercut 3/10 of the 1994 Furious Flower Conference, featuring selections from Poetry Reading 2 (Naomi Long Madgett) and Poetry Reading 3 (Amiri Baraka, Mari Evans, Michael S. Harper, Sonia Sanchez). \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eSupercut 4/10 of the 1994 Furious Flower Conference, featuring selections from Critics' Roundtable: Critical Theories and Approaches in African American Poetry and the keynote speeches by Rita Dove and Gwendolyn Brooks. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eSupercut 5/10 of the 1994 Furious Flower Conference, featuring the remainder of  Gwendolyn Brooks' keynote speech and selections from Poetry Reading 4 (Dolores Kendrick, Nikki Giovanni, Eugene Redmond). \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eSupercut 6/10 of the 1994 Furious Flower Conference, featuring selections from the Tribute Banquet. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eSupercut 7/10 of the 1994 Furious Flower Conference, featuring selections from Critics' Roundtable: Writing a Literary History of African American Poetry. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette. \u003c/p\u003e","\u003cp\u003eSupercut 8/10 of the 1994 Furious Flower Conference, featuring selections from  Poetry Reading 5 (Jacqueline Brice-Finch, Gwen Butler, Kalamu ya Salaam, Jeannette Drake, Sybil Kein, Adam David Miller, Brenda Marie Osbey, Fabu Carter, Ester Iverem, Mona Lisa Saloy, and Quo Vadis Gex-Breaux). \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eSupercut 9/10 of the 1994 Furious Flower Conference, featuring selections from The Dark Room Collective: A Fisted Reading. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette. \u003c/p\u003e","\u003cp\u003eSupercut 10/10 of the 1994 Furious Flower Conference, featuring selections from the Conference Finale. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette. \u003c/p\u003e","\u003cp\u003eAudience footage of Poetry Reading 2 from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eFootage of posters, books, various artifacts, and exhibits at the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eAudience footage of Critics' Roundtable: Critical Theories and Approaches in African American Poetry from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eAudience footage of Critics' Roundtable: Writing a Literary History of African American Poetry from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eAudience footage of Poetry Reading 5 from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eInterview with E. Ethelbert Miller at the 1994 Furious Flower Conference. Miller was interviewed by Eugenia Collier in this recording. This footage was originally recorded on MII videocassettes.\u003c/p\u003e","\u003cp\u003eInterviews with poets at the 1994 Furious Flower Conference. Featured in this video is Eugene Redmond interviewed by Jabari Asim, Major Jackson interviewed by Vera Beatty, Dolores Kendrick  interviewed by Judith Thomas. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eInterviews with poets at the 1994 Furious Flower Conference. Featured in this video is Gerald Barrax interviewed by Joyce Pettis and Nikki Giovanni interviewed by Virginia Fowler. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eInterviews with poets at the 1994 Furious Flower Conference. Featured in this video is Major Jackson interviewed by Vera Beatty, Dolres Kendrick interviewed by Judith Thomas, Pinkie Gordon Lane interviewed by Sandra Govan, and Michael S. Harper interviewed by Aldon Nielsen. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eInterviews with poets at the 1994 Furious Flower Conference. Featured in this video is Mari Evans interviewed by Val Gray Ward, Everett Hoagland interviewed by Kalamu ya Salaam, and Sonia Sanchez interviewed by Lorenzo Thomas. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eInterviews with poets at the 1994 Furious Flower Conference. Featured in this video is Sam Allen interviewed by Jerry Ward, Alvin Aubert interviewed by Lenard Moore, and Amiri Baraka interviewed by Askia Touré. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eInterviews with poets at the 1994 Furious Flower Conference. Featured in this video is Sherley Anne Williams interviewed by Deborah McDowell. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eInterviews with poets at the 1994 Furious Flower Conference. Featured in this video is Toi Derricotte interviewed by Opal Moore, Haki Madhubuti interviewed by Sonia Sanchez, and Naomi Long Madgett interviewed by Eleanor Traylor. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eArranged alphabetically.\u003c/p\u003e\n","\u003cp\u003eMaterials in this series primarily document the planning and implementation of the 2004 Furious Flower Poetry Conference: Regenerating the Black Poetic Tradition. Records include travel and lodging reservations, correspondence with participating poets, financial documentation and budgets, and mailing lists. Marketing and promotional items such as posters and brochures are included. During the 2004 conference, notable African American scholars including Tony Bolden, Hilary Holladay, and Monifa Love conducted interviews with presenting conference poets including Houston Baker, Rita Dove, and Tony Medina. The corresponding transcripts are included and are particularly significant to African American poetry scholarship. Of particular interest is congratulatory correspondence and RSVP regrets for the 2004 conference from Julian Bond, Governor Mark Warner, Senator George Allen, the office of President George W. Bush and Senator John Kerry, President and CEO of the NAACP Kweisi Mfume, and many others. Some of these letters were printed in the official conference program. Also of interest are evaluations completed by conference attendees. Six  silk banners used to decorate the Wilson Hall auditorium during the conference are included in this series. The banners are rolled onto dowels and housed in a rolled storage container. Currently, the silk banners may only be requested (in writing) by Furious Flower Poetry Center staff.\u003c/p\u003e","\u003cp\u003eOpening Session and welcome to participants for the 2004 Furious Flower Conference at James Madison University. The first recording is a copy of the ten-minute documentary that was shown during the opening session and the second tape features performances and remarks from the session itself. The Opening Session was held at College Center at James Madison University on Thursday, September 23, 2004 at 8:30 a.m.\u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 1 MDV and 1 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003eThe first Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Trudier Harris moderated the session while Maryemma Graham, Hilary Holladay, and Tony Bolden critically discussed turn of the twentieth century poetry, The Black Arts Movement, and modern Black poetry. The session was held at College Center Ballroom at James Madison University on Thursday, September 23, 2004 at 9:30 a.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 3 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003eFootage of the luncheon hosted by the George Moses Horton Society at the 2004 Furious Flower Conference. The 2004 Furious Flower Poetry Conference program reads, \"Members of the George Moses Horton Society, based at the University of North Carolina, Chapel Hill, will host a luncheon on Thursday, September 23. The Horton Society was concieved by Trudier Harris in the spring of 1996 as a way to encourage sustained scholarly focus on the works of African American poets and to foster presentation and publishing opportunities for that scholarship. Yusef Komunyakaa and T.J. Anderson are the featured speakers.\" This footage only shows a portion of the presentation by T.J. Anderson and Yusef Komunyakaa before cutting off abruptly. The luncheon was held in the College Center Ballroom, James Madison University on Thursday, September 23, 2004 at 11:45 a.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 1 DVCAM videocassette.\u003c/p\u003e","\u003cp\u003eKeynote Speech and Poetry Reading 1 at the 2004 Furious Flower Conference. Houston A. Baker Jr. gave his keynote speech entitled, \"The Poetry of Impulse: Six Inches of African Stone and Lyrical Black Consciousness\" after an introduction by Trudier Harris. The session continued a presentation of the Furious Flower Lifetime Achievement Award to Houston A. Baker Jr. by Jerry W. Ward Jr. and Joanne Gabbin. Susan Facknitz introduced the next segment, a poetry reading with Jabari Asim, Major Jackson, Tony Medina, Opal Moore, Sharan Strange, and Yusef Komunyakaa. The Keynote Speech and Poetry Reading 1 was held at Wilson Hall Auditorium, James Madison University on Friday, September 23, 1994 at 1:15 p.m.\u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 DVCAM videocassettes. \u003c/p\u003e","\u003cp\u003eFootage of Concurrent Sessions and the Furious Flower Art Opening Reception at the 2004 Furious Flower Conference. The first half of the footage shows snippets of concurrent sessions held in various rooms in Taylor Hall from 4:30-5:45pm on Thursday, September 23, 2004. The second half of the footage features the art opening reception, about which the original 2004 Furious Flower Poetry Conference program states, \"Commissioned to bring visual attention to the work of African American poets and symbolizing the flowering of African American poetry, this important and original work of art by Atlanta artist Malaika Favorite will be unveiled.\" The reception was held in Taylor Hall Room 405 at James Madison University on Thursday, September 23, 2004 at 6:45 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003ePoetry Reading 2 at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Brenda Marie Osbey, Kevin Young, E. Ethelbert Miller, Haki Madhubuti, Lucille Clifton, and Nikki Giovanni.  Kalamu ya Salaam introduced the poets at the beginning of the session. The Poetry Reading was held in Wilson Hall Auditorium at James Madison University on Thursday, September 23, 2004 at 8 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003eThe second Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Daryl C. Dance moderated the session while Velma Pollard, Mark Sanders, Eleanor Traylor, and Omékongo Dibinga presented about the topic cross pollination in the African diaspora. The session was held at College Center Ballroom at James Madison University on Friday, September 24, 2004 at 9:30 a.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 3 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003eLaureate's Circle poetry reading at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Eugene Redmond, Dolores Kendrick, Askia Touré, Rita Dove, Amiri Baraka, and Sonia Sanchez. Joanne Gabbin introduced the poets at the beginning of the session. The Laureate's Circle reading was held in Wilson Hall Auditorium, James Madison University on Friday, September 24, 2004 at 1:30 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 3 VHS videocassettes.\u003c/p\u003e","\u003cp\u003ePoetry Reading 3 at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Harryette Mullen, Alvin Aubert, Nikky Finney, Everett Hoagland, jessica Care moore, and Kalamu ya Salaam. Tony Medina introduced the poets at the beginning of the session. The Poetry Reading was held in Wilson Hall Auditorium at James Madison University on Friday, September 24, 2004 at 3:30 p.m. This footage was originally recorded on 2 VHS videocassettes.\u003c/p\u003e","\u003cp\u003eTribute Banquet for the 2004 Furious Flower Conference at James Madison University. Furious Flower Lifetime Achievement Awards were presented to the following poets: Alvin Aubert, Amiri Baraka, Lucille Clifton, Nikki Giovanni, Haki Madhubuti, Velma Pollard, Eugene Redmond, Sonia Sanchez, and Askia Touré. The event also featured music by D.J. Renegade and the following as presenters: Melba Boyd, William \"Billy Joe\" Harris, Hilary Holladay, Sandra Govan, Quraysh Ali Lansana, Daryl Dance, Howard Rambsy, Lamont Steptoe, and Eleanor Traylor. The banquet was held in the College Center Ballroom, James Madison University on Friday, September 24, 2004 at 7:30 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 4 DVCAM videocassettes.  \u003c/p\u003e","\u003cp\u003ePoetry Jam event at the 2004 Furious Flower Poetry Conference at James Madison University. The original 2004 Furious Flower Poetry Conference program reads, \"Outstanding poets read and perform their work. Music will be provided by the Joel Dias-Porter Quartet. Porter, aka D.J. Renegade, will emcee the event on Friday, September 24 at 10:30 p.m.\" Participants included Joel Dias-Porter, Quo Vadis Gex Breaux, Mona Lisa Saloy, Lenard Moore, Angela Shannon, Lamont Steptoe, and Samantha Thornhill. The event was held at College Center Ballroom, James Madison University on Friday, September 24, 2004 at 10:30 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 1 DVCAM videocassette.\u003c/p\u003e","\u003cp\u003eThe third Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Opal Moore moderated the session while E. Ethelbert Miller, Toi Derricotte, Kelli Norman Ellis, and Sharan Strange discussed the need for MFA writing programs at historically Black colleges and universities, the development of Cave Canem, Chicago State University's MFA writing program, and the history of the Dark Room Collective. The session was held at Grafton Stovall Theater, James Madison University on Saturday, September 25, 2004 at 9:30 a.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 3 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003eCave Canem Reunion Luncheon and Open Mic event at the 2004 Furious Flower Conference at James Madison University. The footage begins with the presentation segments of the Cave Canem luncheon before switching to the Open Mic event. Tyehimba Jess was the Emcee for the Open Mic Reading and many poets read their poetry. The luncheon was held in the Phillips Center Ballroom, James Madison University on Saturday, September 25, 2004 at 12:00 p.m. and the Open Mic Reading was held in Grafton Stovall Theater,  at 1:30 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 3 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003eCave Canem Reunion Reading at the 2004 Furious Flower Conference at James Madision University. The footage begins with a circle jam poetry reading before switching to the Cave Canem Reading. Cornelius Eady, Marilyn Nelson, Kwame Dawes, Elizabeth Alexander, and Toi Derricotte each read their poetry as part of this event. The reading was held in Grafton Stovall Theater, James Madison University on Saturday, September 25, 2004 at 3:30 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003eConference Finale for the 2004 Furious Flower Conference. The event featured two musical groups: \"Fertile Ground\" a soul and jazz band from Baltimore, Maryland and \"The Full Moon of Sonia\" which sets Sonia Sanchez's poetry to music. The Conference Finale was held at Wilson Hall Auditorium, James Madison University on Saturday, September 25, 2004 at 8 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 videocassettes.\u003c/p\u003e","\u003cp\u003eLifetime Achievement Award Banquet for the 2024 Furious Flower Conference at James Madison University. jessica Care moore and Tony Medina hosted the banquet and David Berry provided the music. Furious Flower Lifetime Achievement Awards were presented to the following poets: Elizabeth Alexander, Kwame Dawes, Cornelius Eady, Nikky Finney, Lorna Goodison, E. Ethelbert Miller, Harryette Mullen, Niyi Osundare, Timothy Seibles, and Patricia Smith. The banquet was held in the Festival Ballroom at James Madison University on Wednesday, September 18, 2024 at 6 p.m.\u003c/p\u003e","\u003cp\u003eOpening session and welcome to the participants for the 2024 Furious Flower Conference at James Madison University. A video introduction featuring Afaa M. Weaver opened the session, followed by an in memoriam slideshow. Lauren Alleyne presented an overview of the Furious Flower Poetry Center's work since the 2014 conference. Traci Zimmerman, the Dean of the College of Arts and Letters Dean and interim-Provost, Bob Kolvoord made remarks, and Bethany Nowviskie, Dean of JMU Libraries, gave a presentation about the Mellon Foundation grant partnership between Furious Flower and JMU Libraries. The Opening Session was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 8:15 a.m.\u003c/p\u003e","\u003cp\u003eKeynote Reading and Conversation with honored poets, Elizabeth Alexander \u0026amp; Kwame Dawes, at the 2024 Furious Flower Conference. Alexander and Dawes read poetry and engaged in discussion with Shara McCallum and Terrance Hayes. The Keynote Reading and Conversation was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 9:15 a.m.\u003c/p\u003e","\u003cp\u003eThe Worlds of Black Poetry: Critical Portals, Pathways, and Emergences panel at the 2024 Furious Flower Conference at James Madison University.  Keith Leonard, Jahan Ramazani, Evie Shockley, and Mecca Jamilah Sullivan each presented a paper showcasing the depth and breath of the worlds of Black poetry. Topics of discussion included: avant-garde poetry, elegy and Caribbean poetry, Black confessional poetry, Black feminism, and Black queer poetics. This panel was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 11:15 a.m.\u003c/p\u003e","\u003cp\u003eA Decade of Poetic Experiment: 2014 to 2024 panel at the 2024 Furious Flower Conference at James Madison University. Aldon Lynn Nielsen, C.S. Giscombe, Meta DuEwa Jones, Mark McMorris, Duriel E. Harris, and Douglas Kearney engaged in a round table discussion about the past decade in Black poetry. Experimentation by poets and critics is of particular focus during this panel. This discussion was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 2 p.m.\u003c/p\u003e","\u003cp\u003eFurious Flower Poetry Prize Winner \u0026amp; Honorable Mention Reading at the 2024 Furious Flower Conference. Winner, Michelle Alexander, Honorable Mention, Raejeana Brooks, and judge, Roger Reeves, read poetry and answered questions from the audience. The Furious Flower Poetry Prize Winner \u0026amp; Honorable Mention Reading was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 3:30 p.m.\u003c/p\u003e","\u003cp\u003eBlack Universe I: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Rita Dove, Jericho Brown, Camille T. Dungy, Alexis Pauline Gumbs, Malika Booker, Patricia Jabbeh Wesley, Tyehimba Jess, Remica Bingham-Risher, Matthew Shenoda, Lillian-Yvonne Bertram, Cornelius Eady, Frank X. Walker, and Nikky Finney. The Black Universe I: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 7 p.m.\u003c/p\u003e","\u003cp\u003eDear Yusef: Celebrating the Life \u0026amp; Work of Poet \u0026amp; Professor Yusef Komunyakaa panel at the 2024 Furious Flower Conference. Lynne Thompson, Joel Dias-Porter, Linda Susan Jackson, and Dante Micheaux discussed a new anthology entitled \"Dear Yusef.\" Panelists also shared their personal experiences working with Yusef Kumanyaka and read poetry from the anthology. The session closed with the presenters answering audience questions. This panel was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 8:15 a.m.\u003c/p\u003e","\u003cp\u003eWalk With Me: Freedom Fighter's Homage presentation and performance at the 2024 Furious Flower Conference. The session featured a discussion, live performances, and answering questions from the audience. The performance itself examined the long road to freedom for Black people in America and included song, spoken word poetry, and dance. This session was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 9:45 a.m.\u003c/p\u003e","\u003cp\u003eLaureate Reading and Conversation at the 2024 Furious Flower Conference. Rita Dove, Poet Laureate of the United States, 1993-1995, introduced poet laureates from across the country and moderated a conversation after the readings. Featured poets included: Angela Jackson (Illinois), Curtis Crisler (Indiana), Amanda Johnston (Texas), avery r. young (Chicago, IL), and Glenis Redmond (Greenville, SC).  The Laureate Reading and Conversation was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 11:15 a.m.\u003c/p\u003e","\u003cp\u003eMagnitude \u0026amp; Bond: A Preview of a Field Study on Black Literary Organizations panel at the 2024 Furious Flower Conference. Lisa Willis, Candace G. Wiley, Nichelle M. Hayes, and Duriel E. Harris discussed the Magnitude and Bond field study. The presenters represented four organizations that are participating in the field study: Cave Canem, The Watering Hole, Center for Black Literature \u0026amp; Culture (CBLC), and Obsidian: Literature \u0026amp; Arts in the African Diaspora. The group conversed about why the field study is important, positives and negatives they have experienced as leaders of Black literary arts organizations, and how organizations were chosen for the field study. The session closed with a questions from the audience. This panel was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 2 p.m.\u003c/p\u003e","\u003cp\u003eBlack Universe II: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Ross Gay, Erica Hunt, francine j. harris, Roger Reeves, DaMaris Hill, Efe Paul Azino, Merle Collins, Danez Smith, Tara Betts, A. B. Spellman, Lorna Goodison, E. Ethelbert Miller, and Harryette Mullen. The Black Universe II: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 7 p.m.\u003c/p\u003e","\u003cp\u003eGrowing a New Garden: Furious Flowering in Classrooms panel at the 2024 Furious Flower Conference. Panelists Anastacia-Reneé, allia abdullah-matta, Brian Hannon, Carmin Wong, and Keisha-Gaye Anderson discussed the Furious Flower Syllabus project, an open access syllabus for a range of educational contexts. Each presenter highlighted their favorite poem featured in the project curriculum, conversed about creating the syllabus, and expressed the importance of such an undertaking. This panel was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 8:15 a.m.\u003c/p\u003e","\u003cp\u003eBlack Universe III: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Kei Miller, Shara McCallum, Tim Seibles, Anastacia Renée, Gregory Pardlo. Joanne Gabbin introduced each poet with a personally written haiku. The Black Universe III: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 9:45 a.m.\u003c/p\u003e","\u003cp\u003eBlack Joy in Song performance at the 2024 Furious Flower Conference. Sonya Gabrielle Baker, Albert Lee, and Jeremiah Padilla performed poetry set to music, incorporating both vocal and instrumental music. This performance was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 12:30 p.m.\u003c/p\u003e","\u003cp\u003eA Vital History: The Cambridge Anthology Roundtable at the 2024 Furious Flower Conference. Panelists Matt Sandler, Carlyn Ferrari, Marta Werbanowska, McKinley Melton, Annette Debo, and Emily Ruth Rutter discussed an upcoming anthology. Each panelist described their essay from the anthology, including topics such as Black poets of the abolition movement, Black women poets, the Black eco-poetic tradition, elegy, and more. The session concluded with a panel discussion and audience questions. This panel was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 2 p.m.\u003c/p\u003e","\u003cp\u003eBlack Universe IV: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Terrance Hayes, Evie Shockley, Niyi Osundare, Canisia Lubrin, Patricia Smith, and Kwame Dawes. Lauren Alleyne closed the session by reading a new poem. The Black Universe IV: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 3:30 p.m.\u003c/p\u003e","\u003cp\u003eClosing Remarks for the 2024 Furious Flower Conference. Lauren Alleyne, the Executive Director of the Furious Flower Poetry Center, concluded the conference by expressing gratitude for everyone involved with the event in some way. This event was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 5 p.m.\u003c/p\u003e","\u003cp\u003eInterview with Camille Dungy, Ross Gay, Alexis Pauline Gumbs, and Niyi Osundare at the 2024 Furious Flower conference. Nate Marshall moderated the conversation, posing questions about the theme Black planet. The group discussed the relationship between Black identity and the environment, how crafting poetry allows them to explore new relationships with the natural world, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Erica Hunt, A.B. Spellman, and Glenis Redmond at the 2024 Furious Flower Conference. Keisha-Gaye Anderson moderated the conversation, posing questions about the theme life in poetry. The group discussed why they chose poetry, pivotal moments in their careers, the role of community and collaboration in their development as poets, advice for emerging poets, lessons learned, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Malika Booker, Danez Smith, and Frank X. Walker at the 2024 Furious Flower Conference. Keith Leonard moderated the conversation, posing questions about the theme collectives and community. The group discussed why it is important to be involved in their respective communities or collectives, the importance of inter-generational connections, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Anastacia Renée, Canisia Lubrin, and Lillian Yvonne Bertram at the 2024 Furious Flower conference. Mecca Jamilah Sullivan moderated the conversation, posing questions about the theme poetic experimentation. The group discussed what poetic experimentation means to them, the experience of experimentation, what is lost when discussing the process of experimentation, and what the worlds of black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Evie Shockley, Remica Bingham-Risher, Terrance Hayes, and DaMaris Hill at the 2024 Furious Flower Conference. Meta DuEwa Jones moderated the conversation, posing questions about the theme creative scholarship. The group discussed what scholarship means to them, how the market does or does not affect their work, their collaborative practices, the worlds of black poetry as they relate to their scholarly, creative, and critical work, and finding joy in their work. The interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Matthew Shenoda, Efe Paul Azino, and Patricia Jabbeh Wesley at the 2024 Furious Flower Conference. Gbenga Adesina moderated the conversation, posing questions about the theme continental conversations. The group discussed diasporic influences, how their work may shape poetry moving forward, and the books or projects they currently working on. This interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Tara Betts, avery r. young, Danez Smith, and Mahogany L. Browne  at the 2024 Furious Flower Conference. McKinley Melton moderated the conversation, posing questions about the theme performance. The group discussed what the worlds of Black poetry mean to them, how they see their work engaging in the expansiveness of poetic performance, the best lessons they have learned from their time as poets and performers, and what it means to be at Furious Flower. This interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Tyehimba Jess, francine j. harris, jessica Care moore and Airea D. Matthews at the 2024 Furious Flower conference. Ajanaé Dawkins moderated the conversation, posing questions about the theme Detroit conversations. Each poet read one of their poems, discussed how the school of Detroit poetry shaped them, and talked about the evolution of Detroit poetry. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Lorna Goodison, Merle Collins, Kei Miller, and Malika Booker at the 2024 Furious Flower conference. Jahan Ramazani moderated the conversation, posing questions about the theme Caribbean conversations. The group discussed Caribbean identity, diasporic identity, the distinctiveness of the Caribbean experience, and what the worlds of Black poetry mean to them. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Roger Reeves, Jericho Brown, and Gregory Pardlo at the 2024 Furious Flower conference. Curtis Crisler moderated the conversation, posing questions about the theme Black masculinity. The group discussed their definitions of Black masculinity, how they show vulnerability in their poetry, and what the worlds of Black poetry mean to them. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content","Contents","Contents","Contents","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Content","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content"],"scopecontent_tesim":["The Furious Flower Poetry Center Records, 1970-2024, consisting of 17.6 cubic feet (43 boxes, 1 rolled storage container), document the departmental activities of the Furious Flower Poetry Center, a unit formerly of the JMU Honor's Program that became its own separate academic center of the University in 2005. A portion of the material contained within the records derive from events and programs sponsored by the Furious Flower Poetry Center including 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton, Lineage: The Margaret Walker Song Cycle, and an annual children's poetry camp. Specific types of materials include event posters and brochures, exhibit panels, logistical and planning documentation, and email correspondence. Materials related to publications produced by the Center such as Mourning Katrina: A Poetic Response to Tragedy and Shaping Memories: Reflections of African American Women Writers are comprised of draft manuscripts and correspondence with poets and publishers. Grant proposals and awards, many of which relate to the aforementioned events and projects, are also represented. Materials related to the decennial Furious Flower poetry conferences, including administrative documentation and video recordings, are represented in the Conference Records series.","Arranged chronologically. ","FFPC relies heavily on funding from corporate entities and non-profits to subsidize and off-set the cost of furthering their mission of promoting African-American poetry. As such, this series contains grant proposals and awards (all closed) relating to events, publications, and other projects sponsored by the Furious Flower Poetry Center. Projects represented in this series include \"Dream in Color,\" an online curriculum sponsored by Target that enabled elementary, middle, and high-school students to discover the works of African-American poets; and the publication of Mourning Katrina, an anthology of poems by observers and survivors of Hurricane Katrina. All grant materials were removed from three-ring binders and foldered, maintaining original order.","Arranged chronologically by project date and sub-arranged alphabetically within each project.","This series contains material related to publications and manuscripts produced by the Furious Flower Poetry Center. In many cases this refers to books in the typical sense (Mourning Katrina: A Poetic Response to Tragedy, Furious Flower: African-American Poetry from the Black Arts Movement to the Present), Furious Flower Poetry Center also oversaw the publication of The Painted Word – a set of notecards and a corresponding calendar of poets' portraits. Correspondence with various publishers is also included.","Arranged chronologically by event and sub-arranged alphabetically within each event.","This series is comprised of material relating primarily to the many events, programs, and workshops hosted and sponsored by the Furious Flower Poetry Center. Major events represented in this series include Tell Me Your Names: The Poetry of Lucille Clifton, a week-long seminar held June 14 –June 21, 2009 and 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton, a tribute program held September 21, 2010. Of particular interest are 57 oversize exhibit panels from Among Poets: Lucille Clifton Commemorative Exhibition. This 2012 exhibition held at the Reginald F. Lewis Museum and the Enoch Pratt Free Library, both in Baltimore, Maryland, primarily feature photographs by Lynda Koolish of Lucille Clifton, her contemporaries, and her family and friends. The Center's annual Children's Poetry Camp is also well documented. Researchers should note that there are some files in this series (e.g. materials concerning Oni Lasana Productions) that are not directly related to events held by FFPC. These events are likely ones attended by FFPC staff or documented because they serve as examples of comparable outreach initiatives or similar types of promotion.","One file of materials related to the Furious Flower Poetry Center's 25th Anniversary Celebration, held in September 2019 at the National Museum of African American History and Culture, include promotional material, a schedule of events, and a copy of the invocation presented by Rev. Edward A. Scott. Of particular interest is a promotional card inscribed by Qiniso \"Qibho\" Motsa, a poet, musicion, author, and social activist from Eswatini.","This series comprises materials related to the decennial Furious Flower poetry conferences, beginning with the inaugural conference in 1994. A significant portion of the records include logistical and planning documentation for each conference as well as marking and promotional items. These materials are comprised of calls for papers, contracts, correspondence, address lists, ticket requests, travel, transportation, and lodging reservations, and menus. The records include nontraditional items as well. Of interest are exhibit panels (text labels and images) describing and depicting the participants of the 1994 conference. Magnesium letterpress die plates used to print a limited edition portfolio Furious Flower: A Revolution in African American Poetry, a special collection of 23 poems selected by poets (who participated in the 1994 conference) to represent their work, are included. Six silk banners that adorned the Wilson Hall auditorium during the 2004 and 2014 conferences are included.","Arranged alphabetically with the exception of the Exhibit of Participants materials and the magnesium letterpress die plates which are located at the end of the series due to their size. Note that the numbering system for the letterpress die plates is sequential based on each poem's order in the publication Furious Flower: A Revolution in African American Poetry. As such the first folder/four-flap enclosure in box nine is labeled 9:21b. This is the plate for page two of the 21st poem in the publication.\nMaterials in this series primarily document the planning and implementation of the 1994 Furious Flower Poetry Conference: A Revolution in African American Poetry. Records include travel and lodging reservations, correspondence with participating poets, financial documentation and budgets, and mailing lists. Marketing and promotional items such as posters and brochures are included. Conference evaluations completed by attendees and folders labeled \"Positive Responses\" document the overwhelming success of the conference. Of particular interest are exhibit components from the 1994 conference that include text labels and images of each participating poet. The photographs for these panels were taken by C. B. Claiborne. Copy 225 of 300 of Furious Flower: A Revolution in African American Poetry is located in box 2, folder 5. The magnesium letterpress die plates used to print this collection of poetry are also included here. Each plate is individually housed in a four-flap enclosure and then boxed in order of appearance in the publication. Of significance are the video recordings documenting conference proceedings and interviews with Black poets.","This series contains 45 video recordings captured by John L. Hodges during the 1994 Furious Flower Poetry Conference as well as interviews with poets.","Opening invocation and welcome to participants for the 1994 Furious Flower Conference at James Madison University. The Opening Session was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 8:30 a.m. This footage was originally recorded on 1 MII videocassette.","The Critics' Roundtable, \"African American Poetry and the Vernacular Matrix,\" was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 9:30 a.m.","Original 1994 Furious Flower Poetry Conference program reads, \"African American poetry, perhaps more so than fiction and drama, has lent and continues to lend itself to the thematic and formalistic expression of its matrixing in African American culture, in the vernacular (folk and popular) culture in particular. This roundtable will investigate the nature and extent of this matrixing. It will consider the relationship of the folk to the popular vernacular mode, whether \"continuity\" or \"disjuncture\" best describes that relationship and how the difference between the two is imprinted upon the literature. It will also consider the nature and validity of rural/urban, southern/northern distinctions as they apply to cultural expressive manifestations such as the blues, and the degree to which these distinctions spill over into the poetry as a literary production. (Alvin Aubert)\"","This footage was originally recorded on 3 MII videocassettes.","Michael S. Harper's Keynote speech at the 1994 Furious Flower Conference. The session continued with poetry readings by Elizabeth Alexander, Gerald Barrax, Toi Derricotte, and E. Ethelbert Miller. The Keynote Speech and Poetry Reading was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 1 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by Sam Allen, Pinkie Gordon Lane, Haki Madhubuti, and Naomi Long Madgett at the 1994 Furious Flower Conference. The Poetry Reading was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 4:45 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by Amiri Baraka, Mari Evans, Michael S. Harper, and Sonia Sanchez at the 1994 Furious Flower Conference. The JMU Jazz Ensemble opened the session by playing \"Cherry Juice.\" The Poetry Reading was held at Wilson Hall, James Madison University on Thursday, September 29, 1994 at  8 p.m. ","This footage was originally recorded on 2 MII videocassettes.","The Critics' Roundtable, \"Critical Theories and Approaches in African American Poetry,\" was held at the Grafton-Stovall Theatre at James Madison University on Friday, September 30, 1994 at 9:30 a.m. ","Original 1994 Furious Flower Poetry Conference program reads, \"The work of literary theory and of theorizing in other areas of the human sciences is to specify what conditions obtain among those who create, those who make use of creations, and the languages (or signs) that enable creators and consumers to negotiate in a world of social constructions. In short, theory is obligated to explain relations between people and artifacts in the contexts of history and culture. In that sense, theory is necessary for rigorous examination of African American poetry. How might theory advance the study and appreciation of African American poetry? Within the frame of this questions, scholars on the panel will be asked to address what kind of critical or cultural theory seems most appropriate for understanding poetry, how such theories influence interpretive methods and approaches, and how must theorists themselves grapple with their own historicity in light of African American poetry's evolution from orature to literature to newer genres that mix orality and literacy. The aim of the panel is to clarify some problems of theory and poetry as they affect various audiences (Jerry W. Ward, Jr.)\" ","This footage was originally recorded on 4 MII videocassettes.","Rita Dove and Gwendolyn Brooks' Keynote Speeches at the 1994 Furious Flower Conference. The Keynotes were held at Wilson Hall, James Madison University on Friday, September 30, 1994 at 1 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by Dolores Kendrick, Nikki Giovanni, and Eugene Redmond at the 1994 Furious Flower Conference. The Poetry Reading was held at Wilson Hall, James Madison University on Friday, September 30, 1994 at 3 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Tribute Banquet to honor important black poets at the 1994 Furious Flower Conference. Mari Evans, Raymond Patterson, Margaret Walker, Naomi Long Madgett, Samuel W. Allen, Pinkie Gordon Lane, and Gwendolyn Brooks were the honored poets. The banquet was held at Phillips Hall, James Madison University on Friday, September 30, 1994 at 7 p.m. ","This footage was originally recorded on 2 MII videocassettes.","The Critics' Roundtable, \"Writing a Literary History of African American Poetry,\" was held at the Grafton-Stovall Theatre at James Madison University on Saturday, October 1, 1994 at 9:30 a.m. ","Original 1994 Furious Flower Poetry Conference program reads, \"As the drum stands at the crossroads of traditional African and African American culture, so the poets stand at the center of the drum providing the cadence, connections and continuity that define their literary history. Panelists on this roundtable will speak on periodicity and identify significant literary movements from the Harlem Renaissance through the Black Arts Movement to hip-hop. In an attempt to provide a valid historical framework for the poetry, panelists will discuss major literary milestones and important poets emerging during the twentieth century. (Eugene Redmond)\" ","This footage was originally recorded on 3 MII videocassettes.","Poetry Free Read at the 1994 Furious Flower Conference. The Free Read was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994. ","This footage was originally recorded on a MII videocassette.","Poetry Readings by Jacqueline Brice-Finch, Gwen Butler, Kalamu ya Salaam, Jeannette Drake, Sybil Kein, Adam David Miller, Brenda Marie Osbey, Fabu Carter, Ester Iverem, and Mona Lisa Saloy at the 1994 Furious Flower Conference. The Poetry Reading was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994 at 2 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by The Dark Room Collective at the 1994 Furious Flower Conference. Established in Boston in 1988, The Dark Room Collective was first a reading series and later a small community of black poets and writers. The Dark Room Collective's poetry reading at the 1994 conference was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994 at 4:15 p.m. ","Tape 1 begins with the last 10 minutes of Poetry Reading 5 and The Dark Room Collective reading starts at the 12 minute mark. ","This footage was originally recorded on 2 MII videocassettes.","Conference Finale for the 1994 Furious Flower Conference. A celebration of black arts and culture, the conference finale featured musical and spoken word performances by Mellasenah Morris, the JMU Contemporary Gospel Singers, Val Gray Ward, and Bernice Johnson Reagon. The Conference Finale was held at Wilson Hall, James Madison University on Saturday, October 1, 1994 at 8 p.m. ","This footage was originally recorded on 6 MII videocassettes.","Supercuts of the 1994 Furious Flower Conference, featuring footage from all 3 days of the conference. This footage was originally recorded on 10 MII videocassettes.","Supercut 1/10 of the 1994 Furious Flower Conference, featuring selections from the conference opening session and Critics' Roundtable: African American Poetry and the Vernacular Matrix. ","This footage was originally recorded on a MII videocassette.","Supercut 2/10 of the 1994 Furious Flower Conference, featuring selections from Poetry Reading 1 (Elizabeth Alexander, Gerald Barrax; Toi Derricotte; and E. Ethelbert Miller) and Poetry Reading 2 (Sam Allen, Pinkie Gordon Lane, Haki Madhubuti, Naomi Long Madgett). ","This footage was originally recorded on a MII videocassette.","Supercut 3/10 of the 1994 Furious Flower Conference, featuring selections from Poetry Reading 2 (Naomi Long Madgett) and Poetry Reading 3 (Amiri Baraka, Mari Evans, Michael S. Harper, Sonia Sanchez). ","This footage was originally recorded on a MII videocassette.","Supercut 4/10 of the 1994 Furious Flower Conference, featuring selections from Critics' Roundtable: Critical Theories and Approaches in African American Poetry and the keynote speeches by Rita Dove and Gwendolyn Brooks. ","This footage was originally recorded on a MII videocassette.","Supercut 5/10 of the 1994 Furious Flower Conference, featuring the remainder of  Gwendolyn Brooks' keynote speech and selections from Poetry Reading 4 (Dolores Kendrick, Nikki Giovanni, Eugene Redmond). ","This footage was originally recorded on a MII videocassette.","Supercut 6/10 of the 1994 Furious Flower Conference, featuring selections from the Tribute Banquet. ","This footage was originally recorded on a MII videocassette.","Supercut 7/10 of the 1994 Furious Flower Conference, featuring selections from Critics' Roundtable: Writing a Literary History of African American Poetry. ","This footage was originally recorded on a MII videocassette. ","Supercut 8/10 of the 1994 Furious Flower Conference, featuring selections from  Poetry Reading 5 (Jacqueline Brice-Finch, Gwen Butler, Kalamu ya Salaam, Jeannette Drake, Sybil Kein, Adam David Miller, Brenda Marie Osbey, Fabu Carter, Ester Iverem, Mona Lisa Saloy, and Quo Vadis Gex-Breaux). ","This footage was originally recorded on a MII videocassette.","Supercut 9/10 of the 1994 Furious Flower Conference, featuring selections from The Dark Room Collective: A Fisted Reading. ","This footage was originally recorded on a MII videocassette. ","Supercut 10/10 of the 1994 Furious Flower Conference, featuring selections from the Conference Finale. ","This footage was originally recorded on a MII videocassette. ","Audience footage of Poetry Reading 2 from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Footage of posters, books, various artifacts, and exhibits at the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Audience footage of Critics' Roundtable: Critical Theories and Approaches in African American Poetry from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Audience footage of Critics' Roundtable: Writing a Literary History of African American Poetry from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Audience footage of Poetry Reading 5 from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Interview with E. Ethelbert Miller at the 1994 Furious Flower Conference. Miller was interviewed by Eugenia Collier in this recording. This footage was originally recorded on MII videocassettes.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Eugene Redmond interviewed by Jabari Asim, Major Jackson interviewed by Vera Beatty, Dolores Kendrick  interviewed by Judith Thomas. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Gerald Barrax interviewed by Joyce Pettis and Nikki Giovanni interviewed by Virginia Fowler. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Major Jackson interviewed by Vera Beatty, Dolres Kendrick interviewed by Judith Thomas, Pinkie Gordon Lane interviewed by Sandra Govan, and Michael S. Harper interviewed by Aldon Nielsen. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Mari Evans interviewed by Val Gray Ward, Everett Hoagland interviewed by Kalamu ya Salaam, and Sonia Sanchez interviewed by Lorenzo Thomas. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Sam Allen interviewed by Jerry Ward, Alvin Aubert interviewed by Lenard Moore, and Amiri Baraka interviewed by Askia Touré. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Sherley Anne Williams interviewed by Deborah McDowell. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Toi Derricotte interviewed by Opal Moore, Haki Madhubuti interviewed by Sonia Sanchez, and Naomi Long Madgett interviewed by Eleanor Traylor. This footage was originally recorded on a MII videocassette.","Arranged alphabetically.","Materials in this series primarily document the planning and implementation of the 2004 Furious Flower Poetry Conference: Regenerating the Black Poetic Tradition. Records include travel and lodging reservations, correspondence with participating poets, financial documentation and budgets, and mailing lists. Marketing and promotional items such as posters and brochures are included. During the 2004 conference, notable African American scholars including Tony Bolden, Hilary Holladay, and Monifa Love conducted interviews with presenting conference poets including Houston Baker, Rita Dove, and Tony Medina. The corresponding transcripts are included and are particularly significant to African American poetry scholarship. Of particular interest is congratulatory correspondence and RSVP regrets for the 2004 conference from Julian Bond, Governor Mark Warner, Senator George Allen, the office of President George W. Bush and Senator John Kerry, President and CEO of the NAACP Kweisi Mfume, and many others. Some of these letters were printed in the official conference program. Also of interest are evaluations completed by conference attendees. Six  silk banners used to decorate the Wilson Hall auditorium during the conference are included in this series. The banners are rolled onto dowels and housed in a rolled storage container. Currently, the silk banners may only be requested (in writing) by Furious Flower Poetry Center staff.","Opening Session and welcome to participants for the 2004 Furious Flower Conference at James Madison University. The first recording is a copy of the ten-minute documentary that was shown during the opening session and the second tape features performances and remarks from the session itself. The Opening Session was held at College Center at James Madison University on Thursday, September 23, 2004 at 8:30 a.m.","This footage was originally recorded on 1 MDV and 1 DVCAM videocassettes.","The first Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Trudier Harris moderated the session while Maryemma Graham, Hilary Holladay, and Tony Bolden critically discussed turn of the twentieth century poetry, The Black Arts Movement, and modern Black poetry. The session was held at College Center Ballroom at James Madison University on Thursday, September 23, 2004 at 9:30 a.m. ","This footage was originally recorded on 3 DVCAM videocassettes.","Footage of the luncheon hosted by the George Moses Horton Society at the 2004 Furious Flower Conference. The 2004 Furious Flower Poetry Conference program reads, \"Members of the George Moses Horton Society, based at the University of North Carolina, Chapel Hill, will host a luncheon on Thursday, September 23. The Horton Society was concieved by Trudier Harris in the spring of 1996 as a way to encourage sustained scholarly focus on the works of African American poets and to foster presentation and publishing opportunities for that scholarship. Yusef Komunyakaa and T.J. Anderson are the featured speakers.\" This footage only shows a portion of the presentation by T.J. Anderson and Yusef Komunyakaa before cutting off abruptly. The luncheon was held in the College Center Ballroom, James Madison University on Thursday, September 23, 2004 at 11:45 a.m. ","This footage was originally recorded on 1 DVCAM videocassette.","Keynote Speech and Poetry Reading 1 at the 2004 Furious Flower Conference. Houston A. Baker Jr. gave his keynote speech entitled, \"The Poetry of Impulse: Six Inches of African Stone and Lyrical Black Consciousness\" after an introduction by Trudier Harris. The session continued a presentation of the Furious Flower Lifetime Achievement Award to Houston A. Baker Jr. by Jerry W. Ward Jr. and Joanne Gabbin. Susan Facknitz introduced the next segment, a poetry reading with Jabari Asim, Major Jackson, Tony Medina, Opal Moore, Sharan Strange, and Yusef Komunyakaa. The Keynote Speech and Poetry Reading 1 was held at Wilson Hall Auditorium, James Madison University on Friday, September 23, 1994 at 1:15 p.m.","This footage was originally recorded on 2 DVCAM videocassettes. ","Footage of Concurrent Sessions and the Furious Flower Art Opening Reception at the 2004 Furious Flower Conference. The first half of the footage shows snippets of concurrent sessions held in various rooms in Taylor Hall from 4:30-5:45pm on Thursday, September 23, 2004. The second half of the footage features the art opening reception, about which the original 2004 Furious Flower Poetry Conference program states, \"Commissioned to bring visual attention to the work of African American poets and symbolizing the flowering of African American poetry, this important and original work of art by Atlanta artist Malaika Favorite will be unveiled.\" The reception was held in Taylor Hall Room 405 at James Madison University on Thursday, September 23, 2004 at 6:45 p.m. ","This footage was originally recorded on 2 DVCAM videocassettes.","Poetry Reading 2 at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Brenda Marie Osbey, Kevin Young, E. Ethelbert Miller, Haki Madhubuti, Lucille Clifton, and Nikki Giovanni.  Kalamu ya Salaam introduced the poets at the beginning of the session. The Poetry Reading was held in Wilson Hall Auditorium at James Madison University on Thursday, September 23, 2004 at 8 p.m. ","This footage was originally recorded on 2 DVCAM videocassettes.","The second Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Daryl C. Dance moderated the session while Velma Pollard, Mark Sanders, Eleanor Traylor, and Omékongo Dibinga presented about the topic cross pollination in the African diaspora. The session was held at College Center Ballroom at James Madison University on Friday, September 24, 2004 at 9:30 a.m. ","This footage was originally recorded on 3 DVCAM videocassettes.","Laureate's Circle poetry reading at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Eugene Redmond, Dolores Kendrick, Askia Touré, Rita Dove, Amiri Baraka, and Sonia Sanchez. Joanne Gabbin introduced the poets at the beginning of the session. The Laureate's Circle reading was held in Wilson Hall Auditorium, James Madison University on Friday, September 24, 2004 at 1:30 p.m. ","This footage was originally recorded on 3 VHS videocassettes.","Poetry Reading 3 at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Harryette Mullen, Alvin Aubert, Nikky Finney, Everett Hoagland, jessica Care moore, and Kalamu ya Salaam. Tony Medina introduced the poets at the beginning of the session. The Poetry Reading was held in Wilson Hall Auditorium at James Madison University on Friday, September 24, 2004 at 3:30 p.m. This footage was originally recorded on 2 VHS videocassettes.","Tribute Banquet for the 2004 Furious Flower Conference at James Madison University. Furious Flower Lifetime Achievement Awards were presented to the following poets: Alvin Aubert, Amiri Baraka, Lucille Clifton, Nikki Giovanni, Haki Madhubuti, Velma Pollard, Eugene Redmond, Sonia Sanchez, and Askia Touré. The event also featured music by D.J. Renegade and the following as presenters: Melba Boyd, William \"Billy Joe\" Harris, Hilary Holladay, Sandra Govan, Quraysh Ali Lansana, Daryl Dance, Howard Rambsy, Lamont Steptoe, and Eleanor Traylor. The banquet was held in the College Center Ballroom, James Madison University on Friday, September 24, 2004 at 7:30 p.m. ","This footage was originally recorded on 4 DVCAM videocassettes.  ","Poetry Jam event at the 2004 Furious Flower Poetry Conference at James Madison University. The original 2004 Furious Flower Poetry Conference program reads, \"Outstanding poets read and perform their work. Music will be provided by the Joel Dias-Porter Quartet. Porter, aka D.J. Renegade, will emcee the event on Friday, September 24 at 10:30 p.m.\" Participants included Joel Dias-Porter, Quo Vadis Gex Breaux, Mona Lisa Saloy, Lenard Moore, Angela Shannon, Lamont Steptoe, and Samantha Thornhill. The event was held at College Center Ballroom, James Madison University on Friday, September 24, 2004 at 10:30 p.m. ","This footage was originally recorded on 1 DVCAM videocassette.","The third Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Opal Moore moderated the session while E. Ethelbert Miller, Toi Derricotte, Kelli Norman Ellis, and Sharan Strange discussed the need for MFA writing programs at historically Black colleges and universities, the development of Cave Canem, Chicago State University's MFA writing program, and the history of the Dark Room Collective. The session was held at Grafton Stovall Theater, James Madison University on Saturday, September 25, 2004 at 9:30 a.m. ","This footage was originally recorded on 3 DVCAM videocassettes.","Cave Canem Reunion Luncheon and Open Mic event at the 2004 Furious Flower Conference at James Madison University. The footage begins with the presentation segments of the Cave Canem luncheon before switching to the Open Mic event. Tyehimba Jess was the Emcee for the Open Mic Reading and many poets read their poetry. The luncheon was held in the Phillips Center Ballroom, James Madison University on Saturday, September 25, 2004 at 12:00 p.m. and the Open Mic Reading was held in Grafton Stovall Theater,  at 1:30 p.m. ","This footage was originally recorded on 3 DVCAM videocassettes.","Cave Canem Reunion Reading at the 2004 Furious Flower Conference at James Madision University. The footage begins with a circle jam poetry reading before switching to the Cave Canem Reading. Cornelius Eady, Marilyn Nelson, Kwame Dawes, Elizabeth Alexander, and Toi Derricotte each read their poetry as part of this event. The reading was held in Grafton Stovall Theater, James Madison University on Saturday, September 25, 2004 at 3:30 p.m. ","This footage was originally recorded on 2 DVCAM videocassettes.","Conference Finale for the 2004 Furious Flower Conference. The event featured two musical groups: \"Fertile Ground\" a soul and jazz band from Baltimore, Maryland and \"The Full Moon of Sonia\" which sets Sonia Sanchez's poetry to music. The Conference Finale was held at Wilson Hall Auditorium, James Madison University on Saturday, September 25, 2004 at 8 p.m. ","This footage was originally recorded on 2 videocassettes.","Lifetime Achievement Award Banquet for the 2024 Furious Flower Conference at James Madison University. jessica Care moore and Tony Medina hosted the banquet and David Berry provided the music. Furious Flower Lifetime Achievement Awards were presented to the following poets: Elizabeth Alexander, Kwame Dawes, Cornelius Eady, Nikky Finney, Lorna Goodison, E. Ethelbert Miller, Harryette Mullen, Niyi Osundare, Timothy Seibles, and Patricia Smith. The banquet was held in the Festival Ballroom at James Madison University on Wednesday, September 18, 2024 at 6 p.m.","Opening session and welcome to the participants for the 2024 Furious Flower Conference at James Madison University. A video introduction featuring Afaa M. Weaver opened the session, followed by an in memoriam slideshow. Lauren Alleyne presented an overview of the Furious Flower Poetry Center's work since the 2014 conference. Traci Zimmerman, the Dean of the College of Arts and Letters Dean and interim-Provost, Bob Kolvoord made remarks, and Bethany Nowviskie, Dean of JMU Libraries, gave a presentation about the Mellon Foundation grant partnership between Furious Flower and JMU Libraries. The Opening Session was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 8:15 a.m.","Keynote Reading and Conversation with honored poets, Elizabeth Alexander \u0026 Kwame Dawes, at the 2024 Furious Flower Conference. Alexander and Dawes read poetry and engaged in discussion with Shara McCallum and Terrance Hayes. The Keynote Reading and Conversation was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 9:15 a.m.","The Worlds of Black Poetry: Critical Portals, Pathways, and Emergences panel at the 2024 Furious Flower Conference at James Madison University.  Keith Leonard, Jahan Ramazani, Evie Shockley, and Mecca Jamilah Sullivan each presented a paper showcasing the depth and breath of the worlds of Black poetry. Topics of discussion included: avant-garde poetry, elegy and Caribbean poetry, Black confessional poetry, Black feminism, and Black queer poetics. This panel was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 11:15 a.m.","A Decade of Poetic Experiment: 2014 to 2024 panel at the 2024 Furious Flower Conference at James Madison University. Aldon Lynn Nielsen, C.S. Giscombe, Meta DuEwa Jones, Mark McMorris, Duriel E. Harris, and Douglas Kearney engaged in a round table discussion about the past decade in Black poetry. Experimentation by poets and critics is of particular focus during this panel. This discussion was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 2 p.m.","Furious Flower Poetry Prize Winner \u0026 Honorable Mention Reading at the 2024 Furious Flower Conference. Winner, Michelle Alexander, Honorable Mention, Raejeana Brooks, and judge, Roger Reeves, read poetry and answered questions from the audience. The Furious Flower Poetry Prize Winner \u0026 Honorable Mention Reading was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 3:30 p.m.","Black Universe I: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Rita Dove, Jericho Brown, Camille T. Dungy, Alexis Pauline Gumbs, Malika Booker, Patricia Jabbeh Wesley, Tyehimba Jess, Remica Bingham-Risher, Matthew Shenoda, Lillian-Yvonne Bertram, Cornelius Eady, Frank X. Walker, and Nikky Finney. The Black Universe I: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 7 p.m.","Dear Yusef: Celebrating the Life \u0026 Work of Poet \u0026 Professor Yusef Komunyakaa panel at the 2024 Furious Flower Conference. Lynne Thompson, Joel Dias-Porter, Linda Susan Jackson, and Dante Micheaux discussed a new anthology entitled \"Dear Yusef.\" Panelists also shared their personal experiences working with Yusef Kumanyaka and read poetry from the anthology. The session closed with the presenters answering audience questions. This panel was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 8:15 a.m.","Walk With Me: Freedom Fighter's Homage presentation and performance at the 2024 Furious Flower Conference. The session featured a discussion, live performances, and answering questions from the audience. The performance itself examined the long road to freedom for Black people in America and included song, spoken word poetry, and dance. This session was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 9:45 a.m.","Laureate Reading and Conversation at the 2024 Furious Flower Conference. Rita Dove, Poet Laureate of the United States, 1993-1995, introduced poet laureates from across the country and moderated a conversation after the readings. Featured poets included: Angela Jackson (Illinois), Curtis Crisler (Indiana), Amanda Johnston (Texas), avery r. young (Chicago, IL), and Glenis Redmond (Greenville, SC).  The Laureate Reading and Conversation was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 11:15 a.m.","Magnitude \u0026 Bond: A Preview of a Field Study on Black Literary Organizations panel at the 2024 Furious Flower Conference. Lisa Willis, Candace G. Wiley, Nichelle M. Hayes, and Duriel E. Harris discussed the Magnitude and Bond field study. The presenters represented four organizations that are participating in the field study: Cave Canem, The Watering Hole, Center for Black Literature \u0026 Culture (CBLC), and Obsidian: Literature \u0026 Arts in the African Diaspora. The group conversed about why the field study is important, positives and negatives they have experienced as leaders of Black literary arts organizations, and how organizations were chosen for the field study. The session closed with a questions from the audience. This panel was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 2 p.m.","Black Universe II: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Ross Gay, Erica Hunt, francine j. harris, Roger Reeves, DaMaris Hill, Efe Paul Azino, Merle Collins, Danez Smith, Tara Betts, A. B. Spellman, Lorna Goodison, E. Ethelbert Miller, and Harryette Mullen. The Black Universe II: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 7 p.m.","Growing a New Garden: Furious Flowering in Classrooms panel at the 2024 Furious Flower Conference. Panelists Anastacia-Reneé, allia abdullah-matta, Brian Hannon, Carmin Wong, and Keisha-Gaye Anderson discussed the Furious Flower Syllabus project, an open access syllabus for a range of educational contexts. Each presenter highlighted their favorite poem featured in the project curriculum, conversed about creating the syllabus, and expressed the importance of such an undertaking. This panel was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 8:15 a.m.","Black Universe III: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Kei Miller, Shara McCallum, Tim Seibles, Anastacia Renée, Gregory Pardlo. Joanne Gabbin introduced each poet with a personally written haiku. The Black Universe III: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 9:45 a.m.","Black Joy in Song performance at the 2024 Furious Flower Conference. Sonya Gabrielle Baker, Albert Lee, and Jeremiah Padilla performed poetry set to music, incorporating both vocal and instrumental music. This performance was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 12:30 p.m.","A Vital History: The Cambridge Anthology Roundtable at the 2024 Furious Flower Conference. Panelists Matt Sandler, Carlyn Ferrari, Marta Werbanowska, McKinley Melton, Annette Debo, and Emily Ruth Rutter discussed an upcoming anthology. Each panelist described their essay from the anthology, including topics such as Black poets of the abolition movement, Black women poets, the Black eco-poetic tradition, elegy, and more. The session concluded with a panel discussion and audience questions. This panel was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 2 p.m.","Black Universe IV: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Terrance Hayes, Evie Shockley, Niyi Osundare, Canisia Lubrin, Patricia Smith, and Kwame Dawes. Lauren Alleyne closed the session by reading a new poem. The Black Universe IV: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 3:30 p.m.","Closing Remarks for the 2024 Furious Flower Conference. Lauren Alleyne, the Executive Director of the Furious Flower Poetry Center, concluded the conference by expressing gratitude for everyone involved with the event in some way. This event was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 5 p.m.","Interview with Camille Dungy, Ross Gay, Alexis Pauline Gumbs, and Niyi Osundare at the 2024 Furious Flower conference. Nate Marshall moderated the conversation, posing questions about the theme Black planet. The group discussed the relationship between Black identity and the environment, how crafting poetry allows them to explore new relationships with the natural world, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.","Interview with Erica Hunt, A.B. Spellman, and Glenis Redmond at the 2024 Furious Flower Conference. Keisha-Gaye Anderson moderated the conversation, posing questions about the theme life in poetry. The group discussed why they chose poetry, pivotal moments in their careers, the role of community and collaboration in their development as poets, advice for emerging poets, lessons learned, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.","Interview with Malika Booker, Danez Smith, and Frank X. Walker at the 2024 Furious Flower Conference. Keith Leonard moderated the conversation, posing questions about the theme collectives and community. The group discussed why it is important to be involved in their respective communities or collectives, the importance of inter-generational connections, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.","Interview with Anastacia Renée, Canisia Lubrin, and Lillian Yvonne Bertram at the 2024 Furious Flower conference. Mecca Jamilah Sullivan moderated the conversation, posing questions about the theme poetic experimentation. The group discussed what poetic experimentation means to them, the experience of experimentation, what is lost when discussing the process of experimentation, and what the worlds of black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Evie Shockley, Remica Bingham-Risher, Terrance Hayes, and DaMaris Hill at the 2024 Furious Flower Conference. Meta DuEwa Jones moderated the conversation, posing questions about the theme creative scholarship. The group discussed what scholarship means to them, how the market does or does not affect their work, their collaborative practices, the worlds of black poetry as they relate to their scholarly, creative, and critical work, and finding joy in their work. The interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Matthew Shenoda, Efe Paul Azino, and Patricia Jabbeh Wesley at the 2024 Furious Flower Conference. Gbenga Adesina moderated the conversation, posing questions about the theme continental conversations. The group discussed diasporic influences, how their work may shape poetry moving forward, and the books or projects they currently working on. This interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Tara Betts, avery r. young, Danez Smith, and Mahogany L. Browne  at the 2024 Furious Flower Conference. McKinley Melton moderated the conversation, posing questions about the theme performance. The group discussed what the worlds of Black poetry mean to them, how they see their work engaging in the expansiveness of poetic performance, the best lessons they have learned from their time as poets and performers, and what it means to be at Furious Flower. This interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Tyehimba Jess, francine j. harris, jessica Care moore and Airea D. Matthews at the 2024 Furious Flower conference. Ajanaé Dawkins moderated the conversation, posing questions about the theme Detroit conversations. Each poet read one of their poems, discussed how the school of Detroit poetry shaped them, and talked about the evolution of Detroit poetry. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.","Interview with Lorna Goodison, Merle Collins, Kei Miller, and Malika Booker at the 2024 Furious Flower conference. Jahan Ramazani moderated the conversation, posing questions about the theme Caribbean conversations. The group discussed Caribbean identity, diasporic identity, the distinctiveness of the Caribbean experience, and what the worlds of Black poetry mean to them. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.","Interview with Roger Reeves, Jericho Brown, and Gregory Pardlo at the 2024 Furious Flower conference. Curtis Crisler moderated the conversation, posing questions about the theme Black masculinity. The group discussed their definitions of Black masculinity, how they show vulnerability in their poetry, and what the worlds of Black poetry mean to them. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024."],"separatedmaterial_html_tesm":["\u003cp\u003eA copy of Mourning Katrina: A Poetic Response to Tragedy Buena Vista, Va.: Mariner Publishing, 2009 and 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton Harrisonburg, Va.: Virginia Tech Printing Services, 2010 were removed from Series 2, catalogued, and placed in the Special Collections rare book collection. \u003c/p\u003e\n","\u003cp\u003eThe following titles were removed from Series 3 and catalogued: Opala, Joseph A. The Gullah: rice, slavery and the Sierra Leone-American connection. Freetown, Sierra Leone: USIS, 1987; Opala, Joseph. Krio in a nutshell.: Krio Grammar with Lessons, Exercise and Vocabulary, Vol. 1. Freetown, Sierra Leone: [publisher not identified], 1991; Opala, Joseph. Krio in a nutshell.: Krio Conversation with Dialogues, Stories, Proverbs, etc., Vol. 2. Freetown, Sierra Leone: [publisher not identified], 1991; Geraty, Virginia Mixson. Bittle en' t'ing': Gullah cooking with Maum Chrish'. Orangeburg, S.C.: Sandlapper Pub., 1992.\u003c/p\u003e\n","\u003cp\u003eA broadside printing of Rita Dove's \"Ode to My Right Knee\" (no. 39 of 100) was removed from the collection and cataloged separately.\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["A copy of Mourning Katrina: A Poetic Response to Tragedy Buena Vista, Va.: Mariner Publishing, 2009 and 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton Harrisonburg, Va.: Virginia Tech Printing Services, 2010 were removed from Series 2, catalogued, and placed in the Special Collections rare book collection. ","The following titles were removed from Series 3 and catalogued: Opala, Joseph A. The Gullah: rice, slavery and the Sierra Leone-American connection. Freetown, Sierra Leone: USIS, 1987; Opala, Joseph. Krio in a nutshell.: Krio Grammar with Lessons, Exercise and Vocabulary, Vol. 1. Freetown, Sierra Leone: [publisher not identified], 1991; Opala, Joseph. Krio in a nutshell.: Krio Conversation with Dialogues, Stories, Proverbs, etc., Vol. 2. Freetown, Sierra Leone: [publisher not identified], 1991; Geraty, Virginia Mixson. Bittle en' t'ing': Gullah cooking with Maum Chrish'. Orangeburg, S.C.: Sandlapper Pub., 1992.","A broadside printing of Rita Dove's \"Ode to My Right Knee\" (no. 39 of 100) was removed from the collection and cataloged separately."],"userestrict_html_tesm":["\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions"],"userestrict_tesim":["Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu)."],"abstract_html_tesm":["\u003cabstract id=\"aspace_45f28e16f5fdc8ade98243e65fa6eef4\"\u003eThe Furious Flower Poetry Center Records, consisting of 17.6 cubic feet (43 boxes, 1 rolled storage container), document the departmental activities of the Furious Flower Poetry Center.\u003c/abstract\u003e"],"abstract_tesim":["The Furious Flower Poetry Center Records, consisting of 17.6 cubic feet (43 boxes, 1 rolled storage container), document the departmental activities of the Furious Flower Poetry Center."],"names_ssim":["James Madison University Libraries Special Collections","James Madison University. Furious Flower Poetry Center","Furious Flower Conference (1st ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 1994 :.)","Furious Flower Conference (2nd ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 2004 :.)","Furious Flower Conference (3rd ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 2014 :.)","Furious Flower Poetry Center (1999-2004)","James Madison University. Jazz Ensemble","Berry Media Group","Gabbin, Joanne V. (Joanne Veal), 1946-","Alleyne, Lauren K.","Hodges, John L.","Wright, Steven","Facknitz, Susan","Brice-Finch, Jacqueline","Claiborne, C. B. (Claudius B.)","Carrier, Ronald E., 1932-2017","Hunt, Doris","Ward, Val Gray (1932-08-21-2024-03-07)","Brown, Vernisha","Aubert, Alvin (1930-03-12-2014-12-06)","Alexander, Elizabeth, 1962-","Traylor, Eleanor W.","Williams, Sherley Anne, 1944-1999","Stover, Darrell \"SCIPOET\"","Drew, Shahara","Miller, Adam David (1922-10-08-2020-11-04)","Love, Monifa A.","Thompson, Mylea","Harper, Michael S. (Michael Steven), 1938-2016","Ellis, Thomas Sayers (1963)","Keene, John (John R.), 1965-","Barrax, Gerald W. (Gerald William) (1933-06-21-2019-12-07)","Derricotte, Toi, 1941-","Miller, E. Ethelbert (Eugene Ethelbert) (1950-11-20)","Allen, Samuel W. (Samuel Washington) (1917-12-09-2015-06-27)","Phillips, Carl, 1959-","Lane, Pinkie Gordon (1923-2008-12-03)","Madhubuti, Haki R., 1942-","Madgett, Naomi Cornelia Long (1923-07-23-2020-11-05)","Baraka, Amiri, 1934-2014","Touré, Askia M. (1938-10-13)","Evans, Mari, 1919-2017","Sanchez, Sonia, 1934-","Ward, Jerry W., Jr. (Jerry Washington), 1943-","Joyce, Joyce Ann, 1949-","Nielsen, Aldon Lynn (1950-10-20)","Rampersad, Arnold (1941-11-13)","Thomas, Lorenzo, 1944-2005","Renegade, D. J.","Salaam, Kalamu ya, 1947-","McDowell, Deborah E., 1951-","Dove, Rita (1952-08-28)","Kendrick, Dolores, 1927-2017","Brooks, Gwendolyn, 1917-2000","Giovanni, Nikki (1943-2024)","Redmond, Eugene (Eugene B.) (1937-12-01)","Gayles, Gloria Jean Wade (19380701)","Collier, Eugenia W. (1928-04-06)","Patterson, Raymond R. (1929-12-14-2001-04-05)","Graham, Maryemma (1949-06-13)","Moore, Opal (1953)","Gabbin, Alexander L. (1945)","Asim, Jabari, 1962-","Braxton, Joanne M. (1950)","Taylor, Clyde (1931-07-03-2024-01-24)","Steptoe, Lamont B., 1949-","Gillespie, Carmen (1965-06-17-2019-08-30)","Coates, Ta-Nehisi (Ta-Nehisi Paul) (1975-09-30)","Rice, Dorothy Marie, 1948-","Blackman, Toni","Alexander, Kwame (1968-08-21)","deGannes, Nehassaiu","Kein, Sybil (1939-09-29-2022-10-28)","Osbey, Brenda Marie (1957-12-12)","Iverem, Esther, 1960-","Saloy, Mona Lisa (19500701)","Drake, Jeannette M.","Fabu","Dance, Daryl Cumber (1938-01-17)","Trethewey, Natasha D., 1966-","Jackson, Major, 1968-","Beatty, Vera L.","Strange, Sharan (1959)","Young, Kevin (Kevin Lowell), 1970-","Gex, Quo Vadis","Bullock, Byron","Morris, Mellasenah Young","Reagon, Bernice Johnson, 1942-","Pettis, Joyce Owens","Fowler, Virginia C., 1948-","Goven, Sandra","Hoagland, Everett (1942-12-18)","Moore, Lenard D., 1958-","Brown, Douglas T.","Harris, Trudier (1948-02)","Holladay, Hilary (1961-07-03)","Bolden, Tony","Clifton, Lucille, 1936-2010","Hughes, Langston (James Mercer Langston), 1902-1967","Anderson, T. 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(Mark Robert) (1954-12-15)","Allen, George, 1952-","Mfume, Kweisi (1948-10-24)","Okai, Atukwei, 1941-","Bond, Julian (Horace Julian), 1940-2015","Obama, Barack","Goodison, Lorna (1947-08-01)","Osundare, Niyi, 1947-","Seibles, Tim (1955)","Smith, Patricia, 1955-","Adesina, Gbenga","Berry, David E., 1982-","Melton, McKinley","Jones, Meta DuEwa","Marshall, Nate, (Poet)","Oliver, Patrick M.","Morgan, Shauna M.","Weaver, Afaa M. (Afaa Michael), 1951-","Kolvoord, Robert","Zimmerman, Traci","Nowviskie, Bethany","McCallum, Shara, 1972-","Hayes, Terrance (1971)","Leonard, Keith D., 1969-","Ramazani, Jahan, 1960-","Sullivan, Mecca Jamillah","Jaji, Tsitsi (Tsitsi Ella)","Giscombe, C. S. (Cecil S.), 1950-","McMorris, Mark","Scheyer, Lauri (1952-09-08)","Williams, Tyrone (1954-02-24-2024-03-11)","Reeves, Roger","Alexander, Michelle, (Poet)","Brooks, RaeJeana","Brown, Jericho","Dungy, Camille T. (Camille Thornton), 1972-","Gumbs, Alexis Pauline, 1982-","Booker, Malika (1970)","Wesley, Patricia Jabbeh (1955-08-07)","Bingham-Risher, Remica (1981)","Shenoda, Matthew (1977-07-14)","Bertram, Lillian-Yvonne, 1983-","Thompson, Lynne, 1951-","Dias-Porter, Joel.","Jackson, Linda Susan","Micheaux, Dante","Sealey, Nicole","Faison, Latorial (1973)","Pinson, Hermine (1953-07-20)","Glenn, Leah","Crisler, Curtis L.","Johnston, Amanda, 1977-","young, avery r.","Redmond, Glenis (1963-08-27)","Willis, Lisa (20)","Wiley, Candace G.","Hayes, Nichelle M.","Gay, Ross (Ross Alexander), 1974-","Hunt, Erica, 1955-","Harris, Francine J.","Azino, Efe Paul (20)","Collins, Merle (1950-09-29)","Smith, Danez","Spellman, A. B., 1935-","Anastacia-Reneé","abdullah-matta, allia","Hannon, Brian James","Wong, Carmin.","Anderson, Keisha-Gaye","Miller, Kei (1978)","Pardlo, Gregory","Padilla, Jeremiah.","Baker, Sonya G.","Lee, Albert Rudolph","Sandler, Matt","Ferrari, Carlyn Ena, 1984-","Werbanowska, Marta.","Rutter, Emily Ruth (1978-02-28)","Lubrin, Canisia, 1984-","Browne, Mahogany L."],"corpname_ssim":["James Madison University Libraries Special Collections","James Madison University. Furious Flower Poetry Center","Furious Flower Conference (1st ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 1994 :.)","Furious Flower Conference (2nd ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 2004 :.)","Furious Flower Conference (3rd ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 2014 :.)","Furious Flower Poetry Center (1999-2004)","James Madison University. Jazz Ensemble","Berry Media Group"],"names_coll_ssim":["Gabbin, Joanne V. (Joanne Veal), 1946-","Alleyne, Lauren K."],"persname_ssim":["Gabbin, Joanne V. (Joanne Veal), 1946-","Alleyne, Lauren K.","Hodges, John L.","Wright, Steven","Facknitz, Susan","Brice-Finch, Jacqueline","Claiborne, C. B. (Claudius B.)","Carrier, Ronald E., 1932-2017","Hunt, Doris","Ward, Val Gray (1932-08-21-2024-03-07)","Brown, Vernisha","Aubert, Alvin (1930-03-12-2014-12-06)","Alexander, Elizabeth, 1962-","Traylor, Eleanor W.","Williams, Sherley Anne, 1944-1999","Stover, Darrell \"SCIPOET\"","Drew, Shahara","Miller, Adam David (1922-10-08-2020-11-04)","Love, Monifa A.","Thompson, Mylea","Harper, Michael S. (Michael Steven), 1938-2016","Ellis, Thomas Sayers (1963)","Keene, John (John R.), 1965-","Barrax, Gerald W. (Gerald William) (1933-06-21-2019-12-07)","Derricotte, Toi, 1941-","Miller, E. Ethelbert (Eugene Ethelbert) (1950-11-20)","Allen, Samuel W. (Samuel Washington) (1917-12-09-2015-06-27)","Phillips, Carl, 1959-","Lane, Pinkie Gordon (1923-2008-12-03)","Madhubuti, Haki R., 1942-","Madgett, Naomi Cornelia Long (1923-07-23-2020-11-05)","Baraka, Amiri, 1934-2014","Touré, Askia M. (1938-10-13)","Evans, Mari, 1919-2017","Sanchez, Sonia, 1934-","Ward, Jerry W., Jr. (Jerry Washington), 1943-","Joyce, Joyce Ann, 1949-","Nielsen, Aldon Lynn (1950-10-20)","Rampersad, Arnold (1941-11-13)","Thomas, Lorenzo, 1944-2005","Renegade, D. J.","Salaam, Kalamu ya, 1947-","McDowell, Deborah E., 1951-","Dove, Rita (1952-08-28)","Kendrick, Dolores, 1927-2017","Brooks, Gwendolyn, 1917-2000","Giovanni, Nikki (1943-2024)","Redmond, Eugene (Eugene B.) (1937-12-01)","Gayles, Gloria Jean Wade (19380701)","Collier, Eugenia W. (1928-04-06)","Patterson, Raymond R. (1929-12-14-2001-04-05)","Graham, Maryemma (1949-06-13)","Moore, Opal (1953)","Gabbin, Alexander L. (1945)","Asim, Jabari, 1962-","Braxton, Joanne M. (1950)","Taylor, Clyde (1931-07-03-2024-01-24)","Steptoe, Lamont B., 1949-","Gillespie, Carmen (1965-06-17-2019-08-30)","Coates, Ta-Nehisi (Ta-Nehisi Paul) (1975-09-30)","Rice, Dorothy Marie, 1948-","Blackman, Toni","Alexander, Kwame (1968-08-21)","deGannes, Nehassaiu","Kein, Sybil (1939-09-29-2022-10-28)","Osbey, Brenda Marie (1957-12-12)","Iverem, Esther, 1960-","Saloy, Mona Lisa (19500701)","Drake, Jeannette M.","Fabu","Dance, Daryl Cumber (1938-01-17)","Trethewey, Natasha D., 1966-","Jackson, Major, 1968-","Beatty, Vera L.","Strange, Sharan (1959)","Young, Kevin (Kevin Lowell), 1970-","Gex, Quo Vadis","Bullock, Byron","Morris, Mellasenah Young","Reagon, Bernice Johnson, 1942-","Pettis, Joyce Owens","Fowler, Virginia C., 1948-","Goven, Sandra","Hoagland, Everett (1942-12-18)","Moore, Lenard D., 1958-","Brown, Douglas T.","Harris, Trudier (1948-02)","Holladay, Hilary (1961-07-03)","Bolden, Tony","Clifton, Lucille, 1936-2010","Hughes, Langston (James Mercer Langston), 1902-1967","Anderson, T. J., III, 1958-","Komunyakaa, Yusef (1947-04-29)","Baker, Houston A., Jr., 1943-","Medina, Tony (1966-01-10)","Debo, Annette, 1964-","Favorite, Malaika, 1949-","Pollard, Velma (1937-03-26)","Sanders, Mark A., 1963-","Dibinga, Omékongo","Mullen, Harryette Romell (1953-07-01)","Finney, Nikky (1957-08-26)","Moore, Jessica Care","Boyd, Melba Joyce (1950-04-02)","Harris, William J., 1942-","Lansana, Quraysh Ali (1964-09-13)","Rambsy, Howard (1976)","Rose, Linwood H. (Linwood Howard), 1951-","Thornhill, Samantha","Shannon, Angela","Ellis, Kelly Norman, 1964-","Jess, Tyehimba","Betts, Tara","Singleton, Giovanni","Harris, Duriel E.","Walker, Frank X., 1961-","Sheba Queen","Moon, Kamilah Aisha (1972-09-05)","Martin, Dawn Lundy (1975)","Obadike, Mendi Lewis, 1973-","Shockley, Evie, 1965-","Eady, Cornelius, 1954-","Nelson, Marilyn, 1946-","Dawes, Kwame Senu Neville, 1962-","Warner, Mark R. (Mark Robert) (1954-12-15)","Allen, George, 1952-","Mfume, Kweisi (1948-10-24)","Okai, Atukwei, 1941-","Bond, Julian (Horace Julian), 1940-2015","Obama, Barack","Goodison, Lorna (1947-08-01)","Osundare, Niyi, 1947-","Seibles, Tim (1955)","Smith, Patricia, 1955-","Adesina, Gbenga","Berry, David E., 1982-","Melton, McKinley","Jones, Meta DuEwa","Marshall, Nate, (Poet)","Oliver, Patrick M.","Morgan, Shauna M.","Weaver, Afaa M. (Afaa Michael), 1951-","Kolvoord, Robert","Zimmerman, Traci","Nowviskie, Bethany","McCallum, Shara, 1972-","Hayes, Terrance (1971)","Leonard, Keith D., 1969-","Ramazani, Jahan, 1960-","Sullivan, Mecca Jamillah","Jaji, Tsitsi (Tsitsi Ella)","Giscombe, C. S. (Cecil S.), 1950-","McMorris, Mark","Scheyer, Lauri (1952-09-08)","Williams, Tyrone (1954-02-24-2024-03-11)","Reeves, Roger","Alexander, Michelle, (Poet)","Brooks, RaeJeana","Brown, Jericho","Dungy, Camille T. (Camille Thornton), 1972-","Gumbs, Alexis Pauline, 1982-","Booker, Malika (1970)","Wesley, Patricia Jabbeh (1955-08-07)","Bingham-Risher, Remica (1981)","Shenoda, Matthew (1977-07-14)","Bertram, Lillian-Yvonne, 1983-","Thompson, Lynne, 1951-","Dias-Porter, Joel.","Jackson, Linda Susan","Micheaux, Dante","Sealey, Nicole","Faison, Latorial (1973)","Pinson, Hermine (1953-07-20)","Glenn, Leah","Crisler, Curtis L.","Johnston, Amanda, 1977-","young, avery r.","Redmond, Glenis (1963-08-27)","Willis, Lisa (20)","Wiley, Candace G.","Hayes, Nichelle M.","Gay, Ross (Ross Alexander), 1974-","Hunt, Erica, 1955-","Harris, Francine J.","Azino, Efe Paul (20)","Collins, Merle (1950-09-29)","Smith, Danez","Spellman, A. B., 1935-","Anastacia-Reneé","abdullah-matta, allia","Hannon, Brian James","Wong, Carmin.","Anderson, Keisha-Gaye","Miller, Kei (1978)","Pardlo, Gregory","Padilla, Jeremiah.","Baker, Sonya G.","Lee, Albert Rudolph","Sandler, Matt","Ferrari, Carlyn Ena, 1984-","Werbanowska, Marta.","Rutter, Emily Ruth (1978-02-28)","Lubrin, Canisia, 1984-","Browne, Mahogany L."],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":883,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T00:25:29.210Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vihart_repositories_4_resources_488","ead_ssi":"vihart_repositories_4_resources_488","_root_":"vihart_repositories_4_resources_488","_nest_parent_":"vihart_repositories_4_resources_488","ead_source_url_ssi":"data/oai/JMU/repositories_4_resources_488.xml","aspace_url_ssi":"https://aspace.lib.jmu.edu/repositories/4/resources/488","title_ssm":["Furious Flower Poetry Center Records"],"title_tesim":["Furious Flower Poetry Center Records"],"unitdate_ssm":["1970-2024"],"unitdate_inclusive_ssm":["1970-2024"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["UA 0017","/repositories/4/resources/488"],"text":["UA 0017","/repositories/4/resources/488","Furious Flower Poetry Center Records","United States -- Poetry","United States -- Intellectual life -- 20th century","United States -- Intellectual life -- 21st century","American poetry -- African American authors","Poetry -- History and criticism","African American poets","African Americans -- Poetry","African Americans -- Intellectual life -- 20th century","African Americans -- Intellectual life -- 21st century","Administrative records","Grant Proposals","Letters (correspondence)","Electronic mail","Compact discs","Posters","DVDs","Poetry","Exhibit scripts","Photographs","Calendars (documents)","Programs (documents)","Collection is open to research. Currently, the silk banners used in the 2004 and 2014 Furious Flower Poetry Conferences may only be requested (in writing) by Furious Flower Poetry Center staff. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","running time:","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Original audiovisual and media are in process and not available pending reformatting.","It is anticipated that the Furious Flower Poetry Center will continue to donate conference files approximately every ten years and other administrative records on a more frequent basis.","Processing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.","Small Purchase Credit Card Statements were discarded due to lack of research value.","Due to duplication elsewhere in Special Collections the following issues of Madison (known as Montpelier from 1977-2005), many with articles pertaining to Furious Flower Poetry Center, were returned to the donor: Summer 2003, Winter 2005, Spring 2006, Fall 2006, Summer 2006, Spring 2007, Summer 2007, Fall 2007, Fall 2008, Winter 2008, Summer 2009, Fall 2009, Spring/Summer 2010, Spring/Summer 2011, Fall 2011, Spring/Summer 2015. These issues were loose when donated and were not a part of any pre-established order or foldering system.","The collection is arranged into four series. Series are arranged chronologically; Series 2, 3, and 4 are further arranged alphabetically according to a particular publication or event.","Grants and Financial Files, 2004-2021 Publications and Manuscripts, 1993-2012 Events, Programs, and Workshops, 1990-2019 Conference Records, 1970-2015","The series is arranged chronologically into three sub-series:","Sub-series 4.1: 1994 Conference, 1970-2009 Sub-series 4.2: 2004 Conference, 2002-2007 Sub-series 4.3: 2014 Conference, 2013-2015","Event footage is arranged chronologically by capture time, with the exception of the \"supercuts,\" consisting of video montages, which are arranged by program day. See the Interviews with Poets sub-group for additional arrangement details.","\"Furious Flower Poetry Center.\" James Madison University. Accessed August 09, 2016. https://www.jmu.edu/furiousflower/index.shtml.","The Furious Flower Poetry Center (FFPC) was established in 1999 by Joanne V. Gabbin when she was the director of James Madison University's Honors Program. With this flagship of the Honors Program, she continued the kind of programming she had begun by hosting the 1994 Furious Flower Poetry Conference, which was the nation's first scholarly conference on Black poetry. The conference, entitled Furious Flower: A Revolution in African American Poetry, was dedicated to acclaimed poet Gwendolyn Brooks and featured scholars, critics, and the most accomplished and esteemed poets of the time including Nikki Giovanni, Rita Dove, Sonia Sanchez, Michael S. Harper, Haki Madhubuti, and Gwendolyn Brooks herself. The name \"Furious Flower\" is derived from Brooks' poem Second Sermon on the Warpland in which she writes:","The time\ncracks into furious flower. Lifts its face\nall unashamed. And sways in wicked grace.","Many who participated in the inaugural Furious Flower conference had their roots in the Black Arts Movement. The Black Arts Movement emerged in the wake of the Black Power Movement of the 1960s and 1970s and was comprised of politically motivated black visionaries, poets, artists, dramatists, musicians, and writers. The conference was met with overwhelming praise and The Washington Post called it an historic event. ","Due to the success of the 1994 Furious Flower Conference, the Furious Flower Poetry Center (FFPC) was established in 1999 and the Conference became a decennial event, held every ten years. The subsequent conferences were Regenerating the Black Poetic Tradition (2004) and Seeding the Future of African American Poetry (2014). Conference programming is comprised of concerts, readings, roundtable and panel discussions, and paper presentations.","In 2005, following the success of the second Furious Flower Poetry Conference (2004), JMU gave the FFPC its official charter, making it the first academic center in the United States devoted to Black poetry. Gabbin became its executive director, leaving the Honors Program after 19 years of service.","Today, the FFPC is committed to \"cultivating, honoring, and promoting the diverse voices of African American poets by making the genre accessible to a wide audience and collaborating with educational and cultural institutions, literary organizations, and artists.\" It hosts visiting poets for readings at JMU and nearby venues; sponsors workshops; holds an annual poetry camp for elementary and middle school-aged children; produces texts, videos, DVDs and other materials on African-American poetry; and gathers poets and other scholars for intimate panels and seminars, as well as major conferences. FFPC has held four decennial Furious Flower Conferences: \"A Revolution in African American Poetry\" (1994), \"Regenerating the Black Poetic Tradition\" (2004), \"Seeding the Future of African American Poetry\" (2014), and \"Furious Flower IV: Celebrating the Worlds of Black Poetry (2024).","FFPC is located off of Martin Luther King Jr. Way/Historic Cantrell Avenue. Beyond her duties as Executive Director of the Furious Flower Poetry Center, Joanne Gabbin is a professor of English at JMU, a published author, and a member of the International Literary Hall of Fame for Writers of African Descent.","The 1994 Conference Video Recordings, 1994 September 29-October 1, were produced by John L. Hodges. The videos represent the raw footage captured during the 1994 Conference.","Additional information on the Dark Room Collective can be found  here.","The donor's original order, including folder titles, was maintained whenever possible. The archivist imposed an order on any unordered files, titled any untitled files, and created discrete series. Social security numbers and bank account numbers have been redacted from materials. When possible, newspapers and clippings were photocopied and originals returned to donor. All material contained within three-ring binders was disbound and foldered in original order. During processing several folders were discovered to be empty. Their folder titles are as follows: Dream in Color Drafts, WHSV Children First 2010, WVPT Kid's Book Festival 2010, Poetry Month 2010, Winter Poetry Contest 2010, Marilyn Nelson Reading 2010, 73 Poems Honorariums (Music). The empty folders were discarded. Numerous folders with small purchase credit card statements and receipts were also discarded. Series I has also been renamed \"Grants and Financial Files.\"","In April 2022, the contents of the Furious Flower Poetry Center Conference Records (UA 0018) were incorporated into the Furious Flower Poetry Center Records (UA 0017) due to the collections' shared provenance and their creation by the same administrative body. The conference records were added as a separate series with subseries for each of the decennial conferences. At this same time, accruals received after initial processing were physically arranged to match their intellectual arrangement. Additional financial files deemed to have limited research value were also weeded in April 2022. Administrative receipts, travel vouchers, travel expenses and reimbursements, travel authorizations, purchase orders, invoices for supplies, monthly detail budget reports, and budget revisions were returned to FFPC.","Processing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.","The donor's original order, including folder titles, was maintained whenever possible. The archivist imposed an order on any unordered files, titled any untitled files, and created discrete series. Social security numbers and bank account numbers have been redacted from materials. When possible, newspapers and clippings were photocopied and originals returned to donor. The collection of magnesium letterpress die plates are individually boxed and organized by the poem's appearance in the publication Furious Flower: A Revolution in African American Poetry into larger boxes (one record storage box and one oversize Hollinger box). Furious Flower Poetry Center donated a box of rolled posters in cardboard tubes, all identical, from the 1994 and 2004 conferences – each cardboard tube contained one 1994 poster and one 2004 poster. Due to duplication elsewhere in this collection, only one set of posters was retained. They were flattened and placed in the Oversize series. Processing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.","Video recordings were digitized for preservation and research access by Scene Savers in 2016 and 2017. Select records were decribed by JMU graduate assistant Mitchell Teal in 2018 and 2019 for research access through JMU Scholarly Commons in support of a JMU X-Labs course. Description is ongoing as of 2022. Access to content will be made available once description is complete, barring any copyright or other use restrictions.","See \"1994 Conference Program, 1994\" in Series 1 for original conference program.","See the file Poetry Reading 2, 1994 September 29, located in the 1994 Conference Video Recordings sub-group.","See the file Critics' Roundtable: Critical Theories and Approaches in African American Poetry, 1994 September 30, located in the 1994 Conference Video Recordings sub-group.","See the file Critics' Roundtable: Writing a Literary History of African American Poetry, 1994 October 1, located in the 1994 Conference Video Recordings sub-group.","See the file Poetry Reading 5, 1994 September 29, located in the 1994 Conference Video Recordings sub-group.","Sam Allen, Alvin Aubert, Amiri Baraka Interviews Final Cut","Sam Allen, Alvin Aubert, Amiri Baraka Interviews Final Cut","Toi Derricotte, Haki Madhubuti, and Naomi Long Madgett Interviews Final Cut","Toi Derricotte, Haki Madhubuti, and Naomi Long Madgett Interviews Final Cut","Namoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A","Namoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B","Namoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A","Namoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B","Namoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A","Namoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B"," Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A"," Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B"," Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A"," Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B"," Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A"," Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B"," Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A"," Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B","Michael Harper interviewed by Aldon Nielsen Part 2, Camera A. Toi Derricotte interviewed by Opal Moore Camera A","Michael Harper interviewed by Aldon Nielsen Part 2, Camera B. Toi Derricotte interviewed by Opal Moore Camera B","Mari Evans, Everett Hoagland, and Sonia Sanchez Interviews Final Cut","Mari Evans, Everett Hoagland, and Sonia Sanchez Interviews Final Cut","The Furious Flower Poetry Center Records, 1970-2024, consisting of 17.6 cubic feet (43 boxes, 1 rolled storage container), document the departmental activities of the Furious Flower Poetry Center, a unit formerly of the JMU Honor's Program that became its own separate academic center of the University in 2005. A portion of the material contained within the records derive from events and programs sponsored by the Furious Flower Poetry Center including 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton, Lineage: The Margaret Walker Song Cycle, and an annual children's poetry camp. Specific types of materials include event posters and brochures, exhibit panels, logistical and planning documentation, and email correspondence. Materials related to publications produced by the Center such as Mourning Katrina: A Poetic Response to Tragedy and Shaping Memories: Reflections of African American Women Writers are comprised of draft manuscripts and correspondence with poets and publishers. Grant proposals and awards, many of which relate to the aforementioned events and projects, are also represented. Materials related to the decennial Furious Flower poetry conferences, including administrative documentation and video recordings, are represented in the Conference Records series.","Arranged chronologically. ","FFPC relies heavily on funding from corporate entities and non-profits to subsidize and off-set the cost of furthering their mission of promoting African-American poetry. As such, this series contains grant proposals and awards (all closed) relating to events, publications, and other projects sponsored by the Furious Flower Poetry Center. Projects represented in this series include \"Dream in Color,\" an online curriculum sponsored by Target that enabled elementary, middle, and high-school students to discover the works of African-American poets; and the publication of Mourning Katrina, an anthology of poems by observers and survivors of Hurricane Katrina. All grant materials were removed from three-ring binders and foldered, maintaining original order.","Arranged chronologically by project date and sub-arranged alphabetically within each project.","This series contains material related to publications and manuscripts produced by the Furious Flower Poetry Center. In many cases this refers to books in the typical sense (Mourning Katrina: A Poetic Response to Tragedy, Furious Flower: African-American Poetry from the Black Arts Movement to the Present), Furious Flower Poetry Center also oversaw the publication of The Painted Word – a set of notecards and a corresponding calendar of poets' portraits. Correspondence with various publishers is also included.","Arranged chronologically by event and sub-arranged alphabetically within each event.","This series is comprised of material relating primarily to the many events, programs, and workshops hosted and sponsored by the Furious Flower Poetry Center. Major events represented in this series include Tell Me Your Names: The Poetry of Lucille Clifton, a week-long seminar held June 14 –June 21, 2009 and 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton, a tribute program held September 21, 2010. Of particular interest are 57 oversize exhibit panels from Among Poets: Lucille Clifton Commemorative Exhibition. This 2012 exhibition held at the Reginald F. Lewis Museum and the Enoch Pratt Free Library, both in Baltimore, Maryland, primarily feature photographs by Lynda Koolish of Lucille Clifton, her contemporaries, and her family and friends. The Center's annual Children's Poetry Camp is also well documented. Researchers should note that there are some files in this series (e.g. materials concerning Oni Lasana Productions) that are not directly related to events held by FFPC. These events are likely ones attended by FFPC staff or documented because they serve as examples of comparable outreach initiatives or similar types of promotion.","One file of materials related to the Furious Flower Poetry Center's 25th Anniversary Celebration, held in September 2019 at the National Museum of African American History and Culture, include promotional material, a schedule of events, and a copy of the invocation presented by Rev. Edward A. Scott. Of particular interest is a promotional card inscribed by Qiniso \"Qibho\" Motsa, a poet, musicion, author, and social activist from Eswatini.","This series comprises materials related to the decennial Furious Flower poetry conferences, beginning with the inaugural conference in 1994. A significant portion of the records include logistical and planning documentation for each conference as well as marking and promotional items. These materials are comprised of calls for papers, contracts, correspondence, address lists, ticket requests, travel, transportation, and lodging reservations, and menus. The records include nontraditional items as well. Of interest are exhibit panels (text labels and images) describing and depicting the participants of the 1994 conference. Magnesium letterpress die plates used to print a limited edition portfolio Furious Flower: A Revolution in African American Poetry, a special collection of 23 poems selected by poets (who participated in the 1994 conference) to represent their work, are included. Six silk banners that adorned the Wilson Hall auditorium during the 2004 and 2014 conferences are included.","Arranged alphabetically with the exception of the Exhibit of Participants materials and the magnesium letterpress die plates which are located at the end of the series due to their size. Note that the numbering system for the letterpress die plates is sequential based on each poem's order in the publication Furious Flower: A Revolution in African American Poetry. As such the first folder/four-flap enclosure in box nine is labeled 9:21b. This is the plate for page two of the 21st poem in the publication.\nMaterials in this series primarily document the planning and implementation of the 1994 Furious Flower Poetry Conference: A Revolution in African American Poetry. Records include travel and lodging reservations, correspondence with participating poets, financial documentation and budgets, and mailing lists. Marketing and promotional items such as posters and brochures are included. Conference evaluations completed by attendees and folders labeled \"Positive Responses\" document the overwhelming success of the conference. Of particular interest are exhibit components from the 1994 conference that include text labels and images of each participating poet. The photographs for these panels were taken by C. B. Claiborne. Copy 225 of 300 of Furious Flower: A Revolution in African American Poetry is located in box 2, folder 5. The magnesium letterpress die plates used to print this collection of poetry are also included here. Each plate is individually housed in a four-flap enclosure and then boxed in order of appearance in the publication. Of significance are the video recordings documenting conference proceedings and interviews with Black poets.","This series contains 45 video recordings captured by John L. Hodges during the 1994 Furious Flower Poetry Conference as well as interviews with poets.","Opening invocation and welcome to participants for the 1994 Furious Flower Conference at James Madison University. The Opening Session was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 8:30 a.m. This footage was originally recorded on 1 MII videocassette.","The Critics' Roundtable, \"African American Poetry and the Vernacular Matrix,\" was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 9:30 a.m.","Original 1994 Furious Flower Poetry Conference program reads, \"African American poetry, perhaps more so than fiction and drama, has lent and continues to lend itself to the thematic and formalistic expression of its matrixing in African American culture, in the vernacular (folk and popular) culture in particular. This roundtable will investigate the nature and extent of this matrixing. It will consider the relationship of the folk to the popular vernacular mode, whether \"continuity\" or \"disjuncture\" best describes that relationship and how the difference between the two is imprinted upon the literature. It will also consider the nature and validity of rural/urban, southern/northern distinctions as they apply to cultural expressive manifestations such as the blues, and the degree to which these distinctions spill over into the poetry as a literary production. (Alvin Aubert)\"","This footage was originally recorded on 3 MII videocassettes.","Michael S. Harper's Keynote speech at the 1994 Furious Flower Conference. The session continued with poetry readings by Elizabeth Alexander, Gerald Barrax, Toi Derricotte, and E. Ethelbert Miller. The Keynote Speech and Poetry Reading was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 1 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by Sam Allen, Pinkie Gordon Lane, Haki Madhubuti, and Naomi Long Madgett at the 1994 Furious Flower Conference. The Poetry Reading was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 4:45 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by Amiri Baraka, Mari Evans, Michael S. Harper, and Sonia Sanchez at the 1994 Furious Flower Conference. The JMU Jazz Ensemble opened the session by playing \"Cherry Juice.\" The Poetry Reading was held at Wilson Hall, James Madison University on Thursday, September 29, 1994 at  8 p.m. ","This footage was originally recorded on 2 MII videocassettes.","The Critics' Roundtable, \"Critical Theories and Approaches in African American Poetry,\" was held at the Grafton-Stovall Theatre at James Madison University on Friday, September 30, 1994 at 9:30 a.m. ","Original 1994 Furious Flower Poetry Conference program reads, \"The work of literary theory and of theorizing in other areas of the human sciences is to specify what conditions obtain among those who create, those who make use of creations, and the languages (or signs) that enable creators and consumers to negotiate in a world of social constructions. In short, theory is obligated to explain relations between people and artifacts in the contexts of history and culture. In that sense, theory is necessary for rigorous examination of African American poetry. How might theory advance the study and appreciation of African American poetry? Within the frame of this questions, scholars on the panel will be asked to address what kind of critical or cultural theory seems most appropriate for understanding poetry, how such theories influence interpretive methods and approaches, and how must theorists themselves grapple with their own historicity in light of African American poetry's evolution from orature to literature to newer genres that mix orality and literacy. The aim of the panel is to clarify some problems of theory and poetry as they affect various audiences (Jerry W. Ward, Jr.)\" ","This footage was originally recorded on 4 MII videocassettes.","Rita Dove and Gwendolyn Brooks' Keynote Speeches at the 1994 Furious Flower Conference. The Keynotes were held at Wilson Hall, James Madison University on Friday, September 30, 1994 at 1 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by Dolores Kendrick, Nikki Giovanni, and Eugene Redmond at the 1994 Furious Flower Conference. The Poetry Reading was held at Wilson Hall, James Madison University on Friday, September 30, 1994 at 3 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Tribute Banquet to honor important black poets at the 1994 Furious Flower Conference. Mari Evans, Raymond Patterson, Margaret Walker, Naomi Long Madgett, Samuel W. Allen, Pinkie Gordon Lane, and Gwendolyn Brooks were the honored poets. The banquet was held at Phillips Hall, James Madison University on Friday, September 30, 1994 at 7 p.m. ","This footage was originally recorded on 2 MII videocassettes.","The Critics' Roundtable, \"Writing a Literary History of African American Poetry,\" was held at the Grafton-Stovall Theatre at James Madison University on Saturday, October 1, 1994 at 9:30 a.m. ","Original 1994 Furious Flower Poetry Conference program reads, \"As the drum stands at the crossroads of traditional African and African American culture, so the poets stand at the center of the drum providing the cadence, connections and continuity that define their literary history. Panelists on this roundtable will speak on periodicity and identify significant literary movements from the Harlem Renaissance through the Black Arts Movement to hip-hop. In an attempt to provide a valid historical framework for the poetry, panelists will discuss major literary milestones and important poets emerging during the twentieth century. (Eugene Redmond)\" ","This footage was originally recorded on 3 MII videocassettes.","Poetry Free Read at the 1994 Furious Flower Conference. The Free Read was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994. ","This footage was originally recorded on a MII videocassette.","Poetry Readings by Jacqueline Brice-Finch, Gwen Butler, Kalamu ya Salaam, Jeannette Drake, Sybil Kein, Adam David Miller, Brenda Marie Osbey, Fabu Carter, Ester Iverem, and Mona Lisa Saloy at the 1994 Furious Flower Conference. The Poetry Reading was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994 at 2 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by The Dark Room Collective at the 1994 Furious Flower Conference. Established in Boston in 1988, The Dark Room Collective was first a reading series and later a small community of black poets and writers. The Dark Room Collective's poetry reading at the 1994 conference was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994 at 4:15 p.m. ","Tape 1 begins with the last 10 minutes of Poetry Reading 5 and The Dark Room Collective reading starts at the 12 minute mark. ","This footage was originally recorded on 2 MII videocassettes.","Conference Finale for the 1994 Furious Flower Conference. A celebration of black arts and culture, the conference finale featured musical and spoken word performances by Mellasenah Morris, the JMU Contemporary Gospel Singers, Val Gray Ward, and Bernice Johnson Reagon. The Conference Finale was held at Wilson Hall, James Madison University on Saturday, October 1, 1994 at 8 p.m. ","This footage was originally recorded on 6 MII videocassettes.","Supercuts of the 1994 Furious Flower Conference, featuring footage from all 3 days of the conference. This footage was originally recorded on 10 MII videocassettes.","Supercut 1/10 of the 1994 Furious Flower Conference, featuring selections from the conference opening session and Critics' Roundtable: African American Poetry and the Vernacular Matrix. ","This footage was originally recorded on a MII videocassette.","Supercut 2/10 of the 1994 Furious Flower Conference, featuring selections from Poetry Reading 1 (Elizabeth Alexander, Gerald Barrax; Toi Derricotte; and E. Ethelbert Miller) and Poetry Reading 2 (Sam Allen, Pinkie Gordon Lane, Haki Madhubuti, Naomi Long Madgett). ","This footage was originally recorded on a MII videocassette.","Supercut 3/10 of the 1994 Furious Flower Conference, featuring selections from Poetry Reading 2 (Naomi Long Madgett) and Poetry Reading 3 (Amiri Baraka, Mari Evans, Michael S. Harper, Sonia Sanchez). ","This footage was originally recorded on a MII videocassette.","Supercut 4/10 of the 1994 Furious Flower Conference, featuring selections from Critics' Roundtable: Critical Theories and Approaches in African American Poetry and the keynote speeches by Rita Dove and Gwendolyn Brooks. ","This footage was originally recorded on a MII videocassette.","Supercut 5/10 of the 1994 Furious Flower Conference, featuring the remainder of  Gwendolyn Brooks' keynote speech and selections from Poetry Reading 4 (Dolores Kendrick, Nikki Giovanni, Eugene Redmond). ","This footage was originally recorded on a MII videocassette.","Supercut 6/10 of the 1994 Furious Flower Conference, featuring selections from the Tribute Banquet. ","This footage was originally recorded on a MII videocassette.","Supercut 7/10 of the 1994 Furious Flower Conference, featuring selections from Critics' Roundtable: Writing a Literary History of African American Poetry. ","This footage was originally recorded on a MII videocassette. ","Supercut 8/10 of the 1994 Furious Flower Conference, featuring selections from  Poetry Reading 5 (Jacqueline Brice-Finch, Gwen Butler, Kalamu ya Salaam, Jeannette Drake, Sybil Kein, Adam David Miller, Brenda Marie Osbey, Fabu Carter, Ester Iverem, Mona Lisa Saloy, and Quo Vadis Gex-Breaux). ","This footage was originally recorded on a MII videocassette.","Supercut 9/10 of the 1994 Furious Flower Conference, featuring selections from The Dark Room Collective: A Fisted Reading. ","This footage was originally recorded on a MII videocassette. ","Supercut 10/10 of the 1994 Furious Flower Conference, featuring selections from the Conference Finale. ","This footage was originally recorded on a MII videocassette. ","Audience footage of Poetry Reading 2 from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Footage of posters, books, various artifacts, and exhibits at the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Audience footage of Critics' Roundtable: Critical Theories and Approaches in African American Poetry from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Audience footage of Critics' Roundtable: Writing a Literary History of African American Poetry from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Audience footage of Poetry Reading 5 from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Interview with E. Ethelbert Miller at the 1994 Furious Flower Conference. Miller was interviewed by Eugenia Collier in this recording. This footage was originally recorded on MII videocassettes.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Eugene Redmond interviewed by Jabari Asim, Major Jackson interviewed by Vera Beatty, Dolores Kendrick  interviewed by Judith Thomas. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Gerald Barrax interviewed by Joyce Pettis and Nikki Giovanni interviewed by Virginia Fowler. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Major Jackson interviewed by Vera Beatty, Dolres Kendrick interviewed by Judith Thomas, Pinkie Gordon Lane interviewed by Sandra Govan, and Michael S. Harper interviewed by Aldon Nielsen. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Mari Evans interviewed by Val Gray Ward, Everett Hoagland interviewed by Kalamu ya Salaam, and Sonia Sanchez interviewed by Lorenzo Thomas. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Sam Allen interviewed by Jerry Ward, Alvin Aubert interviewed by Lenard Moore, and Amiri Baraka interviewed by Askia Touré. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Sherley Anne Williams interviewed by Deborah McDowell. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Toi Derricotte interviewed by Opal Moore, Haki Madhubuti interviewed by Sonia Sanchez, and Naomi Long Madgett interviewed by Eleanor Traylor. This footage was originally recorded on a MII videocassette.","Arranged alphabetically.","Materials in this series primarily document the planning and implementation of the 2004 Furious Flower Poetry Conference: Regenerating the Black Poetic Tradition. Records include travel and lodging reservations, correspondence with participating poets, financial documentation and budgets, and mailing lists. Marketing and promotional items such as posters and brochures are included. During the 2004 conference, notable African American scholars including Tony Bolden, Hilary Holladay, and Monifa Love conducted interviews with presenting conference poets including Houston Baker, Rita Dove, and Tony Medina. The corresponding transcripts are included and are particularly significant to African American poetry scholarship. Of particular interest is congratulatory correspondence and RSVP regrets for the 2004 conference from Julian Bond, Governor Mark Warner, Senator George Allen, the office of President George W. Bush and Senator John Kerry, President and CEO of the NAACP Kweisi Mfume, and many others. Some of these letters were printed in the official conference program. Also of interest are evaluations completed by conference attendees. Six  silk banners used to decorate the Wilson Hall auditorium during the conference are included in this series. The banners are rolled onto dowels and housed in a rolled storage container. Currently, the silk banners may only be requested (in writing) by Furious Flower Poetry Center staff.","Opening Session and welcome to participants for the 2004 Furious Flower Conference at James Madison University. The first recording is a copy of the ten-minute documentary that was shown during the opening session and the second tape features performances and remarks from the session itself. The Opening Session was held at College Center at James Madison University on Thursday, September 23, 2004 at 8:30 a.m.","This footage was originally recorded on 1 MDV and 1 DVCAM videocassettes.","The first Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Trudier Harris moderated the session while Maryemma Graham, Hilary Holladay, and Tony Bolden critically discussed turn of the twentieth century poetry, The Black Arts Movement, and modern Black poetry. The session was held at College Center Ballroom at James Madison University on Thursday, September 23, 2004 at 9:30 a.m. ","This footage was originally recorded on 3 DVCAM videocassettes.","Footage of the luncheon hosted by the George Moses Horton Society at the 2004 Furious Flower Conference. The 2004 Furious Flower Poetry Conference program reads, \"Members of the George Moses Horton Society, based at the University of North Carolina, Chapel Hill, will host a luncheon on Thursday, September 23. The Horton Society was concieved by Trudier Harris in the spring of 1996 as a way to encourage sustained scholarly focus on the works of African American poets and to foster presentation and publishing opportunities for that scholarship. Yusef Komunyakaa and T.J. Anderson are the featured speakers.\" This footage only shows a portion of the presentation by T.J. Anderson and Yusef Komunyakaa before cutting off abruptly. The luncheon was held in the College Center Ballroom, James Madison University on Thursday, September 23, 2004 at 11:45 a.m. ","This footage was originally recorded on 1 DVCAM videocassette.","Keynote Speech and Poetry Reading 1 at the 2004 Furious Flower Conference. Houston A. Baker Jr. gave his keynote speech entitled, \"The Poetry of Impulse: Six Inches of African Stone and Lyrical Black Consciousness\" after an introduction by Trudier Harris. The session continued a presentation of the Furious Flower Lifetime Achievement Award to Houston A. Baker Jr. by Jerry W. Ward Jr. and Joanne Gabbin. Susan Facknitz introduced the next segment, a poetry reading with Jabari Asim, Major Jackson, Tony Medina, Opal Moore, Sharan Strange, and Yusef Komunyakaa. The Keynote Speech and Poetry Reading 1 was held at Wilson Hall Auditorium, James Madison University on Friday, September 23, 1994 at 1:15 p.m.","This footage was originally recorded on 2 DVCAM videocassettes. ","Footage of Concurrent Sessions and the Furious Flower Art Opening Reception at the 2004 Furious Flower Conference. The first half of the footage shows snippets of concurrent sessions held in various rooms in Taylor Hall from 4:30-5:45pm on Thursday, September 23, 2004. The second half of the footage features the art opening reception, about which the original 2004 Furious Flower Poetry Conference program states, \"Commissioned to bring visual attention to the work of African American poets and symbolizing the flowering of African American poetry, this important and original work of art by Atlanta artist Malaika Favorite will be unveiled.\" The reception was held in Taylor Hall Room 405 at James Madison University on Thursday, September 23, 2004 at 6:45 p.m. ","This footage was originally recorded on 2 DVCAM videocassettes.","Poetry Reading 2 at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Brenda Marie Osbey, Kevin Young, E. Ethelbert Miller, Haki Madhubuti, Lucille Clifton, and Nikki Giovanni.  Kalamu ya Salaam introduced the poets at the beginning of the session. The Poetry Reading was held in Wilson Hall Auditorium at James Madison University on Thursday, September 23, 2004 at 8 p.m. ","This footage was originally recorded on 2 DVCAM videocassettes.","The second Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Daryl C. Dance moderated the session while Velma Pollard, Mark Sanders, Eleanor Traylor, and Omékongo Dibinga presented about the topic cross pollination in the African diaspora. The session was held at College Center Ballroom at James Madison University on Friday, September 24, 2004 at 9:30 a.m. ","This footage was originally recorded on 3 DVCAM videocassettes.","Laureate's Circle poetry reading at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Eugene Redmond, Dolores Kendrick, Askia Touré, Rita Dove, Amiri Baraka, and Sonia Sanchez. Joanne Gabbin introduced the poets at the beginning of the session. The Laureate's Circle reading was held in Wilson Hall Auditorium, James Madison University on Friday, September 24, 2004 at 1:30 p.m. ","This footage was originally recorded on 3 VHS videocassettes.","Poetry Reading 3 at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Harryette Mullen, Alvin Aubert, Nikky Finney, Everett Hoagland, jessica Care moore, and Kalamu ya Salaam. Tony Medina introduced the poets at the beginning of the session. The Poetry Reading was held in Wilson Hall Auditorium at James Madison University on Friday, September 24, 2004 at 3:30 p.m. This footage was originally recorded on 2 VHS videocassettes.","Tribute Banquet for the 2004 Furious Flower Conference at James Madison University. Furious Flower Lifetime Achievement Awards were presented to the following poets: Alvin Aubert, Amiri Baraka, Lucille Clifton, Nikki Giovanni, Haki Madhubuti, Velma Pollard, Eugene Redmond, Sonia Sanchez, and Askia Touré. The event also featured music by D.J. Renegade and the following as presenters: Melba Boyd, William \"Billy Joe\" Harris, Hilary Holladay, Sandra Govan, Quraysh Ali Lansana, Daryl Dance, Howard Rambsy, Lamont Steptoe, and Eleanor Traylor. The banquet was held in the College Center Ballroom, James Madison University on Friday, September 24, 2004 at 7:30 p.m. ","This footage was originally recorded on 4 DVCAM videocassettes.  ","Poetry Jam event at the 2004 Furious Flower Poetry Conference at James Madison University. The original 2004 Furious Flower Poetry Conference program reads, \"Outstanding poets read and perform their work. Music will be provided by the Joel Dias-Porter Quartet. Porter, aka D.J. Renegade, will emcee the event on Friday, September 24 at 10:30 p.m.\" Participants included Joel Dias-Porter, Quo Vadis Gex Breaux, Mona Lisa Saloy, Lenard Moore, Angela Shannon, Lamont Steptoe, and Samantha Thornhill. The event was held at College Center Ballroom, James Madison University on Friday, September 24, 2004 at 10:30 p.m. ","This footage was originally recorded on 1 DVCAM videocassette.","The third Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Opal Moore moderated the session while E. Ethelbert Miller, Toi Derricotte, Kelli Norman Ellis, and Sharan Strange discussed the need for MFA writing programs at historically Black colleges and universities, the development of Cave Canem, Chicago State University's MFA writing program, and the history of the Dark Room Collective. The session was held at Grafton Stovall Theater, James Madison University on Saturday, September 25, 2004 at 9:30 a.m. ","This footage was originally recorded on 3 DVCAM videocassettes.","Cave Canem Reunion Luncheon and Open Mic event at the 2004 Furious Flower Conference at James Madison University. The footage begins with the presentation segments of the Cave Canem luncheon before switching to the Open Mic event. Tyehimba Jess was the Emcee for the Open Mic Reading and many poets read their poetry. The luncheon was held in the Phillips Center Ballroom, James Madison University on Saturday, September 25, 2004 at 12:00 p.m. and the Open Mic Reading was held in Grafton Stovall Theater,  at 1:30 p.m. ","This footage was originally recorded on 3 DVCAM videocassettes.","Cave Canem Reunion Reading at the 2004 Furious Flower Conference at James Madision University. The footage begins with a circle jam poetry reading before switching to the Cave Canem Reading. Cornelius Eady, Marilyn Nelson, Kwame Dawes, Elizabeth Alexander, and Toi Derricotte each read their poetry as part of this event. The reading was held in Grafton Stovall Theater, James Madison University on Saturday, September 25, 2004 at 3:30 p.m. ","This footage was originally recorded on 2 DVCAM videocassettes.","Conference Finale for the 2004 Furious Flower Conference. The event featured two musical groups: \"Fertile Ground\" a soul and jazz band from Baltimore, Maryland and \"The Full Moon of Sonia\" which sets Sonia Sanchez's poetry to music. The Conference Finale was held at Wilson Hall Auditorium, James Madison University on Saturday, September 25, 2004 at 8 p.m. ","This footage was originally recorded on 2 videocassettes.","Lifetime Achievement Award Banquet for the 2024 Furious Flower Conference at James Madison University. jessica Care moore and Tony Medina hosted the banquet and David Berry provided the music. Furious Flower Lifetime Achievement Awards were presented to the following poets: Elizabeth Alexander, Kwame Dawes, Cornelius Eady, Nikky Finney, Lorna Goodison, E. Ethelbert Miller, Harryette Mullen, Niyi Osundare, Timothy Seibles, and Patricia Smith. The banquet was held in the Festival Ballroom at James Madison University on Wednesday, September 18, 2024 at 6 p.m.","Opening session and welcome to the participants for the 2024 Furious Flower Conference at James Madison University. A video introduction featuring Afaa M. Weaver opened the session, followed by an in memoriam slideshow. Lauren Alleyne presented an overview of the Furious Flower Poetry Center's work since the 2014 conference. Traci Zimmerman, the Dean of the College of Arts and Letters Dean and interim-Provost, Bob Kolvoord made remarks, and Bethany Nowviskie, Dean of JMU Libraries, gave a presentation about the Mellon Foundation grant partnership between Furious Flower and JMU Libraries. The Opening Session was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 8:15 a.m.","Keynote Reading and Conversation with honored poets, Elizabeth Alexander \u0026 Kwame Dawes, at the 2024 Furious Flower Conference. Alexander and Dawes read poetry and engaged in discussion with Shara McCallum and Terrance Hayes. The Keynote Reading and Conversation was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 9:15 a.m.","The Worlds of Black Poetry: Critical Portals, Pathways, and Emergences panel at the 2024 Furious Flower Conference at James Madison University.  Keith Leonard, Jahan Ramazani, Evie Shockley, and Mecca Jamilah Sullivan each presented a paper showcasing the depth and breath of the worlds of Black poetry. Topics of discussion included: avant-garde poetry, elegy and Caribbean poetry, Black confessional poetry, Black feminism, and Black queer poetics. This panel was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 11:15 a.m.","A Decade of Poetic Experiment: 2014 to 2024 panel at the 2024 Furious Flower Conference at James Madison University. Aldon Lynn Nielsen, C.S. Giscombe, Meta DuEwa Jones, Mark McMorris, Duriel E. Harris, and Douglas Kearney engaged in a round table discussion about the past decade in Black poetry. Experimentation by poets and critics is of particular focus during this panel. This discussion was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 2 p.m.","Furious Flower Poetry Prize Winner \u0026 Honorable Mention Reading at the 2024 Furious Flower Conference. Winner, Michelle Alexander, Honorable Mention, Raejeana Brooks, and judge, Roger Reeves, read poetry and answered questions from the audience. The Furious Flower Poetry Prize Winner \u0026 Honorable Mention Reading was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 3:30 p.m.","Black Universe I: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Rita Dove, Jericho Brown, Camille T. Dungy, Alexis Pauline Gumbs, Malika Booker, Patricia Jabbeh Wesley, Tyehimba Jess, Remica Bingham-Risher, Matthew Shenoda, Lillian-Yvonne Bertram, Cornelius Eady, Frank X. Walker, and Nikky Finney. The Black Universe I: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 7 p.m.","Dear Yusef: Celebrating the Life \u0026 Work of Poet \u0026 Professor Yusef Komunyakaa panel at the 2024 Furious Flower Conference. Lynne Thompson, Joel Dias-Porter, Linda Susan Jackson, and Dante Micheaux discussed a new anthology entitled \"Dear Yusef.\" Panelists also shared their personal experiences working with Yusef Kumanyaka and read poetry from the anthology. The session closed with the presenters answering audience questions. This panel was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 8:15 a.m.","Walk With Me: Freedom Fighter's Homage presentation and performance at the 2024 Furious Flower Conference. The session featured a discussion, live performances, and answering questions from the audience. The performance itself examined the long road to freedom for Black people in America and included song, spoken word poetry, and dance. This session was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 9:45 a.m.","Laureate Reading and Conversation at the 2024 Furious Flower Conference. Rita Dove, Poet Laureate of the United States, 1993-1995, introduced poet laureates from across the country and moderated a conversation after the readings. Featured poets included: Angela Jackson (Illinois), Curtis Crisler (Indiana), Amanda Johnston (Texas), avery r. young (Chicago, IL), and Glenis Redmond (Greenville, SC).  The Laureate Reading and Conversation was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 11:15 a.m.","Magnitude \u0026 Bond: A Preview of a Field Study on Black Literary Organizations panel at the 2024 Furious Flower Conference. Lisa Willis, Candace G. Wiley, Nichelle M. Hayes, and Duriel E. Harris discussed the Magnitude and Bond field study. The presenters represented four organizations that are participating in the field study: Cave Canem, The Watering Hole, Center for Black Literature \u0026 Culture (CBLC), and Obsidian: Literature \u0026 Arts in the African Diaspora. The group conversed about why the field study is important, positives and negatives they have experienced as leaders of Black literary arts organizations, and how organizations were chosen for the field study. The session closed with a questions from the audience. This panel was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 2 p.m.","Black Universe II: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Ross Gay, Erica Hunt, francine j. harris, Roger Reeves, DaMaris Hill, Efe Paul Azino, Merle Collins, Danez Smith, Tara Betts, A. B. Spellman, Lorna Goodison, E. Ethelbert Miller, and Harryette Mullen. The Black Universe II: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 7 p.m.","Growing a New Garden: Furious Flowering in Classrooms panel at the 2024 Furious Flower Conference. Panelists Anastacia-Reneé, allia abdullah-matta, Brian Hannon, Carmin Wong, and Keisha-Gaye Anderson discussed the Furious Flower Syllabus project, an open access syllabus for a range of educational contexts. Each presenter highlighted their favorite poem featured in the project curriculum, conversed about creating the syllabus, and expressed the importance of such an undertaking. This panel was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 8:15 a.m.","Black Universe III: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Kei Miller, Shara McCallum, Tim Seibles, Anastacia Renée, Gregory Pardlo. Joanne Gabbin introduced each poet with a personally written haiku. The Black Universe III: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 9:45 a.m.","Black Joy in Song performance at the 2024 Furious Flower Conference. Sonya Gabrielle Baker, Albert Lee, and Jeremiah Padilla performed poetry set to music, incorporating both vocal and instrumental music. This performance was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 12:30 p.m.","A Vital History: The Cambridge Anthology Roundtable at the 2024 Furious Flower Conference. Panelists Matt Sandler, Carlyn Ferrari, Marta Werbanowska, McKinley Melton, Annette Debo, and Emily Ruth Rutter discussed an upcoming anthology. Each panelist described their essay from the anthology, including topics such as Black poets of the abolition movement, Black women poets, the Black eco-poetic tradition, elegy, and more. The session concluded with a panel discussion and audience questions. This panel was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 2 p.m.","Black Universe IV: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Terrance Hayes, Evie Shockley, Niyi Osundare, Canisia Lubrin, Patricia Smith, and Kwame Dawes. Lauren Alleyne closed the session by reading a new poem. The Black Universe IV: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 3:30 p.m.","Closing Remarks for the 2024 Furious Flower Conference. Lauren Alleyne, the Executive Director of the Furious Flower Poetry Center, concluded the conference by expressing gratitude for everyone involved with the event in some way. This event was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 5 p.m.","Interview with Camille Dungy, Ross Gay, Alexis Pauline Gumbs, and Niyi Osundare at the 2024 Furious Flower conference. Nate Marshall moderated the conversation, posing questions about the theme Black planet. The group discussed the relationship between Black identity and the environment, how crafting poetry allows them to explore new relationships with the natural world, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.","Interview with Erica Hunt, A.B. Spellman, and Glenis Redmond at the 2024 Furious Flower Conference. Keisha-Gaye Anderson moderated the conversation, posing questions about the theme life in poetry. The group discussed why they chose poetry, pivotal moments in their careers, the role of community and collaboration in their development as poets, advice for emerging poets, lessons learned, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.","Interview with Malika Booker, Danez Smith, and Frank X. Walker at the 2024 Furious Flower Conference. Keith Leonard moderated the conversation, posing questions about the theme collectives and community. The group discussed why it is important to be involved in their respective communities or collectives, the importance of inter-generational connections, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.","Interview with Anastacia Renée, Canisia Lubrin, and Lillian Yvonne Bertram at the 2024 Furious Flower conference. Mecca Jamilah Sullivan moderated the conversation, posing questions about the theme poetic experimentation. The group discussed what poetic experimentation means to them, the experience of experimentation, what is lost when discussing the process of experimentation, and what the worlds of black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Evie Shockley, Remica Bingham-Risher, Terrance Hayes, and DaMaris Hill at the 2024 Furious Flower Conference. Meta DuEwa Jones moderated the conversation, posing questions about the theme creative scholarship. The group discussed what scholarship means to them, how the market does or does not affect their work, their collaborative practices, the worlds of black poetry as they relate to their scholarly, creative, and critical work, and finding joy in their work. The interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Matthew Shenoda, Efe Paul Azino, and Patricia Jabbeh Wesley at the 2024 Furious Flower Conference. Gbenga Adesina moderated the conversation, posing questions about the theme continental conversations. The group discussed diasporic influences, how their work may shape poetry moving forward, and the books or projects they currently working on. This interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Tara Betts, avery r. young, Danez Smith, and Mahogany L. Browne  at the 2024 Furious Flower Conference. McKinley Melton moderated the conversation, posing questions about the theme performance. The group discussed what the worlds of Black poetry mean to them, how they see their work engaging in the expansiveness of poetic performance, the best lessons they have learned from their time as poets and performers, and what it means to be at Furious Flower. This interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Tyehimba Jess, francine j. harris, jessica Care moore and Airea D. Matthews at the 2024 Furious Flower conference. Ajanaé Dawkins moderated the conversation, posing questions about the theme Detroit conversations. Each poet read one of their poems, discussed how the school of Detroit poetry shaped them, and talked about the evolution of Detroit poetry. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.","Interview with Lorna Goodison, Merle Collins, Kei Miller, and Malika Booker at the 2024 Furious Flower conference. Jahan Ramazani moderated the conversation, posing questions about the theme Caribbean conversations. The group discussed Caribbean identity, diasporic identity, the distinctiveness of the Caribbean experience, and what the worlds of Black poetry mean to them. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.","Interview with Roger Reeves, Jericho Brown, and Gregory Pardlo at the 2024 Furious Flower conference. Curtis Crisler moderated the conversation, posing questions about the theme Black masculinity. The group discussed their definitions of Black masculinity, how they show vulnerability in their poetry, and what the worlds of Black poetry mean to them. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.","A copy of Mourning Katrina: A Poetic Response to Tragedy Buena Vista, Va.: Mariner Publishing, 2009 and 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton Harrisonburg, Va.: Virginia Tech Printing Services, 2010 were removed from Series 2, catalogued, and placed in the Special Collections rare book collection. ","The following titles were removed from Series 3 and catalogued: Opala, Joseph A. The Gullah: rice, slavery and the Sierra Leone-American connection. Freetown, Sierra Leone: USIS, 1987; Opala, Joseph. Krio in a nutshell.: Krio Grammar with Lessons, Exercise and Vocabulary, Vol. 1. Freetown, Sierra Leone: [publisher not identified], 1991; Opala, Joseph. Krio in a nutshell.: Krio Conversation with Dialogues, Stories, Proverbs, etc., Vol. 2. Freetown, Sierra Leone: [publisher not identified], 1991; Geraty, Virginia Mixson. Bittle en' t'ing': Gullah cooking with Maum Chrish'. Orangeburg, S.C.: Sandlapper Pub., 1992.","A broadside printing of Rita Dove's \"Ode to My Right Knee\" (no. 39 of 100) was removed from the collection and cataloged separately.","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","The Furious Flower Poetry Center Records, consisting of 17.6 cubic feet (43 boxes, 1 rolled storage container), document the departmental activities of the Furious Flower Poetry Center.","James Madison University Libraries Special Collections","James Madison University. Furious Flower Poetry Center","Furious Flower Conference (1st ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 1994 :.)","Furious Flower Conference (2nd ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 2004 :.)","Furious Flower Conference (3rd ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 2014 :.)","Furious Flower Poetry Center (1999-2004)","James Madison University. Jazz Ensemble","Berry Media Group","Gabbin, Joanne V. (Joanne Veal), 1946-","Alleyne, Lauren K.","Hodges, John L.","Wright, Steven","Facknitz, Susan","Brice-Finch, Jacqueline","Claiborne, C. B. (Claudius B.)","Carrier, Ronald E., 1932-2017","Hunt, Doris","Ward, Val Gray (1932-08-21-2024-03-07)","Brown, Vernisha","Aubert, Alvin (1930-03-12-2014-12-06)","Alexander, Elizabeth, 1962-","Traylor, Eleanor W.","Williams, Sherley Anne, 1944-1999","Stover, Darrell \"SCIPOET\"","Drew, Shahara","Miller, Adam David (1922-10-08-2020-11-04)","Love, Monifa A.","Thompson, Mylea","Harper, Michael S. (Michael Steven), 1938-2016","Ellis, Thomas Sayers (1963)","Keene, John (John R.), 1965-","Barrax, Gerald W. (Gerald William) (1933-06-21-2019-12-07)","Derricotte, Toi, 1941-","Miller, E. Ethelbert (Eugene Ethelbert) (1950-11-20)","Allen, Samuel W. (Samuel Washington) (1917-12-09-2015-06-27)","Phillips, Carl, 1959-","Lane, Pinkie Gordon (1923-2008-12-03)","Madhubuti, Haki R., 1942-","Madgett, Naomi Cornelia Long (1923-07-23-2020-11-05)","Baraka, Amiri, 1934-2014","Touré, Askia M. (1938-10-13)","Evans, Mari, 1919-2017","Sanchez, Sonia, 1934-","Ward, Jerry W., Jr. (Jerry Washington), 1943-","Joyce, Joyce Ann, 1949-","Nielsen, Aldon Lynn (1950-10-20)","Rampersad, Arnold (1941-11-13)","Thomas, Lorenzo, 1944-2005","Renegade, D. J.","Salaam, Kalamu ya, 1947-","McDowell, Deborah E., 1951-","Dove, Rita (1952-08-28)","Kendrick, Dolores, 1927-2017","Brooks, Gwendolyn, 1917-2000","Giovanni, Nikki (1943-2024)","Redmond, Eugene (Eugene B.) (1937-12-01)","Gayles, Gloria Jean Wade (19380701)","Collier, Eugenia W. (1928-04-06)","Patterson, Raymond R. (1929-12-14-2001-04-05)","Graham, Maryemma (1949-06-13)","Moore, Opal (1953)","Gabbin, Alexander L. (1945)","Asim, Jabari, 1962-","Braxton, Joanne M. (1950)","Taylor, Clyde (1931-07-03-2024-01-24)","Steptoe, Lamont B., 1949-","Gillespie, Carmen (1965-06-17-2019-08-30)","Coates, Ta-Nehisi (Ta-Nehisi Paul) (1975-09-30)","Rice, Dorothy Marie, 1948-","Blackman, Toni","Alexander, Kwame (1968-08-21)","deGannes, Nehassaiu","Kein, Sybil (1939-09-29-2022-10-28)","Osbey, Brenda Marie (1957-12-12)","Iverem, Esther, 1960-","Saloy, Mona Lisa (19500701)","Drake, Jeannette M.","Fabu","Dance, Daryl Cumber (1938-01-17)","Trethewey, Natasha D., 1966-","Jackson, Major, 1968-","Beatty, Vera L.","Strange, Sharan (1959)","Young, Kevin (Kevin Lowell), 1970-","Gex, Quo Vadis","Bullock, Byron","Morris, Mellasenah Young","Reagon, Bernice Johnson, 1942-","Pettis, Joyce Owens","Fowler, Virginia C., 1948-","Goven, Sandra","Hoagland, Everett (1942-12-18)","Moore, Lenard D., 1958-","Brown, Douglas T.","Harris, Trudier (1948-02)","Holladay, Hilary (1961-07-03)","Bolden, Tony","Clifton, Lucille, 1936-2010","Hughes, Langston (James Mercer Langston), 1902-1967","Anderson, T. J., III, 1958-","Komunyakaa, Yusef (1947-04-29)","Baker, Houston A., Jr., 1943-","Medina, Tony (1966-01-10)","Debo, Annette, 1964-","Favorite, Malaika, 1949-","Pollard, Velma (1937-03-26)","Sanders, Mark A., 1963-","Dibinga, Omékongo","Mullen, Harryette Romell (1953-07-01)","Finney, Nikky (1957-08-26)","Moore, Jessica Care","Boyd, Melba Joyce (1950-04-02)","Harris, William J., 1942-","Lansana, Quraysh Ali (1964-09-13)","Rambsy, Howard (1976)","Rose, Linwood H. (Linwood Howard), 1951-","Thornhill, Samantha","Shannon, Angela","Ellis, Kelly Norman, 1964-","Jess, Tyehimba","Betts, Tara","Singleton, Giovanni","Harris, Duriel E.","Walker, Frank X., 1961-","Sheba Queen","Moon, Kamilah Aisha (1972-09-05)","Martin, Dawn Lundy (1975)","Obadike, Mendi Lewis, 1973-","Shockley, Evie, 1965-","Eady, Cornelius, 1954-","Nelson, Marilyn, 1946-","Dawes, Kwame Senu Neville, 1962-","Warner, Mark R. (Mark Robert) (1954-12-15)","Allen, George, 1952-","Mfume, Kweisi (1948-10-24)","Okai, Atukwei, 1941-","Bond, Julian (Horace Julian), 1940-2015","Obama, Barack","Goodison, Lorna (1947-08-01)","Osundare, Niyi, 1947-","Seibles, Tim (1955)","Smith, Patricia, 1955-","Adesina, Gbenga","Berry, David E., 1982-","Melton, McKinley","Jones, Meta DuEwa","Marshall, Nate, (Poet)","Oliver, Patrick M.","Morgan, Shauna M.","Weaver, Afaa M. (Afaa Michael), 1951-","Kolvoord, Robert","Zimmerman, Traci","Nowviskie, Bethany","McCallum, Shara, 1972-","Hayes, Terrance (1971)","Leonard, Keith D., 1969-","Ramazani, Jahan, 1960-","Sullivan, Mecca Jamillah","Jaji, Tsitsi (Tsitsi Ella)","Giscombe, C. S. (Cecil S.), 1950-","McMorris, Mark","Scheyer, Lauri (1952-09-08)","Williams, Tyrone (1954-02-24-2024-03-11)","Reeves, Roger","Alexander, Michelle, (Poet)","Brooks, RaeJeana","Brown, Jericho","Dungy, Camille T. (Camille Thornton), 1972-","Gumbs, Alexis Pauline, 1982-","Booker, Malika (1970)","Wesley, Patricia Jabbeh (1955-08-07)","Bingham-Risher, Remica (1981)","Shenoda, Matthew (1977-07-14)","Bertram, Lillian-Yvonne, 1983-","Thompson, Lynne, 1951-","Dias-Porter, Joel.","Jackson, Linda Susan","Micheaux, Dante","Sealey, Nicole","Faison, Latorial (1973)","Pinson, Hermine (1953-07-20)","Glenn, Leah","Crisler, Curtis L.","Johnston, Amanda, 1977-","young, avery r.","Redmond, Glenis (1963-08-27)","Willis, Lisa (20)","Wiley, Candace G.","Hayes, Nichelle M.","Gay, Ross (Ross Alexander), 1974-","Hunt, Erica, 1955-","Harris, Francine J.","Azino, Efe Paul (20)","Collins, Merle (1950-09-29)","Smith, Danez","Spellman, A. B., 1935-","Anastacia-Reneé","abdullah-matta, allia","Hannon, Brian James","Wong, Carmin.","Anderson, Keisha-Gaye","Miller, Kei (1978)","Pardlo, Gregory","Padilla, Jeremiah.","Baker, Sonya G.","Lee, Albert Rudolph","Sandler, Matt","Ferrari, Carlyn Ena, 1984-","Werbanowska, Marta.","Rutter, Emily Ruth (1978-02-28)","Lubrin, Canisia, 1984-","Browne, Mahogany L.","English"],"unitid_tesim":["UA 0017","/repositories/4/resources/488"],"normalized_title_ssm":["Furious Flower Poetry Center Records"],"collection_title_tesim":["Furious Flower Poetry Center Records"],"collection_ssim":["Furious Flower Poetry Center Records"],"repository_ssm":["James Madison University"],"repository_ssim":["James Madison University"],"geogname_ssm":["United States -- Poetry","United States -- Intellectual life -- 20th century","United States -- Intellectual life -- 21st century"],"geogname_ssim":["United States -- Poetry","United States -- Intellectual life -- 20th century","United States -- Intellectual life -- 21st century"],"creator_ssm":["James Madison University. Furious Flower Poetry Center","Gabbin, Joanne V. (Joanne Veal), 1946-","Alleyne, Lauren K."],"creator_ssim":["James Madison University. Furious Flower Poetry Center","Gabbin, Joanne V. (Joanne Veal), 1946-","Alleyne, Lauren K."],"creator_persname_ssim":["Gabbin, Joanne V. (Joanne Veal), 1946-","Alleyne, Lauren K."],"creator_corpname_ssim":["James Madison University. Furious Flower Poetry Center"],"creators_ssim":["Gabbin, Joanne V. (Joanne Veal), 1946-","Alleyne, Lauren K.","James Madison University. Furious Flower Poetry Center"],"places_ssim":["United States -- Poetry","United States -- Intellectual life -- 20th century","United States -- Intellectual life -- 21st century"],"access_terms_ssm":["Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu)."],"acqinfo_ssim":["Furious Flower Poetry Center transferred these materials to Special Collections on May 16 and June 29, 2016. Subsequent transfers occurred in September 2017, September 2019, April 2023, and October 2024."],"access_subjects_ssim":["American poetry -- African American authors","Poetry -- History and criticism","African American poets","African Americans -- Poetry","African Americans -- Intellectual life -- 20th century","African Americans -- Intellectual life -- 21st century","Administrative records","Grant Proposals","Letters (correspondence)","Electronic mail","Compact discs","Posters","DVDs","Poetry","Exhibit scripts","Photographs","Calendars (documents)","Programs (documents)"],"access_subjects_ssm":["American poetry -- African American authors","Poetry -- History and criticism","African American poets","African Americans -- Poetry","African Americans -- Intellectual life -- 20th century","African Americans -- Intellectual life -- 21st century","Administrative records","Grant Proposals","Letters (correspondence)","Electronic mail","Compact discs","Posters","DVDs","Poetry","Exhibit scripts","Photographs","Calendars (documents)","Programs (documents)"],"has_online_content_ssim":["false"],"extent_ssm":["17.6 cubic feet 43 boxes, 1 rolled storage container"],"extent_tesim":["17.6 cubic feet 43 boxes, 1 rolled storage container"],"genreform_ssim":["Administrative records","Grant Proposals","Letters (correspondence)","Electronic mail","Compact discs","Posters","DVDs","Poetry","Exhibit scripts","Photographs","Calendars (documents)","Programs (documents)"],"date_range_isim":[1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020,2021,2022,2023,2024],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research. Currently, the silk banners used in the 2004 and 2014 Furious Flower Poetry Conferences may only be requested (in writing) by Furious Flower Poetry Center staff. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections 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video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003erunning time:\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eOriginal audiovisual and media are in process and not available pending reformatting.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions"],"accessrestrict_tesim":["Collection is open to research. Currently, the silk banners used in the 2004 and 2014 Furious Flower Poetry Conferences may only be requested (in writing) by Furious Flower Poetry Center staff. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","running time:","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Original audiovisual and media are in process and not available pending reformatting."],"accruals_html_tesm":["\u003cp\u003eIt is anticipated that the Furious Flower Poetry Center will continue to donate conference files approximately every ten years and other administrative records on a more frequent basis.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["It is anticipated that the Furious Flower Poetry Center will continue to donate conference files approximately every ten years and other administrative records on a more frequent basis."],"altformavail_html_tesm":["\u003cp\u003eProcessing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.\u003c/p\u003e"],"altformavail_heading_ssm":["Other Formats Available"],"altformavail_tesim":["Processing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions."],"appraisal_html_tesm":["\u003cp\u003eSmall Purchase Credit Card Statements were discarded due to lack of research value.\u003c/p\u003e\n","\u003cp\u003eDue to duplication elsewhere in Special Collections the following issues of Madison (known as Montpelier from 1977-2005), many with articles pertaining to Furious Flower Poetry Center, were returned to the donor: Summer 2003, Winter 2005, Spring 2006, Fall 2006, Summer 2006, Spring 2007, Summer 2007, Fall 2007, Fall 2008, Winter 2008, Summer 2009, Fall 2009, Spring/Summer 2010, Spring/Summer 2011, Fall 2011, Spring/Summer 2015. These issues were loose when donated and were not a part of any pre-established order or foldering system.\u003c/p\u003e"],"appraisal_heading_ssm":[" Appraisal Information"],"appraisal_tesim":["Small Purchase Credit Card Statements were discarded due to lack of research value.","Due to duplication elsewhere in Special Collections the following issues of Madison (known as Montpelier from 1977-2005), many with articles pertaining to Furious Flower Poetry Center, were returned to the donor: Summer 2003, Winter 2005, Spring 2006, Fall 2006, Summer 2006, Spring 2007, Summer 2007, Fall 2007, Fall 2008, Winter 2008, Summer 2009, Fall 2009, Spring/Summer 2010, Spring/Summer 2011, Fall 2011, Spring/Summer 2015. These issues were loose when donated and were not a part of any pre-established order or foldering system."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into four series. Series are arranged chronologically; Series 2, 3, and 4 are further arranged alphabetically according to a particular publication or event.\u003c/p\u003e","\u003clist numeration=\"arabic\" type=\"ordered\"\u003e\n      \u003citem\u003eGrants and Financial Files, 2004-2021\u003c/item\u003e\n      \u003citem\u003ePublications and Manuscripts, 1993-2012\u003c/item\u003e\n      \u003citem\u003eEvents, Programs, and Workshops, 1990-2019\u003c/item\u003e\n      \u003citem\u003eConference Records, 1970-2015\u003c/item\u003e\n    \u003c/list\u003e","\u003cp\u003eThe series is arranged chronologically into three sub-series:\u003c/p\u003e\n","\u003clist numeration=\"arabic\" type=\"ordered\"\u003e\u003citem\u003eSub-series 4.1: 1994 Conference, 1970-2009\u003c/item\u003e\u003citem\u003eSub-series 4.2: 2004 Conference, 2002-2007\u003c/item\u003e\u003citem\u003eSub-series 4.3: 2014 Conference, 2013-2015\u003c/item\u003e\u003c/list\u003e","\u003cp\u003eEvent footage is arranged chronologically by capture time, with the exception of the \"supercuts,\" consisting of video montages, which are arranged by program day. See the Interviews with Poets sub-group for additional arrangement details.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement","Arrangement","Arrangement"],"arrangement_tesim":["The collection is arranged into four series. Series are arranged chronologically; Series 2, 3, and 4 are further arranged alphabetically according to a particular publication or event.","Grants and Financial Files, 2004-2021 Publications and Manuscripts, 1993-2012 Events, Programs, and Workshops, 1990-2019 Conference Records, 1970-2015","The series is arranged chronologically into three sub-series:","Sub-series 4.1: 1994 Conference, 1970-2009 Sub-series 4.2: 2004 Conference, 2002-2007 Sub-series 4.3: 2014 Conference, 2013-2015","Event footage is arranged chronologically by capture time, with the exception of the \"supercuts,\" consisting of video montages, which are arranged by program day. See the Interviews with Poets sub-group for additional arrangement details."],"bibliography_html_tesm":["\u003cbibref\u003e\"Furious Flower Poetry Center.\" James Madison University. Accessed August 09, 2016. https://www.jmu.edu/furiousflower/index.shtml.\u003c/bibref\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["\"Furious Flower Poetry Center.\" James Madison University. Accessed August 09, 2016. https://www.jmu.edu/furiousflower/index.shtml."],"bioghist_html_tesm":["\u003cp\u003eThe Furious Flower Poetry Center (FFPC) was established in 1999 by Joanne V. Gabbin when she was the director of James Madison University's Honors Program. With this flagship of the Honors Program, she continued the kind of programming she had begun by hosting the 1994 Furious Flower Poetry Conference, which was the nation's first scholarly conference on Black poetry. The conference, entitled Furious Flower: A Revolution in African American Poetry, was dedicated to acclaimed poet Gwendolyn Brooks and featured scholars, critics, and the most accomplished and esteemed poets of the time including Nikki Giovanni, Rita Dove, Sonia Sanchez, Michael S. Harper, Haki Madhubuti, and Gwendolyn Brooks herself. The name \"Furious Flower\" is derived from Brooks' poem Second Sermon on the Warpland in which she writes:\u003c/p\u003e\n","\u003cp\u003eThe time\ncracks into furious flower. Lifts its face\nall unashamed. And sways in wicked grace.\u003c/p\u003e\n","\u003cp\u003eMany who participated in the inaugural Furious Flower conference had their roots in the Black Arts Movement. The Black Arts Movement emerged in the wake of the Black Power Movement of the 1960s and 1970s and was comprised of politically motivated black visionaries, poets, artists, dramatists, musicians, and writers. The conference was met with overwhelming praise and The Washington Post called it an historic event. \u003c/p\u003e\n","\u003cp\u003eDue to the success of the 1994 Furious Flower Conference, the Furious Flower Poetry Center (FFPC) was established in 1999 and the Conference became a decennial event, held every ten years. The subsequent conferences were Regenerating the Black Poetic Tradition (2004) and Seeding the Future of African American Poetry (2014). Conference programming is comprised of concerts, readings, roundtable and panel discussions, and paper presentations.\u003c/p\u003e\n","\u003cp\u003eIn 2005, following the success of the second Furious Flower Poetry Conference (2004), JMU gave the FFPC its official charter, making it the first academic center in the United States devoted to Black poetry. Gabbin became its executive director, leaving the Honors Program after 19 years of service.\u003c/p\u003e\n","\u003cp\u003eToday, the FFPC is committed to \"cultivating, honoring, and promoting the diverse voices of African American poets by making the genre accessible to a wide audience and collaborating with educational and cultural institutions, literary organizations, and artists.\" It hosts visiting poets for readings at JMU and nearby venues; sponsors workshops; holds an annual poetry camp for elementary and middle school-aged children; produces texts, videos, DVDs and other materials on African-American poetry; and gathers poets and other scholars for intimate panels and seminars, as well as major conferences. FFPC has held four decennial Furious Flower Conferences: \"A Revolution in African American Poetry\" (1994), \"Regenerating the Black Poetic Tradition\" (2004), \"Seeding the Future of African American Poetry\" (2014), and \"Furious Flower IV: Celebrating the Worlds of Black Poetry (2024).\u003c/p\u003e\n","\u003cp\u003eFFPC is located off of Martin Luther King Jr. Way/Historic Cantrell Avenue. Beyond her duties as Executive Director of the Furious Flower Poetry Center, Joanne Gabbin is a professor of English at JMU, a published author, and a member of the International Literary Hall of Fame for Writers of African Descent.\u003c/p\u003e","\u003cp\u003eThe 1994 Conference Video Recordings, 1994 September 29-October 1, were produced by John L. Hodges. The videos represent the raw footage captured during the 1994 Conference.\u003c/p\u003e"],"bioghist_heading_ssm":["Administrative History","Bio/Historical Note"],"bioghist_tesim":["The Furious Flower Poetry Center (FFPC) was established in 1999 by Joanne V. Gabbin when she was the director of James Madison University's Honors Program. With this flagship of the Honors Program, she continued the kind of programming she had begun by hosting the 1994 Furious Flower Poetry Conference, which was the nation's first scholarly conference on Black poetry. The conference, entitled Furious Flower: A Revolution in African American Poetry, was dedicated to acclaimed poet Gwendolyn Brooks and featured scholars, critics, and the most accomplished and esteemed poets of the time including Nikki Giovanni, Rita Dove, Sonia Sanchez, Michael S. Harper, Haki Madhubuti, and Gwendolyn Brooks herself. The name \"Furious Flower\" is derived from Brooks' poem Second Sermon on the Warpland in which she writes:","The time\ncracks into furious flower. Lifts its face\nall unashamed. And sways in wicked grace.","Many who participated in the inaugural Furious Flower conference had their roots in the Black Arts Movement. The Black Arts Movement emerged in the wake of the Black Power Movement of the 1960s and 1970s and was comprised of politically motivated black visionaries, poets, artists, dramatists, musicians, and writers. The conference was met with overwhelming praise and The Washington Post called it an historic event. ","Due to the success of the 1994 Furious Flower Conference, the Furious Flower Poetry Center (FFPC) was established in 1999 and the Conference became a decennial event, held every ten years. The subsequent conferences were Regenerating the Black Poetic Tradition (2004) and Seeding the Future of African American Poetry (2014). Conference programming is comprised of concerts, readings, roundtable and panel discussions, and paper presentations.","In 2005, following the success of the second Furious Flower Poetry Conference (2004), JMU gave the FFPC its official charter, making it the first academic center in the United States devoted to Black poetry. Gabbin became its executive director, leaving the Honors Program after 19 years of service.","Today, the FFPC is committed to \"cultivating, honoring, and promoting the diverse voices of African American poets by making the genre accessible to a wide audience and collaborating with educational and cultural institutions, literary organizations, and artists.\" It hosts visiting poets for readings at JMU and nearby venues; sponsors workshops; holds an annual poetry camp for elementary and middle school-aged children; produces texts, videos, DVDs and other materials on African-American poetry; and gathers poets and other scholars for intimate panels and seminars, as well as major conferences. FFPC has held four decennial Furious Flower Conferences: \"A Revolution in African American Poetry\" (1994), \"Regenerating the Black Poetic Tradition\" (2004), \"Seeding the Future of African American Poetry\" (2014), and \"Furious Flower IV: Celebrating the Worlds of Black Poetry (2024).","FFPC is located off of Martin Luther King Jr. Way/Historic Cantrell Avenue. Beyond her duties as Executive Director of the Furious Flower Poetry Center, Joanne Gabbin is a professor of English at JMU, a published author, and a member of the International Literary Hall of Fame for Writers of African Descent.","The 1994 Conference Video Recordings, 1994 September 29-October 1, were produced by John L. Hodges. The videos represent the raw footage captured during the 1994 Conference."],"odd_html_tesm":["\u003cp\u003eAdditional information on the Dark Room Collective can be found \u003ca href=\"https://poets.org/text/brief-guide-dark-room-collective\"\u003ehere.\u003c/a\u003e\u003c/p\u003e"],"odd_heading_ssm":["General Note"],"odd_tesim":["Additional information on the Dark Room Collective can be found  here."],"otherfindaid_html_tesm":["\u003cp\u003e\u003ca href=\"https://us.preservica.com/explorer/explorer.html#prop:4\u0026amp;695ef954-06ba-43a6-b341-cc3edf3fc1e6\"\u003ePreservica Internal\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://jmu.access.preservica.com/archive/sdb%3Acollection|695ef954-06ba-43a6-b341-cc3edf3fc1e6/\"\u003ePreservica Access\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://us.preservica.com/explorer/explorer.html#prop:4\u0026amp;9e242b35-14e6-4742-bd85-186794dcc4ec\"\u003ePreservica Internal\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://jmu.access.preservica.com/archive/sdb%3Acollection|9e242b35-14e6-4742-bd85-186794dcc4ec/\"\u003ePreservica Access\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://us.preservica.com/explorer/explorer.html#prop:4\u0026amp;ac68aac5-b304-45cc-aeb4-0905f8a57259\"\u003ePreservica Internal\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://jmu.access.preservica.com/archive/sdb%3Acollection|ac68aac5-b304-45cc-aeb4-0905f8a57259/\"\u003ePreservica Access\u003c/a\u003e\u003c/p\u003e"],"otherfindaid_heading_ssm":["Preservica Internal URL","Preservica Public URL","Preservica Internal URL","Preservica Public URL","Preservica Internal URL","Preservica Public URL"],"otherfindaid_tesim":["Preservica Internal","Preservica Access","Preservica Internal","Preservica Access","Preservica Internal","Preservica Access"],"prefercite_html_tesm":["\u003cp\u003e[identification of item], [box #, folder #], Furious Flower Poetry Center Records, 1970-2021, UA 0017, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA.\u003c/p\u003e","\u003cp\u003e[Identification of item, (including title and date)], [box #, folder # OR identifier], Furious Flower Poetry Center Records, 1970-2021, UA 0017, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA\u003c/p\u003e"],"prefercite_tesim":["[identification of item], [box #, folder #], Furious Flower Poetry Center Records, 1970-2021, UA 0017, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA.","[Identification of item, (including title and date)], [box #, folder # OR identifier], Furious Flower Poetry Center Records, 1970-2021, UA 0017, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA"],"processinfo_html_tesm":["\u003cp\u003eThe donor's original order, including folder titles, was maintained whenever possible. The archivist imposed an order on any unordered files, titled any untitled files, and created discrete series. Social security numbers and bank account numbers have been redacted from materials. When possible, newspapers and clippings were photocopied and originals returned to donor. All material contained within three-ring binders was disbound and foldered in original order. During processing several folders were discovered to be empty. Their folder titles are as follows: Dream in Color Drafts, WHSV Children First 2010, WVPT Kid's Book Festival 2010, Poetry Month 2010, Winter Poetry Contest 2010, Marilyn Nelson Reading 2010, 73 Poems Honorariums (Music). The empty folders were discarded. Numerous folders with small purchase credit card statements and receipts were also discarded. Series I has also been renamed \"Grants and Financial Files.\"\u003c/p\u003e","\u003cp\u003eIn April 2022, the contents of the Furious Flower Poetry Center Conference Records (UA 0018) were incorporated into the Furious Flower Poetry Center Records (UA 0017) due to the collections' shared provenance and their creation by the same administrative body. The conference records were added as a separate series with subseries for each of the decennial conferences. At this same time, accruals received after initial processing were physically arranged to match their intellectual arrangement. Additional financial files deemed to have limited research value were also weeded in April 2022. Administrative receipts, travel vouchers, travel expenses and reimbursements, travel authorizations, purchase orders, invoices for supplies, monthly detail budget reports, and budget revisions were returned to FFPC.\u003c/p\u003e","\u003cp\u003eProcessing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.\u003c/p\u003e","\u003cp\u003eThe donor's original order, including folder titles, was maintained whenever possible. The archivist imposed an order on any unordered files, titled any untitled files, and created discrete series. Social security numbers and bank account numbers have been redacted from materials. When possible, newspapers and clippings were photocopied and originals returned to donor. The collection of magnesium letterpress die plates are individually boxed and organized by the poem's appearance in the publication Furious Flower: A Revolution in African American Poetry into larger boxes (one record storage box and one oversize Hollinger box). Furious Flower Poetry Center donated a box of rolled posters in cardboard tubes, all identical, from the 1994 and 2004 conferences – each cardboard tube contained one 1994 poster and one 2004 poster. Due to duplication elsewhere in this collection, only one set of posters was retained. They were flattened and placed in the Oversize series. Processing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.\u003c/p\u003e","\u003cp\u003eVideo recordings were digitized for preservation and research access by Scene Savers in 2016 and 2017. Select records were decribed by JMU graduate assistant Mitchell Teal in 2018 and 2019 for research access through JMU Scholarly Commons in support of a JMU X-Labs course. Description is ongoing as of 2022. Access to content will be made available once description is complete, barring any copyright or other use restrictions.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information","Processing Information","Processing Note"],"processinfo_tesim":["The donor's original order, including folder titles, was maintained whenever possible. The archivist imposed an order on any unordered files, titled any untitled files, and created discrete series. Social security numbers and bank account numbers have been redacted from materials. When possible, newspapers and clippings were photocopied and originals returned to donor. All material contained within three-ring binders was disbound and foldered in original order. During processing several folders were discovered to be empty. Their folder titles are as follows: Dream in Color Drafts, WHSV Children First 2010, WVPT Kid's Book Festival 2010, Poetry Month 2010, Winter Poetry Contest 2010, Marilyn Nelson Reading 2010, 73 Poems Honorariums (Music). The empty folders were discarded. Numerous folders with small purchase credit card statements and receipts were also discarded. Series I has also been renamed \"Grants and Financial Files.\"","In April 2022, the contents of the Furious Flower Poetry Center Conference Records (UA 0018) were incorporated into the Furious Flower Poetry Center Records (UA 0017) due to the collections' shared provenance and their creation by the same administrative body. The conference records were added as a separate series with subseries for each of the decennial conferences. At this same time, accruals received after initial processing were physically arranged to match their intellectual arrangement. Additional financial files deemed to have limited research value were also weeded in April 2022. Administrative receipts, travel vouchers, travel expenses and reimbursements, travel authorizations, purchase orders, invoices for supplies, monthly detail budget reports, and budget revisions were returned to FFPC.","Processing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.","The donor's original order, including folder titles, was maintained whenever possible. The archivist imposed an order on any unordered files, titled any untitled files, and created discrete series. Social security numbers and bank account numbers have been redacted from materials. When possible, newspapers and clippings were photocopied and originals returned to donor. The collection of magnesium letterpress die plates are individually boxed and organized by the poem's appearance in the publication Furious Flower: A Revolution in African American Poetry into larger boxes (one record storage box and one oversize Hollinger box). Furious Flower Poetry Center donated a box of rolled posters in cardboard tubes, all identical, from the 1994 and 2004 conferences – each cardboard tube contained one 1994 poster and one 2004 poster. Due to duplication elsewhere in this collection, only one set of posters was retained. They were flattened and placed in the Oversize series. Processing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.","Video recordings were digitized for preservation and research access by Scene Savers in 2016 and 2017. Select records were decribed by JMU graduate assistant Mitchell Teal in 2018 and 2019 for research access through JMU Scholarly Commons in support of a JMU X-Labs course. Description is ongoing as of 2022. Access to content will be made available once description is complete, barring any copyright or other use restrictions."],"relatedmaterial_html_tesm":["\u003cp\u003eSee \"1994 Conference Program, 1994\" in Series 1 for original conference program.\u003c/p\u003e","\u003cp\u003eSee the file Poetry Reading 2, 1994 September 29, located in the 1994 Conference Video Recordings sub-group.\u003c/p\u003e","\u003cp\u003eSee the file Critics' Roundtable: Critical Theories and Approaches in African American Poetry, 1994 September 30, located in the 1994 Conference Video Recordings sub-group.\u003c/p\u003e","\u003cp\u003eSee the file Critics' Roundtable: Writing a Literary History of African American Poetry, 1994 October 1, located in the 1994 Conference Video Recordings sub-group.\u003c/p\u003e","\u003cp\u003eSee the file Poetry Reading 5, 1994 September 29, located in the 1994 Conference Video Recordings sub-group.\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29908\"\u003eSam Allen, Alvin Aubert, Amiri Baraka Interviews Final Cut\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29908\"\u003eSam Allen, Alvin Aubert, Amiri Baraka Interviews Final Cut\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29910\"\u003eToi Derricotte, Haki Madhubuti, and Naomi Long Madgett Interviews Final Cut\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29910\"\u003eToi Derricotte, Haki Madhubuti, and Naomi Long Madgett Interviews Final Cut\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30094\"\u003eNamoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A\u003c/a\u003e\u003c/p\u003e\n","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30095\"\u003eNamoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30094\"\u003eNamoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A\u003c/a\u003e\u003c/p\u003e\n","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30095\"\u003eNamoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30094\"\u003eNamoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A\u003c/a\u003e\u003c/p\u003e\n","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30095\"\u003eNamoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29998\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A\u003c/a\u003e\u003c/p\u003e\n","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29999\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29998\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A\u003c/a\u003e\u003c/p\u003e\n","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29999\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29998\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A\u003c/a\u003e\u003c/p\u003e\n","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29999\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29998\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A\u003c/a\u003e\u003c/p\u003e\n","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29999\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30039\"\u003eMichael Harper interviewed by Aldon Nielsen Part 2, Camera A. Toi Derricotte interviewed by Opal Moore Camera A\u003c/a\u003e\u003c/p\u003e\n","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30040\"\u003eMichael Harper interviewed by Aldon Nielsen Part 2, Camera B. Toi Derricotte interviewed by Opal Moore Camera B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29907\"\u003eMari Evans, Everett Hoagland, and Sonia Sanchez Interviews Final Cut\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29907\"\u003eMari Evans, Everett Hoagland, and Sonia Sanchez Interviews Final Cut\u003c/a\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials"],"relatedmaterial_tesim":["See \"1994 Conference Program, 1994\" in Series 1 for original conference program.","See the file Poetry Reading 2, 1994 September 29, located in the 1994 Conference Video Recordings sub-group.","See the file Critics' Roundtable: Critical Theories and Approaches in African American Poetry, 1994 September 30, located in the 1994 Conference Video Recordings sub-group.","See the file Critics' Roundtable: Writing a Literary History of African American Poetry, 1994 October 1, located in the 1994 Conference Video Recordings sub-group.","See the file Poetry Reading 5, 1994 September 29, located in the 1994 Conference Video Recordings sub-group.","Sam Allen, Alvin Aubert, Amiri Baraka Interviews Final Cut","Sam Allen, Alvin Aubert, Amiri Baraka Interviews Final Cut","Toi Derricotte, Haki Madhubuti, and Naomi Long Madgett Interviews Final Cut","Toi Derricotte, Haki Madhubuti, and Naomi Long Madgett Interviews Final Cut","Namoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A","Namoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B","Namoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A","Namoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B","Namoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A","Namoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B"," Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A"," Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B"," Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A"," Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B"," Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A"," Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B"," Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A"," Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B","Michael Harper interviewed by Aldon Nielsen Part 2, Camera A. Toi Derricotte interviewed by Opal Moore Camera A","Michael Harper interviewed by Aldon Nielsen Part 2, Camera B. Toi Derricotte interviewed by Opal Moore Camera B","Mari Evans, Everett Hoagland, and Sonia Sanchez Interviews Final Cut","Mari Evans, Everett Hoagland, and Sonia Sanchez Interviews Final Cut"],"scopecontent_html_tesm":["\u003cp\u003eThe Furious Flower Poetry Center Records, 1970-2024, consisting of 17.6 cubic feet (43 boxes, 1 rolled storage container), document the departmental activities of the Furious Flower Poetry Center, a unit formerly of the JMU Honor's Program that became its own separate academic center of the University in 2005. A portion of the material contained within the records derive from events and programs sponsored by the Furious Flower Poetry Center including 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton, Lineage: The Margaret Walker Song Cycle, and an annual children's poetry camp. Specific types of materials include event posters and brochures, exhibit panels, logistical and planning documentation, and email correspondence. Materials related to publications produced by the Center such as Mourning Katrina: A Poetic Response to Tragedy and Shaping Memories: Reflections of African American Women Writers are comprised of draft manuscripts and correspondence with poets and publishers. Grant proposals and awards, many of which relate to the aforementioned events and projects, are also represented. Materials related to the decennial Furious Flower poetry conferences, including administrative documentation and video recordings, are represented in the Conference Records series.\u003c/p\u003e","\u003cp\u003eArranged chronologically. \u003c/p\u003e\n","\u003cp\u003eFFPC relies heavily on funding from corporate entities and non-profits to subsidize and off-set the cost of furthering their mission of promoting African-American poetry. As such, this series contains grant proposals and awards (all closed) relating to events, publications, and other projects sponsored by the Furious Flower Poetry Center. Projects represented in this series include \"Dream in Color,\" an online curriculum sponsored by Target that enabled elementary, middle, and high-school students to discover the works of African-American poets; and the publication of Mourning Katrina, an anthology of poems by observers and survivors of Hurricane Katrina. All grant materials were removed from three-ring binders and foldered, maintaining original order.\u003c/p\u003e","\u003cp\u003eArranged chronologically by project date and sub-arranged alphabetically within each project.\u003c/p\u003e\n","\u003cp\u003eThis series contains material related to publications and manuscripts produced by the Furious Flower Poetry Center. In many cases this refers to books in the typical sense (Mourning Katrina: A Poetic Response to Tragedy, Furious Flower: African-American Poetry from the Black Arts Movement to the Present), Furious Flower Poetry Center also oversaw the publication of The Painted Word – a set of notecards and a corresponding calendar of poets' portraits. Correspondence with various publishers is also included.\u003c/p\u003e","\u003cp\u003eArranged chronologically by event and sub-arranged alphabetically within each event.\u003c/p\u003e\n","\u003cp\u003eThis series is comprised of material relating primarily to the many events, programs, and workshops hosted and sponsored by the Furious Flower Poetry Center. Major events represented in this series include Tell Me Your Names: The Poetry of Lucille Clifton, a week-long seminar held June 14 –June 21, 2009 and 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton, a tribute program held September 21, 2010. Of particular interest are 57 oversize exhibit panels from Among Poets: Lucille Clifton Commemorative Exhibition. This 2012 exhibition held at the Reginald F. Lewis Museum and the Enoch Pratt Free Library, both in Baltimore, Maryland, primarily feature photographs by Lynda Koolish of Lucille Clifton, her contemporaries, and her family and friends. The Center's annual Children's Poetry Camp is also well documented. Researchers should note that there are some files in this series (e.g. materials concerning Oni Lasana Productions) that are not directly related to events held by FFPC. These events are likely ones attended by FFPC staff or documented because they serve as examples of comparable outreach initiatives or similar types of promotion.\u003c/p\u003e\n","\u003cp\u003eOne file of materials related to the Furious Flower Poetry Center's 25th Anniversary Celebration, held in September 2019 at the National Museum of African American History and Culture, include promotional material, a schedule of events, and a copy of the invocation presented by Rev. Edward A. Scott. Of particular interest is a promotional card inscribed by Qiniso \"Qibho\" Motsa, a poet, musicion, author, and social activist from Eswatini.\u003c/p\u003e","\u003cp\u003eThis series comprises materials related to the decennial Furious Flower poetry conferences, beginning with the inaugural conference in 1994. A significant portion of the records include logistical and planning documentation for each conference as well as marking and promotional items. These materials are comprised of calls for papers, contracts, correspondence, address lists, ticket requests, travel, transportation, and lodging reservations, and menus. The records include nontraditional items as well. Of interest are exhibit panels (text labels and images) describing and depicting the participants of the 1994 conference. Magnesium letterpress die plates used to print a limited edition portfolio Furious Flower: A Revolution in African American Poetry, a special collection of 23 poems selected by poets (who participated in the 1994 conference) to represent their work, are included. Six silk banners that adorned the Wilson Hall auditorium during the 2004 and 2014 conferences are included.\u003c/p\u003e","\u003cp\u003eArranged alphabetically with the exception of the Exhibit of Participants materials and the magnesium letterpress die plates which are located at the end of the series due to their size. Note that the numbering system for the letterpress die plates is sequential based on each poem's order in the publication Furious Flower: A Revolution in African American Poetry. As such the first folder/four-flap enclosure in box nine is labeled 9:21b. This is the plate for page two of the 21st poem in the publication.\nMaterials in this series primarily document the planning and implementation of the 1994 Furious Flower Poetry Conference: A Revolution in African American Poetry. Records include travel and lodging reservations, correspondence with participating poets, financial documentation and budgets, and mailing lists. Marketing and promotional items such as posters and brochures are included. Conference evaluations completed by attendees and folders labeled \"Positive Responses\" document the overwhelming success of the conference. Of particular interest are exhibit components from the 1994 conference that include text labels and images of each participating poet. The photographs for these panels were taken by C. B. Claiborne. Copy 225 of 300 of Furious Flower: A Revolution in African American Poetry is located in box 2, folder 5. The magnesium letterpress die plates used to print this collection of poetry are also included here. Each plate is individually housed in a four-flap enclosure and then boxed in order of appearance in the publication. Of significance are the video recordings documenting conference proceedings and interviews with Black poets.\u003c/p\u003e","\u003cp\u003eThis series contains 45 video recordings captured by John L. Hodges during the 1994 Furious Flower Poetry Conference as well as interviews with poets.\u003c/p\u003e","\u003cp\u003eOpening invocation and welcome to participants for the 1994 Furious Flower Conference at James Madison University. The Opening Session was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 8:30 a.m. This footage was originally recorded on 1 MII videocassette.\u003c/p\u003e","\u003cp\u003eThe Critics' Roundtable, \"African American Poetry and the Vernacular Matrix,\" was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 9:30 a.m.\u003c/p\u003e\n","\u003cp\u003eOriginal 1994 Furious Flower Poetry Conference program reads, \"African American poetry, perhaps more so than fiction and drama, has lent and continues to lend itself to the thematic and formalistic expression of its matrixing in African American culture, in the vernacular (folk and popular) culture in particular. This roundtable will investigate the nature and extent of this matrixing. It will consider the relationship of the folk to the popular vernacular mode, whether \"continuity\" or \"disjuncture\" best describes that relationship and how the difference between the two is imprinted upon the literature. It will also consider the nature and validity of rural/urban, southern/northern distinctions as they apply to cultural expressive manifestations such as the blues, and the degree to which these distinctions spill over into the poetry as a literary production. (Alvin Aubert)\"\u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 3 MII videocassettes.\u003c/p\u003e","\u003cp\u003eMichael S. Harper's Keynote speech at the 1994 Furious Flower Conference. The session continued with poetry readings by Elizabeth Alexander, Gerald Barrax, Toi Derricotte, and E. Ethelbert Miller. The Keynote Speech and Poetry Reading was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 1 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003ePoetry Readings by Sam Allen, Pinkie Gordon Lane, Haki Madhubuti, and Naomi Long Madgett at the 1994 Furious Flower Conference. The Poetry Reading was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 4:45 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003ePoetry Readings by Amiri Baraka, Mari Evans, Michael S. Harper, and Sonia Sanchez at the 1994 Furious Flower Conference. The JMU Jazz Ensemble opened the session by playing \"Cherry Juice.\" The Poetry Reading was held at Wilson Hall, James Madison University on Thursday, September 29, 1994 at  8 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003eThe Critics' Roundtable, \"Critical Theories and Approaches in African American Poetry,\" was held at the Grafton-Stovall Theatre at James Madison University on Friday, September 30, 1994 at 9:30 a.m. \u003c/p\u003e\n","\u003cp\u003eOriginal 1994 Furious Flower Poetry Conference program reads, \"The work of literary theory and of theorizing in other areas of the human sciences is to specify what conditions obtain among those who create, those who make use of creations, and the languages (or signs) that enable creators and consumers to negotiate in a world of social constructions. In short, theory is obligated to explain relations between people and artifacts in the contexts of history and culture. In that sense, theory is necessary for rigorous examination of African American poetry. How might theory advance the study and appreciation of African American poetry? Within the frame of this questions, scholars on the panel will be asked to address what kind of critical or cultural theory seems most appropriate for understanding poetry, how such theories influence interpretive methods and approaches, and how must theorists themselves grapple with their own historicity in light of African American poetry's evolution from orature to literature to newer genres that mix orality and literacy. The aim of the panel is to clarify some problems of theory and poetry as they affect various audiences (Jerry W. Ward, Jr.)\" \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 4 MII videocassettes.\u003c/p\u003e","\u003cp\u003eRita Dove and Gwendolyn Brooks' Keynote Speeches at the 1994 Furious Flower Conference. The Keynotes were held at Wilson Hall, James Madison University on Friday, September 30, 1994 at 1 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003ePoetry Readings by Dolores Kendrick, Nikki Giovanni, and Eugene Redmond at the 1994 Furious Flower Conference. The Poetry Reading was held at Wilson Hall, James Madison University on Friday, September 30, 1994 at 3 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003eTribute Banquet to honor important black poets at the 1994 Furious Flower Conference. Mari Evans, Raymond Patterson, Margaret Walker, Naomi Long Madgett, Samuel W. Allen, Pinkie Gordon Lane, and Gwendolyn Brooks were the honored poets. The banquet was held at Phillips Hall, James Madison University on Friday, September 30, 1994 at 7 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003eThe Critics' Roundtable, \"Writing a Literary History of African American Poetry,\" was held at the Grafton-Stovall Theatre at James Madison University on Saturday, October 1, 1994 at 9:30 a.m. \u003c/p\u003e\n","\u003cp\u003eOriginal 1994 Furious Flower Poetry Conference program reads, \"As the drum stands at the crossroads of traditional African and African American culture, so the poets stand at the center of the drum providing the cadence, connections and continuity that define their literary history. Panelists on this roundtable will speak on periodicity and identify significant literary movements from the Harlem Renaissance through the Black Arts Movement to hip-hop. In an attempt to provide a valid historical framework for the poetry, panelists will discuss major literary milestones and important poets emerging during the twentieth century. (Eugene Redmond)\" \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 3 MII videocassettes.\u003c/p\u003e","\u003cp\u003ePoetry Free Read at the 1994 Furious Flower Conference. The Free Read was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003ePoetry Readings by Jacqueline Brice-Finch, Gwen Butler, Kalamu ya Salaam, Jeannette Drake, Sybil Kein, Adam David Miller, Brenda Marie Osbey, Fabu Carter, Ester Iverem, and Mona Lisa Saloy at the 1994 Furious Flower Conference. The Poetry Reading was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994 at 2 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003ePoetry Readings by The Dark Room Collective at the 1994 Furious Flower Conference. Established in Boston in 1988, The Dark Room Collective was first a reading series and later a small community of black poets and writers. The Dark Room Collective's poetry reading at the 1994 conference was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994 at 4:15 p.m. \u003c/p\u003e\n","\u003cp\u003eTape 1 begins with the last 10 minutes of Poetry Reading 5 and The Dark Room Collective reading starts at the 12 minute mark. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003eConference Finale for the 1994 Furious Flower Conference. A celebration of black arts and culture, the conference finale featured musical and spoken word performances by Mellasenah Morris, the JMU Contemporary Gospel Singers, Val Gray Ward, and Bernice Johnson Reagon. The Conference Finale was held at Wilson Hall, James Madison University on Saturday, October 1, 1994 at 8 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 6 MII videocassettes.\u003c/p\u003e","\u003cp\u003eSupercuts of the 1994 Furious Flower Conference, featuring footage from all 3 days of the conference. This footage was originally recorded on 10 MII videocassettes.\u003c/p\u003e","\u003cp\u003eSupercut 1/10 of the 1994 Furious Flower Conference, featuring selections from the conference opening session and Critics' Roundtable: African American Poetry and the Vernacular Matrix. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eSupercut 2/10 of the 1994 Furious Flower Conference, featuring selections from Poetry Reading 1 (Elizabeth Alexander, Gerald Barrax; Toi Derricotte; and E. Ethelbert Miller) and Poetry Reading 2 (Sam Allen, Pinkie Gordon Lane, Haki Madhubuti, Naomi Long Madgett). \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eSupercut 3/10 of the 1994 Furious Flower Conference, featuring selections from Poetry Reading 2 (Naomi Long Madgett) and Poetry Reading 3 (Amiri Baraka, Mari Evans, Michael S. Harper, Sonia Sanchez). \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eSupercut 4/10 of the 1994 Furious Flower Conference, featuring selections from Critics' Roundtable: Critical Theories and Approaches in African American Poetry and the keynote speeches by Rita Dove and Gwendolyn Brooks. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eSupercut 5/10 of the 1994 Furious Flower Conference, featuring the remainder of  Gwendolyn Brooks' keynote speech and selections from Poetry Reading 4 (Dolores Kendrick, Nikki Giovanni, Eugene Redmond). \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eSupercut 6/10 of the 1994 Furious Flower Conference, featuring selections from the Tribute Banquet. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eSupercut 7/10 of the 1994 Furious Flower Conference, featuring selections from Critics' Roundtable: Writing a Literary History of African American Poetry. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette. \u003c/p\u003e","\u003cp\u003eSupercut 8/10 of the 1994 Furious Flower Conference, featuring selections from  Poetry Reading 5 (Jacqueline Brice-Finch, Gwen Butler, Kalamu ya Salaam, Jeannette Drake, Sybil Kein, Adam David Miller, Brenda Marie Osbey, Fabu Carter, Ester Iverem, Mona Lisa Saloy, and Quo Vadis Gex-Breaux). \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eSupercut 9/10 of the 1994 Furious Flower Conference, featuring selections from The Dark Room Collective: A Fisted Reading. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette. \u003c/p\u003e","\u003cp\u003eSupercut 10/10 of the 1994 Furious Flower Conference, featuring selections from the Conference Finale. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette. \u003c/p\u003e","\u003cp\u003eAudience footage of Poetry Reading 2 from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eFootage of posters, books, various artifacts, and exhibits at the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eAudience footage of Critics' Roundtable: Critical Theories and Approaches in African American Poetry from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eAudience footage of Critics' Roundtable: Writing a Literary History of African American Poetry from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eAudience footage of Poetry Reading 5 from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eInterview with E. Ethelbert Miller at the 1994 Furious Flower Conference. Miller was interviewed by Eugenia Collier in this recording. This footage was originally recorded on MII videocassettes.\u003c/p\u003e","\u003cp\u003eInterviews with poets at the 1994 Furious Flower Conference. Featured in this video is Eugene Redmond interviewed by Jabari Asim, Major Jackson interviewed by Vera Beatty, Dolores Kendrick  interviewed by Judith Thomas. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eInterviews with poets at the 1994 Furious Flower Conference. Featured in this video is Gerald Barrax interviewed by Joyce Pettis and Nikki Giovanni interviewed by Virginia Fowler. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eInterviews with poets at the 1994 Furious Flower Conference. Featured in this video is Major Jackson interviewed by Vera Beatty, Dolres Kendrick interviewed by Judith Thomas, Pinkie Gordon Lane interviewed by Sandra Govan, and Michael S. Harper interviewed by Aldon Nielsen. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eInterviews with poets at the 1994 Furious Flower Conference. Featured in this video is Mari Evans interviewed by Val Gray Ward, Everett Hoagland interviewed by Kalamu ya Salaam, and Sonia Sanchez interviewed by Lorenzo Thomas. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eInterviews with poets at the 1994 Furious Flower Conference. Featured in this video is Sam Allen interviewed by Jerry Ward, Alvin Aubert interviewed by Lenard Moore, and Amiri Baraka interviewed by Askia Touré. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eInterviews with poets at the 1994 Furious Flower Conference. Featured in this video is Sherley Anne Williams interviewed by Deborah McDowell. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eInterviews with poets at the 1994 Furious Flower Conference. Featured in this video is Toi Derricotte interviewed by Opal Moore, Haki Madhubuti interviewed by Sonia Sanchez, and Naomi Long Madgett interviewed by Eleanor Traylor. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eArranged alphabetically.\u003c/p\u003e\n","\u003cp\u003eMaterials in this series primarily document the planning and implementation of the 2004 Furious Flower Poetry Conference: Regenerating the Black Poetic Tradition. Records include travel and lodging reservations, correspondence with participating poets, financial documentation and budgets, and mailing lists. Marketing and promotional items such as posters and brochures are included. During the 2004 conference, notable African American scholars including Tony Bolden, Hilary Holladay, and Monifa Love conducted interviews with presenting conference poets including Houston Baker, Rita Dove, and Tony Medina. The corresponding transcripts are included and are particularly significant to African American poetry scholarship. Of particular interest is congratulatory correspondence and RSVP regrets for the 2004 conference from Julian Bond, Governor Mark Warner, Senator George Allen, the office of President George W. Bush and Senator John Kerry, President and CEO of the NAACP Kweisi Mfume, and many others. Some of these letters were printed in the official conference program. Also of interest are evaluations completed by conference attendees. Six  silk banners used to decorate the Wilson Hall auditorium during the conference are included in this series. The banners are rolled onto dowels and housed in a rolled storage container. Currently, the silk banners may only be requested (in writing) by Furious Flower Poetry Center staff.\u003c/p\u003e","\u003cp\u003eOpening Session and welcome to participants for the 2004 Furious Flower Conference at James Madison University. The first recording is a copy of the ten-minute documentary that was shown during the opening session and the second tape features performances and remarks from the session itself. The Opening Session was held at College Center at James Madison University on Thursday, September 23, 2004 at 8:30 a.m.\u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 1 MDV and 1 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003eThe first Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Trudier Harris moderated the session while Maryemma Graham, Hilary Holladay, and Tony Bolden critically discussed turn of the twentieth century poetry, The Black Arts Movement, and modern Black poetry. The session was held at College Center Ballroom at James Madison University on Thursday, September 23, 2004 at 9:30 a.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 3 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003eFootage of the luncheon hosted by the George Moses Horton Society at the 2004 Furious Flower Conference. The 2004 Furious Flower Poetry Conference program reads, \"Members of the George Moses Horton Society, based at the University of North Carolina, Chapel Hill, will host a luncheon on Thursday, September 23. The Horton Society was concieved by Trudier Harris in the spring of 1996 as a way to encourage sustained scholarly focus on the works of African American poets and to foster presentation and publishing opportunities for that scholarship. Yusef Komunyakaa and T.J. Anderson are the featured speakers.\" This footage only shows a portion of the presentation by T.J. Anderson and Yusef Komunyakaa before cutting off abruptly. The luncheon was held in the College Center Ballroom, James Madison University on Thursday, September 23, 2004 at 11:45 a.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 1 DVCAM videocassette.\u003c/p\u003e","\u003cp\u003eKeynote Speech and Poetry Reading 1 at the 2004 Furious Flower Conference. Houston A. Baker Jr. gave his keynote speech entitled, \"The Poetry of Impulse: Six Inches of African Stone and Lyrical Black Consciousness\" after an introduction by Trudier Harris. The session continued a presentation of the Furious Flower Lifetime Achievement Award to Houston A. Baker Jr. by Jerry W. Ward Jr. and Joanne Gabbin. Susan Facknitz introduced the next segment, a poetry reading with Jabari Asim, Major Jackson, Tony Medina, Opal Moore, Sharan Strange, and Yusef Komunyakaa. The Keynote Speech and Poetry Reading 1 was held at Wilson Hall Auditorium, James Madison University on Friday, September 23, 1994 at 1:15 p.m.\u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 DVCAM videocassettes. \u003c/p\u003e","\u003cp\u003eFootage of Concurrent Sessions and the Furious Flower Art Opening Reception at the 2004 Furious Flower Conference. The first half of the footage shows snippets of concurrent sessions held in various rooms in Taylor Hall from 4:30-5:45pm on Thursday, September 23, 2004. The second half of the footage features the art opening reception, about which the original 2004 Furious Flower Poetry Conference program states, \"Commissioned to bring visual attention to the work of African American poets and symbolizing the flowering of African American poetry, this important and original work of art by Atlanta artist Malaika Favorite will be unveiled.\" The reception was held in Taylor Hall Room 405 at James Madison University on Thursday, September 23, 2004 at 6:45 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003ePoetry Reading 2 at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Brenda Marie Osbey, Kevin Young, E. Ethelbert Miller, Haki Madhubuti, Lucille Clifton, and Nikki Giovanni.  Kalamu ya Salaam introduced the poets at the beginning of the session. The Poetry Reading was held in Wilson Hall Auditorium at James Madison University on Thursday, September 23, 2004 at 8 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003eThe second Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Daryl C. Dance moderated the session while Velma Pollard, Mark Sanders, Eleanor Traylor, and Omékongo Dibinga presented about the topic cross pollination in the African diaspora. The session was held at College Center Ballroom at James Madison University on Friday, September 24, 2004 at 9:30 a.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 3 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003eLaureate's Circle poetry reading at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Eugene Redmond, Dolores Kendrick, Askia Touré, Rita Dove, Amiri Baraka, and Sonia Sanchez. Joanne Gabbin introduced the poets at the beginning of the session. The Laureate's Circle reading was held in Wilson Hall Auditorium, James Madison University on Friday, September 24, 2004 at 1:30 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 3 VHS videocassettes.\u003c/p\u003e","\u003cp\u003ePoetry Reading 3 at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Harryette Mullen, Alvin Aubert, Nikky Finney, Everett Hoagland, jessica Care moore, and Kalamu ya Salaam. Tony Medina introduced the poets at the beginning of the session. The Poetry Reading was held in Wilson Hall Auditorium at James Madison University on Friday, September 24, 2004 at 3:30 p.m. This footage was originally recorded on 2 VHS videocassettes.\u003c/p\u003e","\u003cp\u003eTribute Banquet for the 2004 Furious Flower Conference at James Madison University. Furious Flower Lifetime Achievement Awards were presented to the following poets: Alvin Aubert, Amiri Baraka, Lucille Clifton, Nikki Giovanni, Haki Madhubuti, Velma Pollard, Eugene Redmond, Sonia Sanchez, and Askia Touré. The event also featured music by D.J. Renegade and the following as presenters: Melba Boyd, William \"Billy Joe\" Harris, Hilary Holladay, Sandra Govan, Quraysh Ali Lansana, Daryl Dance, Howard Rambsy, Lamont Steptoe, and Eleanor Traylor. The banquet was held in the College Center Ballroom, James Madison University on Friday, September 24, 2004 at 7:30 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 4 DVCAM videocassettes.  \u003c/p\u003e","\u003cp\u003ePoetry Jam event at the 2004 Furious Flower Poetry Conference at James Madison University. The original 2004 Furious Flower Poetry Conference program reads, \"Outstanding poets read and perform their work. Music will be provided by the Joel Dias-Porter Quartet. Porter, aka D.J. Renegade, will emcee the event on Friday, September 24 at 10:30 p.m.\" Participants included Joel Dias-Porter, Quo Vadis Gex Breaux, Mona Lisa Saloy, Lenard Moore, Angela Shannon, Lamont Steptoe, and Samantha Thornhill. The event was held at College Center Ballroom, James Madison University on Friday, September 24, 2004 at 10:30 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 1 DVCAM videocassette.\u003c/p\u003e","\u003cp\u003eThe third Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Opal Moore moderated the session while E. Ethelbert Miller, Toi Derricotte, Kelli Norman Ellis, and Sharan Strange discussed the need for MFA writing programs at historically Black colleges and universities, the development of Cave Canem, Chicago State University's MFA writing program, and the history of the Dark Room Collective. The session was held at Grafton Stovall Theater, James Madison University on Saturday, September 25, 2004 at 9:30 a.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 3 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003eCave Canem Reunion Luncheon and Open Mic event at the 2004 Furious Flower Conference at James Madison University. The footage begins with the presentation segments of the Cave Canem luncheon before switching to the Open Mic event. Tyehimba Jess was the Emcee for the Open Mic Reading and many poets read their poetry. The luncheon was held in the Phillips Center Ballroom, James Madison University on Saturday, September 25, 2004 at 12:00 p.m. and the Open Mic Reading was held in Grafton Stovall Theater,  at 1:30 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 3 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003eCave Canem Reunion Reading at the 2004 Furious Flower Conference at James Madision University. The footage begins with a circle jam poetry reading before switching to the Cave Canem Reading. Cornelius Eady, Marilyn Nelson, Kwame Dawes, Elizabeth Alexander, and Toi Derricotte each read their poetry as part of this event. The reading was held in Grafton Stovall Theater, James Madison University on Saturday, September 25, 2004 at 3:30 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003eConference Finale for the 2004 Furious Flower Conference. The event featured two musical groups: \"Fertile Ground\" a soul and jazz band from Baltimore, Maryland and \"The Full Moon of Sonia\" which sets Sonia Sanchez's poetry to music. The Conference Finale was held at Wilson Hall Auditorium, James Madison University on Saturday, September 25, 2004 at 8 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 videocassettes.\u003c/p\u003e","\u003cp\u003eLifetime Achievement Award Banquet for the 2024 Furious Flower Conference at James Madison University. jessica Care moore and Tony Medina hosted the banquet and David Berry provided the music. Furious Flower Lifetime Achievement Awards were presented to the following poets: Elizabeth Alexander, Kwame Dawes, Cornelius Eady, Nikky Finney, Lorna Goodison, E. Ethelbert Miller, Harryette Mullen, Niyi Osundare, Timothy Seibles, and Patricia Smith. The banquet was held in the Festival Ballroom at James Madison University on Wednesday, September 18, 2024 at 6 p.m.\u003c/p\u003e","\u003cp\u003eOpening session and welcome to the participants for the 2024 Furious Flower Conference at James Madison University. A video introduction featuring Afaa M. Weaver opened the session, followed by an in memoriam slideshow. Lauren Alleyne presented an overview of the Furious Flower Poetry Center's work since the 2014 conference. Traci Zimmerman, the Dean of the College of Arts and Letters Dean and interim-Provost, Bob Kolvoord made remarks, and Bethany Nowviskie, Dean of JMU Libraries, gave a presentation about the Mellon Foundation grant partnership between Furious Flower and JMU Libraries. The Opening Session was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 8:15 a.m.\u003c/p\u003e","\u003cp\u003eKeynote Reading and Conversation with honored poets, Elizabeth Alexander \u0026amp; Kwame Dawes, at the 2024 Furious Flower Conference. Alexander and Dawes read poetry and engaged in discussion with Shara McCallum and Terrance Hayes. The Keynote Reading and Conversation was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 9:15 a.m.\u003c/p\u003e","\u003cp\u003eThe Worlds of Black Poetry: Critical Portals, Pathways, and Emergences panel at the 2024 Furious Flower Conference at James Madison University.  Keith Leonard, Jahan Ramazani, Evie Shockley, and Mecca Jamilah Sullivan each presented a paper showcasing the depth and breath of the worlds of Black poetry. Topics of discussion included: avant-garde poetry, elegy and Caribbean poetry, Black confessional poetry, Black feminism, and Black queer poetics. This panel was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 11:15 a.m.\u003c/p\u003e","\u003cp\u003eA Decade of Poetic Experiment: 2014 to 2024 panel at the 2024 Furious Flower Conference at James Madison University. Aldon Lynn Nielsen, C.S. Giscombe, Meta DuEwa Jones, Mark McMorris, Duriel E. Harris, and Douglas Kearney engaged in a round table discussion about the past decade in Black poetry. Experimentation by poets and critics is of particular focus during this panel. This discussion was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 2 p.m.\u003c/p\u003e","\u003cp\u003eFurious Flower Poetry Prize Winner \u0026amp; Honorable Mention Reading at the 2024 Furious Flower Conference. Winner, Michelle Alexander, Honorable Mention, Raejeana Brooks, and judge, Roger Reeves, read poetry and answered questions from the audience. The Furious Flower Poetry Prize Winner \u0026amp; Honorable Mention Reading was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 3:30 p.m.\u003c/p\u003e","\u003cp\u003eBlack Universe I: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Rita Dove, Jericho Brown, Camille T. Dungy, Alexis Pauline Gumbs, Malika Booker, Patricia Jabbeh Wesley, Tyehimba Jess, Remica Bingham-Risher, Matthew Shenoda, Lillian-Yvonne Bertram, Cornelius Eady, Frank X. Walker, and Nikky Finney. The Black Universe I: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 7 p.m.\u003c/p\u003e","\u003cp\u003eDear Yusef: Celebrating the Life \u0026amp; Work of Poet \u0026amp; Professor Yusef Komunyakaa panel at the 2024 Furious Flower Conference. Lynne Thompson, Joel Dias-Porter, Linda Susan Jackson, and Dante Micheaux discussed a new anthology entitled \"Dear Yusef.\" Panelists also shared their personal experiences working with Yusef Kumanyaka and read poetry from the anthology. The session closed with the presenters answering audience questions. This panel was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 8:15 a.m.\u003c/p\u003e","\u003cp\u003eWalk With Me: Freedom Fighter's Homage presentation and performance at the 2024 Furious Flower Conference. The session featured a discussion, live performances, and answering questions from the audience. The performance itself examined the long road to freedom for Black people in America and included song, spoken word poetry, and dance. This session was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 9:45 a.m.\u003c/p\u003e","\u003cp\u003eLaureate Reading and Conversation at the 2024 Furious Flower Conference. Rita Dove, Poet Laureate of the United States, 1993-1995, introduced poet laureates from across the country and moderated a conversation after the readings. Featured poets included: Angela Jackson (Illinois), Curtis Crisler (Indiana), Amanda Johnston (Texas), avery r. young (Chicago, IL), and Glenis Redmond (Greenville, SC).  The Laureate Reading and Conversation was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 11:15 a.m.\u003c/p\u003e","\u003cp\u003eMagnitude \u0026amp; Bond: A Preview of a Field Study on Black Literary Organizations panel at the 2024 Furious Flower Conference. Lisa Willis, Candace G. Wiley, Nichelle M. Hayes, and Duriel E. Harris discussed the Magnitude and Bond field study. The presenters represented four organizations that are participating in the field study: Cave Canem, The Watering Hole, Center for Black Literature \u0026amp; Culture (CBLC), and Obsidian: Literature \u0026amp; Arts in the African Diaspora. The group conversed about why the field study is important, positives and negatives they have experienced as leaders of Black literary arts organizations, and how organizations were chosen for the field study. The session closed with a questions from the audience. This panel was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 2 p.m.\u003c/p\u003e","\u003cp\u003eBlack Universe II: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Ross Gay, Erica Hunt, francine j. harris, Roger Reeves, DaMaris Hill, Efe Paul Azino, Merle Collins, Danez Smith, Tara Betts, A. B. Spellman, Lorna Goodison, E. Ethelbert Miller, and Harryette Mullen. The Black Universe II: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 7 p.m.\u003c/p\u003e","\u003cp\u003eGrowing a New Garden: Furious Flowering in Classrooms panel at the 2024 Furious Flower Conference. Panelists Anastacia-Reneé, allia abdullah-matta, Brian Hannon, Carmin Wong, and Keisha-Gaye Anderson discussed the Furious Flower Syllabus project, an open access syllabus for a range of educational contexts. Each presenter highlighted their favorite poem featured in the project curriculum, conversed about creating the syllabus, and expressed the importance of such an undertaking. This panel was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 8:15 a.m.\u003c/p\u003e","\u003cp\u003eBlack Universe III: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Kei Miller, Shara McCallum, Tim Seibles, Anastacia Renée, Gregory Pardlo. Joanne Gabbin introduced each poet with a personally written haiku. The Black Universe III: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 9:45 a.m.\u003c/p\u003e","\u003cp\u003eBlack Joy in Song performance at the 2024 Furious Flower Conference. Sonya Gabrielle Baker, Albert Lee, and Jeremiah Padilla performed poetry set to music, incorporating both vocal and instrumental music. This performance was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 12:30 p.m.\u003c/p\u003e","\u003cp\u003eA Vital History: The Cambridge Anthology Roundtable at the 2024 Furious Flower Conference. Panelists Matt Sandler, Carlyn Ferrari, Marta Werbanowska, McKinley Melton, Annette Debo, and Emily Ruth Rutter discussed an upcoming anthology. Each panelist described their essay from the anthology, including topics such as Black poets of the abolition movement, Black women poets, the Black eco-poetic tradition, elegy, and more. The session concluded with a panel discussion and audience questions. This panel was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 2 p.m.\u003c/p\u003e","\u003cp\u003eBlack Universe IV: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Terrance Hayes, Evie Shockley, Niyi Osundare, Canisia Lubrin, Patricia Smith, and Kwame Dawes. Lauren Alleyne closed the session by reading a new poem. The Black Universe IV: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 3:30 p.m.\u003c/p\u003e","\u003cp\u003eClosing Remarks for the 2024 Furious Flower Conference. Lauren Alleyne, the Executive Director of the Furious Flower Poetry Center, concluded the conference by expressing gratitude for everyone involved with the event in some way. This event was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 5 p.m.\u003c/p\u003e","\u003cp\u003eInterview with Camille Dungy, Ross Gay, Alexis Pauline Gumbs, and Niyi Osundare at the 2024 Furious Flower conference. Nate Marshall moderated the conversation, posing questions about the theme Black planet. The group discussed the relationship between Black identity and the environment, how crafting poetry allows them to explore new relationships with the natural world, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Erica Hunt, A.B. Spellman, and Glenis Redmond at the 2024 Furious Flower Conference. Keisha-Gaye Anderson moderated the conversation, posing questions about the theme life in poetry. The group discussed why they chose poetry, pivotal moments in their careers, the role of community and collaboration in their development as poets, advice for emerging poets, lessons learned, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Malika Booker, Danez Smith, and Frank X. Walker at the 2024 Furious Flower Conference. Keith Leonard moderated the conversation, posing questions about the theme collectives and community. The group discussed why it is important to be involved in their respective communities or collectives, the importance of inter-generational connections, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Anastacia Renée, Canisia Lubrin, and Lillian Yvonne Bertram at the 2024 Furious Flower conference. Mecca Jamilah Sullivan moderated the conversation, posing questions about the theme poetic experimentation. The group discussed what poetic experimentation means to them, the experience of experimentation, what is lost when discussing the process of experimentation, and what the worlds of black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Evie Shockley, Remica Bingham-Risher, Terrance Hayes, and DaMaris Hill at the 2024 Furious Flower Conference. Meta DuEwa Jones moderated the conversation, posing questions about the theme creative scholarship. The group discussed what scholarship means to them, how the market does or does not affect their work, their collaborative practices, the worlds of black poetry as they relate to their scholarly, creative, and critical work, and finding joy in their work. The interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Matthew Shenoda, Efe Paul Azino, and Patricia Jabbeh Wesley at the 2024 Furious Flower Conference. Gbenga Adesina moderated the conversation, posing questions about the theme continental conversations. The group discussed diasporic influences, how their work may shape poetry moving forward, and the books or projects they currently working on. This interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Tara Betts, avery r. young, Danez Smith, and Mahogany L. Browne  at the 2024 Furious Flower Conference. McKinley Melton moderated the conversation, posing questions about the theme performance. The group discussed what the worlds of Black poetry mean to them, how they see their work engaging in the expansiveness of poetic performance, the best lessons they have learned from their time as poets and performers, and what it means to be at Furious Flower. This interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Tyehimba Jess, francine j. harris, jessica Care moore and Airea D. Matthews at the 2024 Furious Flower conference. Ajanaé Dawkins moderated the conversation, posing questions about the theme Detroit conversations. Each poet read one of their poems, discussed how the school of Detroit poetry shaped them, and talked about the evolution of Detroit poetry. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Lorna Goodison, Merle Collins, Kei Miller, and Malika Booker at the 2024 Furious Flower conference. Jahan Ramazani moderated the conversation, posing questions about the theme Caribbean conversations. The group discussed Caribbean identity, diasporic identity, the distinctiveness of the Caribbean experience, and what the worlds of Black poetry mean to them. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Roger Reeves, Jericho Brown, and Gregory Pardlo at the 2024 Furious Flower conference. Curtis Crisler moderated the conversation, posing questions about the theme Black masculinity. The group discussed their definitions of Black masculinity, how they show vulnerability in their poetry, and what the worlds of Black poetry mean to them. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content","Contents","Contents","Contents","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Content","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content"],"scopecontent_tesim":["The Furious Flower Poetry Center Records, 1970-2024, consisting of 17.6 cubic feet (43 boxes, 1 rolled storage container), document the departmental activities of the Furious Flower Poetry Center, a unit formerly of the JMU Honor's Program that became its own separate academic center of the University in 2005. A portion of the material contained within the records derive from events and programs sponsored by the Furious Flower Poetry Center including 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton, Lineage: The Margaret Walker Song Cycle, and an annual children's poetry camp. Specific types of materials include event posters and brochures, exhibit panels, logistical and planning documentation, and email correspondence. Materials related to publications produced by the Center such as Mourning Katrina: A Poetic Response to Tragedy and Shaping Memories: Reflections of African American Women Writers are comprised of draft manuscripts and correspondence with poets and publishers. Grant proposals and awards, many of which relate to the aforementioned events and projects, are also represented. Materials related to the decennial Furious Flower poetry conferences, including administrative documentation and video recordings, are represented in the Conference Records series.","Arranged chronologically. ","FFPC relies heavily on funding from corporate entities and non-profits to subsidize and off-set the cost of furthering their mission of promoting African-American poetry. As such, this series contains grant proposals and awards (all closed) relating to events, publications, and other projects sponsored by the Furious Flower Poetry Center. Projects represented in this series include \"Dream in Color,\" an online curriculum sponsored by Target that enabled elementary, middle, and high-school students to discover the works of African-American poets; and the publication of Mourning Katrina, an anthology of poems by observers and survivors of Hurricane Katrina. All grant materials were removed from three-ring binders and foldered, maintaining original order.","Arranged chronologically by project date and sub-arranged alphabetically within each project.","This series contains material related to publications and manuscripts produced by the Furious Flower Poetry Center. In many cases this refers to books in the typical sense (Mourning Katrina: A Poetic Response to Tragedy, Furious Flower: African-American Poetry from the Black Arts Movement to the Present), Furious Flower Poetry Center also oversaw the publication of The Painted Word – a set of notecards and a corresponding calendar of poets' portraits. Correspondence with various publishers is also included.","Arranged chronologically by event and sub-arranged alphabetically within each event.","This series is comprised of material relating primarily to the many events, programs, and workshops hosted and sponsored by the Furious Flower Poetry Center. Major events represented in this series include Tell Me Your Names: The Poetry of Lucille Clifton, a week-long seminar held June 14 –June 21, 2009 and 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton, a tribute program held September 21, 2010. Of particular interest are 57 oversize exhibit panels from Among Poets: Lucille Clifton Commemorative Exhibition. This 2012 exhibition held at the Reginald F. Lewis Museum and the Enoch Pratt Free Library, both in Baltimore, Maryland, primarily feature photographs by Lynda Koolish of Lucille Clifton, her contemporaries, and her family and friends. The Center's annual Children's Poetry Camp is also well documented. Researchers should note that there are some files in this series (e.g. materials concerning Oni Lasana Productions) that are not directly related to events held by FFPC. These events are likely ones attended by FFPC staff or documented because they serve as examples of comparable outreach initiatives or similar types of promotion.","One file of materials related to the Furious Flower Poetry Center's 25th Anniversary Celebration, held in September 2019 at the National Museum of African American History and Culture, include promotional material, a schedule of events, and a copy of the invocation presented by Rev. Edward A. Scott. Of particular interest is a promotional card inscribed by Qiniso \"Qibho\" Motsa, a poet, musicion, author, and social activist from Eswatini.","This series comprises materials related to the decennial Furious Flower poetry conferences, beginning with the inaugural conference in 1994. A significant portion of the records include logistical and planning documentation for each conference as well as marking and promotional items. These materials are comprised of calls for papers, contracts, correspondence, address lists, ticket requests, travel, transportation, and lodging reservations, and menus. The records include nontraditional items as well. Of interest are exhibit panels (text labels and images) describing and depicting the participants of the 1994 conference. Magnesium letterpress die plates used to print a limited edition portfolio Furious Flower: A Revolution in African American Poetry, a special collection of 23 poems selected by poets (who participated in the 1994 conference) to represent their work, are included. Six silk banners that adorned the Wilson Hall auditorium during the 2004 and 2014 conferences are included.","Arranged alphabetically with the exception of the Exhibit of Participants materials and the magnesium letterpress die plates which are located at the end of the series due to their size. Note that the numbering system for the letterpress die plates is sequential based on each poem's order in the publication Furious Flower: A Revolution in African American Poetry. As such the first folder/four-flap enclosure in box nine is labeled 9:21b. This is the plate for page two of the 21st poem in the publication.\nMaterials in this series primarily document the planning and implementation of the 1994 Furious Flower Poetry Conference: A Revolution in African American Poetry. Records include travel and lodging reservations, correspondence with participating poets, financial documentation and budgets, and mailing lists. Marketing and promotional items such as posters and brochures are included. Conference evaluations completed by attendees and folders labeled \"Positive Responses\" document the overwhelming success of the conference. Of particular interest are exhibit components from the 1994 conference that include text labels and images of each participating poet. The photographs for these panels were taken by C. B. Claiborne. Copy 225 of 300 of Furious Flower: A Revolution in African American Poetry is located in box 2, folder 5. The magnesium letterpress die plates used to print this collection of poetry are also included here. Each plate is individually housed in a four-flap enclosure and then boxed in order of appearance in the publication. Of significance are the video recordings documenting conference proceedings and interviews with Black poets.","This series contains 45 video recordings captured by John L. Hodges during the 1994 Furious Flower Poetry Conference as well as interviews with poets.","Opening invocation and welcome to participants for the 1994 Furious Flower Conference at James Madison University. The Opening Session was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 8:30 a.m. This footage was originally recorded on 1 MII videocassette.","The Critics' Roundtable, \"African American Poetry and the Vernacular Matrix,\" was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 9:30 a.m.","Original 1994 Furious Flower Poetry Conference program reads, \"African American poetry, perhaps more so than fiction and drama, has lent and continues to lend itself to the thematic and formalistic expression of its matrixing in African American culture, in the vernacular (folk and popular) culture in particular. This roundtable will investigate the nature and extent of this matrixing. It will consider the relationship of the folk to the popular vernacular mode, whether \"continuity\" or \"disjuncture\" best describes that relationship and how the difference between the two is imprinted upon the literature. It will also consider the nature and validity of rural/urban, southern/northern distinctions as they apply to cultural expressive manifestations such as the blues, and the degree to which these distinctions spill over into the poetry as a literary production. (Alvin Aubert)\"","This footage was originally recorded on 3 MII videocassettes.","Michael S. Harper's Keynote speech at the 1994 Furious Flower Conference. The session continued with poetry readings by Elizabeth Alexander, Gerald Barrax, Toi Derricotte, and E. Ethelbert Miller. The Keynote Speech and Poetry Reading was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 1 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by Sam Allen, Pinkie Gordon Lane, Haki Madhubuti, and Naomi Long Madgett at the 1994 Furious Flower Conference. The Poetry Reading was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 4:45 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by Amiri Baraka, Mari Evans, Michael S. Harper, and Sonia Sanchez at the 1994 Furious Flower Conference. The JMU Jazz Ensemble opened the session by playing \"Cherry Juice.\" The Poetry Reading was held at Wilson Hall, James Madison University on Thursday, September 29, 1994 at  8 p.m. ","This footage was originally recorded on 2 MII videocassettes.","The Critics' Roundtable, \"Critical Theories and Approaches in African American Poetry,\" was held at the Grafton-Stovall Theatre at James Madison University on Friday, September 30, 1994 at 9:30 a.m. ","Original 1994 Furious Flower Poetry Conference program reads, \"The work of literary theory and of theorizing in other areas of the human sciences is to specify what conditions obtain among those who create, those who make use of creations, and the languages (or signs) that enable creators and consumers to negotiate in a world of social constructions. In short, theory is obligated to explain relations between people and artifacts in the contexts of history and culture. In that sense, theory is necessary for rigorous examination of African American poetry. How might theory advance the study and appreciation of African American poetry? Within the frame of this questions, scholars on the panel will be asked to address what kind of critical or cultural theory seems most appropriate for understanding poetry, how such theories influence interpretive methods and approaches, and how must theorists themselves grapple with their own historicity in light of African American poetry's evolution from orature to literature to newer genres that mix orality and literacy. The aim of the panel is to clarify some problems of theory and poetry as they affect various audiences (Jerry W. Ward, Jr.)\" ","This footage was originally recorded on 4 MII videocassettes.","Rita Dove and Gwendolyn Brooks' Keynote Speeches at the 1994 Furious Flower Conference. The Keynotes were held at Wilson Hall, James Madison University on Friday, September 30, 1994 at 1 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by Dolores Kendrick, Nikki Giovanni, and Eugene Redmond at the 1994 Furious Flower Conference. The Poetry Reading was held at Wilson Hall, James Madison University on Friday, September 30, 1994 at 3 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Tribute Banquet to honor important black poets at the 1994 Furious Flower Conference. Mari Evans, Raymond Patterson, Margaret Walker, Naomi Long Madgett, Samuel W. Allen, Pinkie Gordon Lane, and Gwendolyn Brooks were the honored poets. The banquet was held at Phillips Hall, James Madison University on Friday, September 30, 1994 at 7 p.m. ","This footage was originally recorded on 2 MII videocassettes.","The Critics' Roundtable, \"Writing a Literary History of African American Poetry,\" was held at the Grafton-Stovall Theatre at James Madison University on Saturday, October 1, 1994 at 9:30 a.m. ","Original 1994 Furious Flower Poetry Conference program reads, \"As the drum stands at the crossroads of traditional African and African American culture, so the poets stand at the center of the drum providing the cadence, connections and continuity that define their literary history. Panelists on this roundtable will speak on periodicity and identify significant literary movements from the Harlem Renaissance through the Black Arts Movement to hip-hop. In an attempt to provide a valid historical framework for the poetry, panelists will discuss major literary milestones and important poets emerging during the twentieth century. (Eugene Redmond)\" ","This footage was originally recorded on 3 MII videocassettes.","Poetry Free Read at the 1994 Furious Flower Conference. The Free Read was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994. ","This footage was originally recorded on a MII videocassette.","Poetry Readings by Jacqueline Brice-Finch, Gwen Butler, Kalamu ya Salaam, Jeannette Drake, Sybil Kein, Adam David Miller, Brenda Marie Osbey, Fabu Carter, Ester Iverem, and Mona Lisa Saloy at the 1994 Furious Flower Conference. The Poetry Reading was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994 at 2 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by The Dark Room Collective at the 1994 Furious Flower Conference. Established in Boston in 1988, The Dark Room Collective was first a reading series and later a small community of black poets and writers. The Dark Room Collective's poetry reading at the 1994 conference was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994 at 4:15 p.m. ","Tape 1 begins with the last 10 minutes of Poetry Reading 5 and The Dark Room Collective reading starts at the 12 minute mark. ","This footage was originally recorded on 2 MII videocassettes.","Conference Finale for the 1994 Furious Flower Conference. A celebration of black arts and culture, the conference finale featured musical and spoken word performances by Mellasenah Morris, the JMU Contemporary Gospel Singers, Val Gray Ward, and Bernice Johnson Reagon. The Conference Finale was held at Wilson Hall, James Madison University on Saturday, October 1, 1994 at 8 p.m. ","This footage was originally recorded on 6 MII videocassettes.","Supercuts of the 1994 Furious Flower Conference, featuring footage from all 3 days of the conference. This footage was originally recorded on 10 MII videocassettes.","Supercut 1/10 of the 1994 Furious Flower Conference, featuring selections from the conference opening session and Critics' Roundtable: African American Poetry and the Vernacular Matrix. ","This footage was originally recorded on a MII videocassette.","Supercut 2/10 of the 1994 Furious Flower Conference, featuring selections from Poetry Reading 1 (Elizabeth Alexander, Gerald Barrax; Toi Derricotte; and E. Ethelbert Miller) and Poetry Reading 2 (Sam Allen, Pinkie Gordon Lane, Haki Madhubuti, Naomi Long Madgett). ","This footage was originally recorded on a MII videocassette.","Supercut 3/10 of the 1994 Furious Flower Conference, featuring selections from Poetry Reading 2 (Naomi Long Madgett) and Poetry Reading 3 (Amiri Baraka, Mari Evans, Michael S. Harper, Sonia Sanchez). ","This footage was originally recorded on a MII videocassette.","Supercut 4/10 of the 1994 Furious Flower Conference, featuring selections from Critics' Roundtable: Critical Theories and Approaches in African American Poetry and the keynote speeches by Rita Dove and Gwendolyn Brooks. ","This footage was originally recorded on a MII videocassette.","Supercut 5/10 of the 1994 Furious Flower Conference, featuring the remainder of  Gwendolyn Brooks' keynote speech and selections from Poetry Reading 4 (Dolores Kendrick, Nikki Giovanni, Eugene Redmond). ","This footage was originally recorded on a MII videocassette.","Supercut 6/10 of the 1994 Furious Flower Conference, featuring selections from the Tribute Banquet. ","This footage was originally recorded on a MII videocassette.","Supercut 7/10 of the 1994 Furious Flower Conference, featuring selections from Critics' Roundtable: Writing a Literary History of African American Poetry. ","This footage was originally recorded on a MII videocassette. ","Supercut 8/10 of the 1994 Furious Flower Conference, featuring selections from  Poetry Reading 5 (Jacqueline Brice-Finch, Gwen Butler, Kalamu ya Salaam, Jeannette Drake, Sybil Kein, Adam David Miller, Brenda Marie Osbey, Fabu Carter, Ester Iverem, Mona Lisa Saloy, and Quo Vadis Gex-Breaux). ","This footage was originally recorded on a MII videocassette.","Supercut 9/10 of the 1994 Furious Flower Conference, featuring selections from The Dark Room Collective: A Fisted Reading. ","This footage was originally recorded on a MII videocassette. ","Supercut 10/10 of the 1994 Furious Flower Conference, featuring selections from the Conference Finale. ","This footage was originally recorded on a MII videocassette. ","Audience footage of Poetry Reading 2 from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Footage of posters, books, various artifacts, and exhibits at the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Audience footage of Critics' Roundtable: Critical Theories and Approaches in African American Poetry from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Audience footage of Critics' Roundtable: Writing a Literary History of African American Poetry from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Audience footage of Poetry Reading 5 from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Interview with E. Ethelbert Miller at the 1994 Furious Flower Conference. Miller was interviewed by Eugenia Collier in this recording. This footage was originally recorded on MII videocassettes.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Eugene Redmond interviewed by Jabari Asim, Major Jackson interviewed by Vera Beatty, Dolores Kendrick  interviewed by Judith Thomas. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Gerald Barrax interviewed by Joyce Pettis and Nikki Giovanni interviewed by Virginia Fowler. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Major Jackson interviewed by Vera Beatty, Dolres Kendrick interviewed by Judith Thomas, Pinkie Gordon Lane interviewed by Sandra Govan, and Michael S. Harper interviewed by Aldon Nielsen. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Mari Evans interviewed by Val Gray Ward, Everett Hoagland interviewed by Kalamu ya Salaam, and Sonia Sanchez interviewed by Lorenzo Thomas. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Sam Allen interviewed by Jerry Ward, Alvin Aubert interviewed by Lenard Moore, and Amiri Baraka interviewed by Askia Touré. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Sherley Anne Williams interviewed by Deborah McDowell. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Toi Derricotte interviewed by Opal Moore, Haki Madhubuti interviewed by Sonia Sanchez, and Naomi Long Madgett interviewed by Eleanor Traylor. This footage was originally recorded on a MII videocassette.","Arranged alphabetically.","Materials in this series primarily document the planning and implementation of the 2004 Furious Flower Poetry Conference: Regenerating the Black Poetic Tradition. Records include travel and lodging reservations, correspondence with participating poets, financial documentation and budgets, and mailing lists. Marketing and promotional items such as posters and brochures are included. During the 2004 conference, notable African American scholars including Tony Bolden, Hilary Holladay, and Monifa Love conducted interviews with presenting conference poets including Houston Baker, Rita Dove, and Tony Medina. The corresponding transcripts are included and are particularly significant to African American poetry scholarship. Of particular interest is congratulatory correspondence and RSVP regrets for the 2004 conference from Julian Bond, Governor Mark Warner, Senator George Allen, the office of President George W. Bush and Senator John Kerry, President and CEO of the NAACP Kweisi Mfume, and many others. Some of these letters were printed in the official conference program. Also of interest are evaluations completed by conference attendees. Six  silk banners used to decorate the Wilson Hall auditorium during the conference are included in this series. The banners are rolled onto dowels and housed in a rolled storage container. Currently, the silk banners may only be requested (in writing) by Furious Flower Poetry Center staff.","Opening Session and welcome to participants for the 2004 Furious Flower Conference at James Madison University. The first recording is a copy of the ten-minute documentary that was shown during the opening session and the second tape features performances and remarks from the session itself. The Opening Session was held at College Center at James Madison University on Thursday, September 23, 2004 at 8:30 a.m.","This footage was originally recorded on 1 MDV and 1 DVCAM videocassettes.","The first Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Trudier Harris moderated the session while Maryemma Graham, Hilary Holladay, and Tony Bolden critically discussed turn of the twentieth century poetry, The Black Arts Movement, and modern Black poetry. The session was held at College Center Ballroom at James Madison University on Thursday, September 23, 2004 at 9:30 a.m. ","This footage was originally recorded on 3 DVCAM videocassettes.","Footage of the luncheon hosted by the George Moses Horton Society at the 2004 Furious Flower Conference. The 2004 Furious Flower Poetry Conference program reads, \"Members of the George Moses Horton Society, based at the University of North Carolina, Chapel Hill, will host a luncheon on Thursday, September 23. The Horton Society was concieved by Trudier Harris in the spring of 1996 as a way to encourage sustained scholarly focus on the works of African American poets and to foster presentation and publishing opportunities for that scholarship. Yusef Komunyakaa and T.J. Anderson are the featured speakers.\" This footage only shows a portion of the presentation by T.J. Anderson and Yusef Komunyakaa before cutting off abruptly. The luncheon was held in the College Center Ballroom, James Madison University on Thursday, September 23, 2004 at 11:45 a.m. ","This footage was originally recorded on 1 DVCAM videocassette.","Keynote Speech and Poetry Reading 1 at the 2004 Furious Flower Conference. Houston A. Baker Jr. gave his keynote speech entitled, \"The Poetry of Impulse: Six Inches of African Stone and Lyrical Black Consciousness\" after an introduction by Trudier Harris. The session continued a presentation of the Furious Flower Lifetime Achievement Award to Houston A. Baker Jr. by Jerry W. Ward Jr. and Joanne Gabbin. Susan Facknitz introduced the next segment, a poetry reading with Jabari Asim, Major Jackson, Tony Medina, Opal Moore, Sharan Strange, and Yusef Komunyakaa. The Keynote Speech and Poetry Reading 1 was held at Wilson Hall Auditorium, James Madison University on Friday, September 23, 1994 at 1:15 p.m.","This footage was originally recorded on 2 DVCAM videocassettes. ","Footage of Concurrent Sessions and the Furious Flower Art Opening Reception at the 2004 Furious Flower Conference. The first half of the footage shows snippets of concurrent sessions held in various rooms in Taylor Hall from 4:30-5:45pm on Thursday, September 23, 2004. The second half of the footage features the art opening reception, about which the original 2004 Furious Flower Poetry Conference program states, \"Commissioned to bring visual attention to the work of African American poets and symbolizing the flowering of African American poetry, this important and original work of art by Atlanta artist Malaika Favorite will be unveiled.\" The reception was held in Taylor Hall Room 405 at James Madison University on Thursday, September 23, 2004 at 6:45 p.m. ","This footage was originally recorded on 2 DVCAM videocassettes.","Poetry Reading 2 at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Brenda Marie Osbey, Kevin Young, E. Ethelbert Miller, Haki Madhubuti, Lucille Clifton, and Nikki Giovanni.  Kalamu ya Salaam introduced the poets at the beginning of the session. The Poetry Reading was held in Wilson Hall Auditorium at James Madison University on Thursday, September 23, 2004 at 8 p.m. ","This footage was originally recorded on 2 DVCAM videocassettes.","The second Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Daryl C. Dance moderated the session while Velma Pollard, Mark Sanders, Eleanor Traylor, and Omékongo Dibinga presented about the topic cross pollination in the African diaspora. The session was held at College Center Ballroom at James Madison University on Friday, September 24, 2004 at 9:30 a.m. ","This footage was originally recorded on 3 DVCAM videocassettes.","Laureate's Circle poetry reading at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Eugene Redmond, Dolores Kendrick, Askia Touré, Rita Dove, Amiri Baraka, and Sonia Sanchez. Joanne Gabbin introduced the poets at the beginning of the session. The Laureate's Circle reading was held in Wilson Hall Auditorium, James Madison University on Friday, September 24, 2004 at 1:30 p.m. ","This footage was originally recorded on 3 VHS videocassettes.","Poetry Reading 3 at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Harryette Mullen, Alvin Aubert, Nikky Finney, Everett Hoagland, jessica Care moore, and Kalamu ya Salaam. Tony Medina introduced the poets at the beginning of the session. The Poetry Reading was held in Wilson Hall Auditorium at James Madison University on Friday, September 24, 2004 at 3:30 p.m. This footage was originally recorded on 2 VHS videocassettes.","Tribute Banquet for the 2004 Furious Flower Conference at James Madison University. Furious Flower Lifetime Achievement Awards were presented to the following poets: Alvin Aubert, Amiri Baraka, Lucille Clifton, Nikki Giovanni, Haki Madhubuti, Velma Pollard, Eugene Redmond, Sonia Sanchez, and Askia Touré. The event also featured music by D.J. Renegade and the following as presenters: Melba Boyd, William \"Billy Joe\" Harris, Hilary Holladay, Sandra Govan, Quraysh Ali Lansana, Daryl Dance, Howard Rambsy, Lamont Steptoe, and Eleanor Traylor. The banquet was held in the College Center Ballroom, James Madison University on Friday, September 24, 2004 at 7:30 p.m. ","This footage was originally recorded on 4 DVCAM videocassettes.  ","Poetry Jam event at the 2004 Furious Flower Poetry Conference at James Madison University. The original 2004 Furious Flower Poetry Conference program reads, \"Outstanding poets read and perform their work. Music will be provided by the Joel Dias-Porter Quartet. Porter, aka D.J. Renegade, will emcee the event on Friday, September 24 at 10:30 p.m.\" Participants included Joel Dias-Porter, Quo Vadis Gex Breaux, Mona Lisa Saloy, Lenard Moore, Angela Shannon, Lamont Steptoe, and Samantha Thornhill. The event was held at College Center Ballroom, James Madison University on Friday, September 24, 2004 at 10:30 p.m. ","This footage was originally recorded on 1 DVCAM videocassette.","The third Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Opal Moore moderated the session while E. Ethelbert Miller, Toi Derricotte, Kelli Norman Ellis, and Sharan Strange discussed the need for MFA writing programs at historically Black colleges and universities, the development of Cave Canem, Chicago State University's MFA writing program, and the history of the Dark Room Collective. The session was held at Grafton Stovall Theater, James Madison University on Saturday, September 25, 2004 at 9:30 a.m. ","This footage was originally recorded on 3 DVCAM videocassettes.","Cave Canem Reunion Luncheon and Open Mic event at the 2004 Furious Flower Conference at James Madison University. The footage begins with the presentation segments of the Cave Canem luncheon before switching to the Open Mic event. Tyehimba Jess was the Emcee for the Open Mic Reading and many poets read their poetry. The luncheon was held in the Phillips Center Ballroom, James Madison University on Saturday, September 25, 2004 at 12:00 p.m. and the Open Mic Reading was held in Grafton Stovall Theater,  at 1:30 p.m. ","This footage was originally recorded on 3 DVCAM videocassettes.","Cave Canem Reunion Reading at the 2004 Furious Flower Conference at James Madision University. The footage begins with a circle jam poetry reading before switching to the Cave Canem Reading. Cornelius Eady, Marilyn Nelson, Kwame Dawes, Elizabeth Alexander, and Toi Derricotte each read their poetry as part of this event. The reading was held in Grafton Stovall Theater, James Madison University on Saturday, September 25, 2004 at 3:30 p.m. ","This footage was originally recorded on 2 DVCAM videocassettes.","Conference Finale for the 2004 Furious Flower Conference. The event featured two musical groups: \"Fertile Ground\" a soul and jazz band from Baltimore, Maryland and \"The Full Moon of Sonia\" which sets Sonia Sanchez's poetry to music. The Conference Finale was held at Wilson Hall Auditorium, James Madison University on Saturday, September 25, 2004 at 8 p.m. ","This footage was originally recorded on 2 videocassettes.","Lifetime Achievement Award Banquet for the 2024 Furious Flower Conference at James Madison University. jessica Care moore and Tony Medina hosted the banquet and David Berry provided the music. Furious Flower Lifetime Achievement Awards were presented to the following poets: Elizabeth Alexander, Kwame Dawes, Cornelius Eady, Nikky Finney, Lorna Goodison, E. Ethelbert Miller, Harryette Mullen, Niyi Osundare, Timothy Seibles, and Patricia Smith. The banquet was held in the Festival Ballroom at James Madison University on Wednesday, September 18, 2024 at 6 p.m.","Opening session and welcome to the participants for the 2024 Furious Flower Conference at James Madison University. A video introduction featuring Afaa M. Weaver opened the session, followed by an in memoriam slideshow. Lauren Alleyne presented an overview of the Furious Flower Poetry Center's work since the 2014 conference. Traci Zimmerman, the Dean of the College of Arts and Letters Dean and interim-Provost, Bob Kolvoord made remarks, and Bethany Nowviskie, Dean of JMU Libraries, gave a presentation about the Mellon Foundation grant partnership between Furious Flower and JMU Libraries. The Opening Session was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 8:15 a.m.","Keynote Reading and Conversation with honored poets, Elizabeth Alexander \u0026 Kwame Dawes, at the 2024 Furious Flower Conference. Alexander and Dawes read poetry and engaged in discussion with Shara McCallum and Terrance Hayes. The Keynote Reading and Conversation was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 9:15 a.m.","The Worlds of Black Poetry: Critical Portals, Pathways, and Emergences panel at the 2024 Furious Flower Conference at James Madison University.  Keith Leonard, Jahan Ramazani, Evie Shockley, and Mecca Jamilah Sullivan each presented a paper showcasing the depth and breath of the worlds of Black poetry. Topics of discussion included: avant-garde poetry, elegy and Caribbean poetry, Black confessional poetry, Black feminism, and Black queer poetics. This panel was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 11:15 a.m.","A Decade of Poetic Experiment: 2014 to 2024 panel at the 2024 Furious Flower Conference at James Madison University. Aldon Lynn Nielsen, C.S. Giscombe, Meta DuEwa Jones, Mark McMorris, Duriel E. Harris, and Douglas Kearney engaged in a round table discussion about the past decade in Black poetry. Experimentation by poets and critics is of particular focus during this panel. This discussion was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 2 p.m.","Furious Flower Poetry Prize Winner \u0026 Honorable Mention Reading at the 2024 Furious Flower Conference. Winner, Michelle Alexander, Honorable Mention, Raejeana Brooks, and judge, Roger Reeves, read poetry and answered questions from the audience. The Furious Flower Poetry Prize Winner \u0026 Honorable Mention Reading was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 3:30 p.m.","Black Universe I: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Rita Dove, Jericho Brown, Camille T. Dungy, Alexis Pauline Gumbs, Malika Booker, Patricia Jabbeh Wesley, Tyehimba Jess, Remica Bingham-Risher, Matthew Shenoda, Lillian-Yvonne Bertram, Cornelius Eady, Frank X. Walker, and Nikky Finney. The Black Universe I: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 7 p.m.","Dear Yusef: Celebrating the Life \u0026 Work of Poet \u0026 Professor Yusef Komunyakaa panel at the 2024 Furious Flower Conference. Lynne Thompson, Joel Dias-Porter, Linda Susan Jackson, and Dante Micheaux discussed a new anthology entitled \"Dear Yusef.\" Panelists also shared their personal experiences working with Yusef Kumanyaka and read poetry from the anthology. The session closed with the presenters answering audience questions. This panel was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 8:15 a.m.","Walk With Me: Freedom Fighter's Homage presentation and performance at the 2024 Furious Flower Conference. The session featured a discussion, live performances, and answering questions from the audience. The performance itself examined the long road to freedom for Black people in America and included song, spoken word poetry, and dance. This session was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 9:45 a.m.","Laureate Reading and Conversation at the 2024 Furious Flower Conference. Rita Dove, Poet Laureate of the United States, 1993-1995, introduced poet laureates from across the country and moderated a conversation after the readings. Featured poets included: Angela Jackson (Illinois), Curtis Crisler (Indiana), Amanda Johnston (Texas), avery r. young (Chicago, IL), and Glenis Redmond (Greenville, SC).  The Laureate Reading and Conversation was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 11:15 a.m.","Magnitude \u0026 Bond: A Preview of a Field Study on Black Literary Organizations panel at the 2024 Furious Flower Conference. Lisa Willis, Candace G. Wiley, Nichelle M. Hayes, and Duriel E. Harris discussed the Magnitude and Bond field study. The presenters represented four organizations that are participating in the field study: Cave Canem, The Watering Hole, Center for Black Literature \u0026 Culture (CBLC), and Obsidian: Literature \u0026 Arts in the African Diaspora. The group conversed about why the field study is important, positives and negatives they have experienced as leaders of Black literary arts organizations, and how organizations were chosen for the field study. The session closed with a questions from the audience. This panel was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 2 p.m.","Black Universe II: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Ross Gay, Erica Hunt, francine j. harris, Roger Reeves, DaMaris Hill, Efe Paul Azino, Merle Collins, Danez Smith, Tara Betts, A. B. Spellman, Lorna Goodison, E. Ethelbert Miller, and Harryette Mullen. The Black Universe II: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 7 p.m.","Growing a New Garden: Furious Flowering in Classrooms panel at the 2024 Furious Flower Conference. Panelists Anastacia-Reneé, allia abdullah-matta, Brian Hannon, Carmin Wong, and Keisha-Gaye Anderson discussed the Furious Flower Syllabus project, an open access syllabus for a range of educational contexts. Each presenter highlighted their favorite poem featured in the project curriculum, conversed about creating the syllabus, and expressed the importance of such an undertaking. This panel was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 8:15 a.m.","Black Universe III: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Kei Miller, Shara McCallum, Tim Seibles, Anastacia Renée, Gregory Pardlo. Joanne Gabbin introduced each poet with a personally written haiku. The Black Universe III: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 9:45 a.m.","Black Joy in Song performance at the 2024 Furious Flower Conference. Sonya Gabrielle Baker, Albert Lee, and Jeremiah Padilla performed poetry set to music, incorporating both vocal and instrumental music. This performance was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 12:30 p.m.","A Vital History: The Cambridge Anthology Roundtable at the 2024 Furious Flower Conference. Panelists Matt Sandler, Carlyn Ferrari, Marta Werbanowska, McKinley Melton, Annette Debo, and Emily Ruth Rutter discussed an upcoming anthology. Each panelist described their essay from the anthology, including topics such as Black poets of the abolition movement, Black women poets, the Black eco-poetic tradition, elegy, and more. The session concluded with a panel discussion and audience questions. This panel was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 2 p.m.","Black Universe IV: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Terrance Hayes, Evie Shockley, Niyi Osundare, Canisia Lubrin, Patricia Smith, and Kwame Dawes. Lauren Alleyne closed the session by reading a new poem. The Black Universe IV: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 3:30 p.m.","Closing Remarks for the 2024 Furious Flower Conference. Lauren Alleyne, the Executive Director of the Furious Flower Poetry Center, concluded the conference by expressing gratitude for everyone involved with the event in some way. This event was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 5 p.m.","Interview with Camille Dungy, Ross Gay, Alexis Pauline Gumbs, and Niyi Osundare at the 2024 Furious Flower conference. Nate Marshall moderated the conversation, posing questions about the theme Black planet. The group discussed the relationship between Black identity and the environment, how crafting poetry allows them to explore new relationships with the natural world, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.","Interview with Erica Hunt, A.B. Spellman, and Glenis Redmond at the 2024 Furious Flower Conference. Keisha-Gaye Anderson moderated the conversation, posing questions about the theme life in poetry. The group discussed why they chose poetry, pivotal moments in their careers, the role of community and collaboration in their development as poets, advice for emerging poets, lessons learned, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.","Interview with Malika Booker, Danez Smith, and Frank X. Walker at the 2024 Furious Flower Conference. Keith Leonard moderated the conversation, posing questions about the theme collectives and community. The group discussed why it is important to be involved in their respective communities or collectives, the importance of inter-generational connections, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.","Interview with Anastacia Renée, Canisia Lubrin, and Lillian Yvonne Bertram at the 2024 Furious Flower conference. Mecca Jamilah Sullivan moderated the conversation, posing questions about the theme poetic experimentation. The group discussed what poetic experimentation means to them, the experience of experimentation, what is lost when discussing the process of experimentation, and what the worlds of black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Evie Shockley, Remica Bingham-Risher, Terrance Hayes, and DaMaris Hill at the 2024 Furious Flower Conference. Meta DuEwa Jones moderated the conversation, posing questions about the theme creative scholarship. The group discussed what scholarship means to them, how the market does or does not affect their work, their collaborative practices, the worlds of black poetry as they relate to their scholarly, creative, and critical work, and finding joy in their work. The interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Matthew Shenoda, Efe Paul Azino, and Patricia Jabbeh Wesley at the 2024 Furious Flower Conference. Gbenga Adesina moderated the conversation, posing questions about the theme continental conversations. The group discussed diasporic influences, how their work may shape poetry moving forward, and the books or projects they currently working on. This interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Tara Betts, avery r. young, Danez Smith, and Mahogany L. Browne  at the 2024 Furious Flower Conference. McKinley Melton moderated the conversation, posing questions about the theme performance. The group discussed what the worlds of Black poetry mean to them, how they see their work engaging in the expansiveness of poetic performance, the best lessons they have learned from their time as poets and performers, and what it means to be at Furious Flower. This interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Tyehimba Jess, francine j. harris, jessica Care moore and Airea D. Matthews at the 2024 Furious Flower conference. Ajanaé Dawkins moderated the conversation, posing questions about the theme Detroit conversations. Each poet read one of their poems, discussed how the school of Detroit poetry shaped them, and talked about the evolution of Detroit poetry. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.","Interview with Lorna Goodison, Merle Collins, Kei Miller, and Malika Booker at the 2024 Furious Flower conference. Jahan Ramazani moderated the conversation, posing questions about the theme Caribbean conversations. The group discussed Caribbean identity, diasporic identity, the distinctiveness of the Caribbean experience, and what the worlds of Black poetry mean to them. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.","Interview with Roger Reeves, Jericho Brown, and Gregory Pardlo at the 2024 Furious Flower conference. Curtis Crisler moderated the conversation, posing questions about the theme Black masculinity. The group discussed their definitions of Black masculinity, how they show vulnerability in their poetry, and what the worlds of Black poetry mean to them. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024."],"separatedmaterial_html_tesm":["\u003cp\u003eA copy of Mourning Katrina: A Poetic Response to Tragedy Buena Vista, Va.: Mariner Publishing, 2009 and 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton Harrisonburg, Va.: Virginia Tech Printing Services, 2010 were removed from Series 2, catalogued, and placed in the Special Collections rare book collection. \u003c/p\u003e\n","\u003cp\u003eThe following titles were removed from Series 3 and catalogued: Opala, Joseph A. The Gullah: rice, slavery and the Sierra Leone-American connection. Freetown, Sierra Leone: USIS, 1987; Opala, Joseph. Krio in a nutshell.: Krio Grammar with Lessons, Exercise and Vocabulary, Vol. 1. Freetown, Sierra Leone: [publisher not identified], 1991; Opala, Joseph. Krio in a nutshell.: Krio Conversation with Dialogues, Stories, Proverbs, etc., Vol. 2. Freetown, Sierra Leone: [publisher not identified], 1991; Geraty, Virginia Mixson. Bittle en' t'ing': Gullah cooking with Maum Chrish'. Orangeburg, S.C.: Sandlapper Pub., 1992.\u003c/p\u003e\n","\u003cp\u003eA broadside printing of Rita Dove's \"Ode to My Right Knee\" (no. 39 of 100) was removed from the collection and cataloged separately.\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["A copy of Mourning Katrina: A Poetic Response to Tragedy Buena Vista, Va.: Mariner Publishing, 2009 and 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton Harrisonburg, Va.: Virginia Tech Printing Services, 2010 were removed from Series 2, catalogued, and placed in the Special Collections rare book collection. ","The following titles were removed from Series 3 and catalogued: Opala, Joseph A. The Gullah: rice, slavery and the Sierra Leone-American connection. Freetown, Sierra Leone: USIS, 1987; Opala, Joseph. Krio in a nutshell.: Krio Grammar with Lessons, Exercise and Vocabulary, Vol. 1. Freetown, Sierra Leone: [publisher not identified], 1991; Opala, Joseph. Krio in a nutshell.: Krio Conversation with Dialogues, Stories, Proverbs, etc., Vol. 2. Freetown, Sierra Leone: [publisher not identified], 1991; Geraty, Virginia Mixson. Bittle en' t'ing': Gullah cooking with Maum Chrish'. Orangeburg, S.C.: Sandlapper Pub., 1992.","A broadside printing of Rita Dove's \"Ode to My Right Knee\" (no. 39 of 100) was removed from the collection and cataloged separately."],"userestrict_html_tesm":["\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions"],"userestrict_tesim":["Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu)."],"abstract_html_tesm":["\u003cabstract id=\"aspace_45f28e16f5fdc8ade98243e65fa6eef4\"\u003eThe Furious Flower Poetry Center Records, consisting of 17.6 cubic feet (43 boxes, 1 rolled storage container), document the departmental activities of the Furious Flower Poetry Center.\u003c/abstract\u003e"],"abstract_tesim":["The Furious Flower Poetry Center Records, consisting of 17.6 cubic feet (43 boxes, 1 rolled storage container), document the departmental activities of the Furious Flower Poetry Center."],"names_ssim":["James Madison University Libraries Special Collections","James Madison University. Furious Flower Poetry Center","Furious Flower Conference (1st ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 1994 :.)","Furious Flower Conference (2nd ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 2004 :.)","Furious Flower Conference (3rd ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 2014 :.)","Furious Flower Poetry Center (1999-2004)","James Madison University. Jazz Ensemble","Berry Media Group","Gabbin, Joanne V. (Joanne Veal), 1946-","Alleyne, Lauren K.","Hodges, John L.","Wright, Steven","Facknitz, Susan","Brice-Finch, Jacqueline","Claiborne, C. B. (Claudius B.)","Carrier, Ronald E., 1932-2017","Hunt, Doris","Ward, Val Gray (1932-08-21-2024-03-07)","Brown, Vernisha","Aubert, Alvin (1930-03-12-2014-12-06)","Alexander, Elizabeth, 1962-","Traylor, Eleanor W.","Williams, Sherley Anne, 1944-1999","Stover, Darrell \"SCIPOET\"","Drew, Shahara","Miller, Adam David (1922-10-08-2020-11-04)","Love, Monifa A.","Thompson, Mylea","Harper, Michael S. (Michael Steven), 1938-2016","Ellis, Thomas Sayers (1963)","Keene, John (John R.), 1965-","Barrax, Gerald W. (Gerald William) (1933-06-21-2019-12-07)","Derricotte, Toi, 1941-","Miller, E. Ethelbert (Eugene Ethelbert) (1950-11-20)","Allen, Samuel W. (Samuel Washington) (1917-12-09-2015-06-27)","Phillips, Carl, 1959-","Lane, Pinkie Gordon (1923-2008-12-03)","Madhubuti, Haki R., 1942-","Madgett, Naomi Cornelia Long (1923-07-23-2020-11-05)","Baraka, Amiri, 1934-2014","Touré, Askia M. (1938-10-13)","Evans, Mari, 1919-2017","Sanchez, Sonia, 1934-","Ward, Jerry W., Jr. (Jerry Washington), 1943-","Joyce, Joyce Ann, 1949-","Nielsen, Aldon Lynn (1950-10-20)","Rampersad, Arnold (1941-11-13)","Thomas, Lorenzo, 1944-2005","Renegade, D. J.","Salaam, Kalamu ya, 1947-","McDowell, Deborah E., 1951-","Dove, Rita (1952-08-28)","Kendrick, Dolores, 1927-2017","Brooks, Gwendolyn, 1917-2000","Giovanni, Nikki (1943-2024)","Redmond, Eugene (Eugene B.) (1937-12-01)","Gayles, Gloria Jean Wade (19380701)","Collier, Eugenia W. (1928-04-06)","Patterson, Raymond R. (1929-12-14-2001-04-05)","Graham, Maryemma (1949-06-13)","Moore, Opal (1953)","Gabbin, Alexander L. (1945)","Asim, Jabari, 1962-","Braxton, Joanne M. (1950)","Taylor, Clyde (1931-07-03-2024-01-24)","Steptoe, Lamont B., 1949-","Gillespie, Carmen (1965-06-17-2019-08-30)","Coates, Ta-Nehisi (Ta-Nehisi Paul) (1975-09-30)","Rice, Dorothy Marie, 1948-","Blackman, Toni","Alexander, Kwame (1968-08-21)","deGannes, Nehassaiu","Kein, Sybil (1939-09-29-2022-10-28)","Osbey, Brenda Marie (1957-12-12)","Iverem, Esther, 1960-","Saloy, Mona Lisa (19500701)","Drake, Jeannette M.","Fabu","Dance, Daryl Cumber (1938-01-17)","Trethewey, Natasha D., 1966-","Jackson, Major, 1968-","Beatty, Vera L.","Strange, Sharan (1959)","Young, Kevin (Kevin Lowell), 1970-","Gex, Quo Vadis","Bullock, Byron","Morris, Mellasenah Young","Reagon, Bernice Johnson, 1942-","Pettis, Joyce Owens","Fowler, Virginia C., 1948-","Goven, Sandra","Hoagland, Everett (1942-12-18)","Moore, Lenard D., 1958-","Brown, Douglas T.","Harris, Trudier (1948-02)","Holladay, Hilary (1961-07-03)","Bolden, Tony","Clifton, Lucille, 1936-2010","Hughes, Langston (James Mercer Langston), 1902-1967","Anderson, T. J., III, 1958-","Komunyakaa, Yusef (1947-04-29)","Baker, Houston A., Jr., 1943-","Medina, Tony (1966-01-10)","Debo, Annette, 1964-","Favorite, Malaika, 1949-","Pollard, Velma (1937-03-26)","Sanders, Mark A., 1963-","Dibinga, Omékongo","Mullen, Harryette Romell (1953-07-01)","Finney, Nikky (1957-08-26)","Moore, Jessica Care","Boyd, Melba Joyce (1950-04-02)","Harris, William J., 1942-","Lansana, Quraysh Ali (1964-09-13)","Rambsy, Howard (1976)","Rose, Linwood H. (Linwood Howard), 1951-","Thornhill, Samantha","Shannon, Angela","Ellis, Kelly Norman, 1964-","Jess, Tyehimba","Betts, Tara","Singleton, Giovanni","Harris, Duriel E.","Walker, Frank X., 1961-","Sheba Queen","Moon, Kamilah Aisha (1972-09-05)","Martin, Dawn Lundy (1975)","Obadike, Mendi Lewis, 1973-","Shockley, Evie, 1965-","Eady, Cornelius, 1954-","Nelson, Marilyn, 1946-","Dawes, Kwame Senu Neville, 1962-","Warner, Mark R. (Mark Robert) (1954-12-15)","Allen, George, 1952-","Mfume, Kweisi (1948-10-24)","Okai, Atukwei, 1941-","Bond, Julian (Horace Julian), 1940-2015","Obama, Barack","Goodison, Lorna (1947-08-01)","Osundare, Niyi, 1947-","Seibles, Tim (1955)","Smith, Patricia, 1955-","Adesina, Gbenga","Berry, David E., 1982-","Melton, McKinley","Jones, Meta DuEwa","Marshall, Nate, (Poet)","Oliver, Patrick M.","Morgan, Shauna M.","Weaver, Afaa M. (Afaa Michael), 1951-","Kolvoord, Robert","Zimmerman, Traci","Nowviskie, Bethany","McCallum, Shara, 1972-","Hayes, Terrance (1971)","Leonard, Keith D., 1969-","Ramazani, Jahan, 1960-","Sullivan, Mecca Jamillah","Jaji, Tsitsi (Tsitsi Ella)","Giscombe, C. S. (Cecil S.), 1950-","McMorris, Mark","Scheyer, Lauri (1952-09-08)","Williams, Tyrone (1954-02-24-2024-03-11)","Reeves, Roger","Alexander, Michelle, (Poet)","Brooks, RaeJeana","Brown, Jericho","Dungy, Camille T. (Camille Thornton), 1972-","Gumbs, Alexis Pauline, 1982-","Booker, Malika (1970)","Wesley, Patricia Jabbeh (1955-08-07)","Bingham-Risher, Remica (1981)","Shenoda, Matthew (1977-07-14)","Bertram, Lillian-Yvonne, 1983-","Thompson, Lynne, 1951-","Dias-Porter, Joel.","Jackson, Linda Susan","Micheaux, Dante","Sealey, Nicole","Faison, Latorial (1973)","Pinson, Hermine (1953-07-20)","Glenn, Leah","Crisler, Curtis L.","Johnston, Amanda, 1977-","young, avery r.","Redmond, Glenis (1963-08-27)","Willis, Lisa (20)","Wiley, Candace G.","Hayes, Nichelle M.","Gay, Ross (Ross Alexander), 1974-","Hunt, Erica, 1955-","Harris, Francine J.","Azino, Efe Paul (20)","Collins, Merle (1950-09-29)","Smith, Danez","Spellman, A. B., 1935-","Anastacia-Reneé","abdullah-matta, allia","Hannon, Brian James","Wong, Carmin.","Anderson, Keisha-Gaye","Miller, Kei (1978)","Pardlo, Gregory","Padilla, Jeremiah.","Baker, Sonya G.","Lee, Albert Rudolph","Sandler, Matt","Ferrari, Carlyn Ena, 1984-","Werbanowska, Marta.","Rutter, Emily Ruth (1978-02-28)","Lubrin, Canisia, 1984-","Browne, Mahogany L."],"corpname_ssim":["James Madison University Libraries Special Collections","James Madison University. Furious Flower Poetry Center","Furious Flower Conference (1st ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 1994 :.)","Furious Flower Conference (2nd ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 2004 :.)","Furious Flower Conference (3rd ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 2014 :.)","Furious Flower Poetry Center (1999-2004)","James Madison University. Jazz Ensemble","Berry Media Group"],"names_coll_ssim":["Gabbin, Joanne V. (Joanne Veal), 1946-","Alleyne, Lauren K."],"persname_ssim":["Gabbin, Joanne V. (Joanne Veal), 1946-","Alleyne, Lauren K.","Hodges, John L.","Wright, Steven","Facknitz, Susan","Brice-Finch, Jacqueline","Claiborne, C. B. (Claudius B.)","Carrier, Ronald E., 1932-2017","Hunt, Doris","Ward, Val Gray (1932-08-21-2024-03-07)","Brown, Vernisha","Aubert, Alvin (1930-03-12-2014-12-06)","Alexander, Elizabeth, 1962-","Traylor, Eleanor W.","Williams, Sherley Anne, 1944-1999","Stover, Darrell \"SCIPOET\"","Drew, Shahara","Miller, Adam David (1922-10-08-2020-11-04)","Love, Monifa A.","Thompson, Mylea","Harper, Michael S. (Michael Steven), 1938-2016","Ellis, Thomas Sayers (1963)","Keene, John (John R.), 1965-","Barrax, Gerald W. (Gerald William) (1933-06-21-2019-12-07)","Derricotte, Toi, 1941-","Miller, E. Ethelbert (Eugene Ethelbert) (1950-11-20)","Allen, Samuel W. (Samuel Washington) (1917-12-09-2015-06-27)","Phillips, Carl, 1959-","Lane, Pinkie Gordon (1923-2008-12-03)","Madhubuti, Haki R., 1942-","Madgett, Naomi Cornelia Long (1923-07-23-2020-11-05)","Baraka, Amiri, 1934-2014","Touré, Askia M. (1938-10-13)","Evans, Mari, 1919-2017","Sanchez, Sonia, 1934-","Ward, Jerry W., Jr. (Jerry Washington), 1943-","Joyce, Joyce Ann, 1949-","Nielsen, Aldon Lynn (1950-10-20)","Rampersad, Arnold (1941-11-13)","Thomas, Lorenzo, 1944-2005","Renegade, D. J.","Salaam, Kalamu ya, 1947-","McDowell, Deborah E., 1951-","Dove, Rita (1952-08-28)","Kendrick, Dolores, 1927-2017","Brooks, Gwendolyn, 1917-2000","Giovanni, Nikki (1943-2024)","Redmond, Eugene (Eugene B.) (1937-12-01)","Gayles, Gloria Jean Wade (19380701)","Collier, Eugenia W. (1928-04-06)","Patterson, Raymond R. (1929-12-14-2001-04-05)","Graham, Maryemma (1949-06-13)","Moore, Opal (1953)","Gabbin, Alexander L. (1945)","Asim, Jabari, 1962-","Braxton, Joanne M. (1950)","Taylor, Clyde (1931-07-03-2024-01-24)","Steptoe, Lamont B., 1949-","Gillespie, Carmen (1965-06-17-2019-08-30)","Coates, Ta-Nehisi (Ta-Nehisi Paul) (1975-09-30)","Rice, Dorothy Marie, 1948-","Blackman, Toni","Alexander, Kwame (1968-08-21)","deGannes, Nehassaiu","Kein, Sybil (1939-09-29-2022-10-28)","Osbey, Brenda Marie (1957-12-12)","Iverem, Esther, 1960-","Saloy, Mona Lisa (19500701)","Drake, Jeannette M.","Fabu","Dance, Daryl Cumber (1938-01-17)","Trethewey, Natasha D., 1966-","Jackson, Major, 1968-","Beatty, Vera L.","Strange, Sharan (1959)","Young, Kevin (Kevin Lowell), 1970-","Gex, Quo Vadis","Bullock, Byron","Morris, Mellasenah Young","Reagon, Bernice Johnson, 1942-","Pettis, Joyce Owens","Fowler, Virginia C., 1948-","Goven, Sandra","Hoagland, Everett (1942-12-18)","Moore, Lenard D., 1958-","Brown, Douglas T.","Harris, Trudier (1948-02)","Holladay, Hilary (1961-07-03)","Bolden, Tony","Clifton, Lucille, 1936-2010","Hughes, Langston (James Mercer Langston), 1902-1967","Anderson, T. J., III, 1958-","Komunyakaa, Yusef (1947-04-29)","Baker, Houston A., Jr., 1943-","Medina, Tony (1966-01-10)","Debo, Annette, 1964-","Favorite, Malaika, 1949-","Pollard, Velma (1937-03-26)","Sanders, Mark A., 1963-","Dibinga, Omékongo","Mullen, Harryette Romell (1953-07-01)","Finney, Nikky (1957-08-26)","Moore, Jessica Care","Boyd, Melba Joyce (1950-04-02)","Harris, William J., 1942-","Lansana, Quraysh Ali (1964-09-13)","Rambsy, Howard (1976)","Rose, Linwood H. (Linwood Howard), 1951-","Thornhill, Samantha","Shannon, Angela","Ellis, Kelly Norman, 1964-","Jess, Tyehimba","Betts, Tara","Singleton, Giovanni","Harris, Duriel E.","Walker, Frank X., 1961-","Sheba Queen","Moon, Kamilah Aisha (1972-09-05)","Martin, Dawn Lundy (1975)","Obadike, Mendi Lewis, 1973-","Shockley, Evie, 1965-","Eady, Cornelius, 1954-","Nelson, Marilyn, 1946-","Dawes, Kwame Senu Neville, 1962-","Warner, Mark R. (Mark Robert) (1954-12-15)","Allen, George, 1952-","Mfume, Kweisi (1948-10-24)","Okai, Atukwei, 1941-","Bond, Julian (Horace Julian), 1940-2015","Obama, Barack","Goodison, Lorna (1947-08-01)","Osundare, Niyi, 1947-","Seibles, Tim (1955)","Smith, Patricia, 1955-","Adesina, Gbenga","Berry, David E., 1982-","Melton, McKinley","Jones, Meta DuEwa","Marshall, Nate, (Poet)","Oliver, Patrick M.","Morgan, Shauna M.","Weaver, Afaa M. (Afaa Michael), 1951-","Kolvoord, Robert","Zimmerman, Traci","Nowviskie, Bethany","McCallum, Shara, 1972-","Hayes, Terrance (1971)","Leonard, Keith D., 1969-","Ramazani, Jahan, 1960-","Sullivan, Mecca Jamillah","Jaji, Tsitsi (Tsitsi Ella)","Giscombe, C. S. (Cecil S.), 1950-","McMorris, Mark","Scheyer, Lauri (1952-09-08)","Williams, Tyrone (1954-02-24-2024-03-11)","Reeves, Roger","Alexander, Michelle, (Poet)","Brooks, RaeJeana","Brown, Jericho","Dungy, Camille T. (Camille Thornton), 1972-","Gumbs, Alexis Pauline, 1982-","Booker, Malika (1970)","Wesley, Patricia Jabbeh (1955-08-07)","Bingham-Risher, Remica (1981)","Shenoda, Matthew (1977-07-14)","Bertram, Lillian-Yvonne, 1983-","Thompson, Lynne, 1951-","Dias-Porter, Joel.","Jackson, Linda Susan","Micheaux, Dante","Sealey, Nicole","Faison, Latorial (1973)","Pinson, Hermine (1953-07-20)","Glenn, Leah","Crisler, Curtis L.","Johnston, Amanda, 1977-","young, avery r.","Redmond, Glenis (1963-08-27)","Willis, Lisa (20)","Wiley, Candace G.","Hayes, Nichelle M.","Gay, Ross (Ross Alexander), 1974-","Hunt, Erica, 1955-","Harris, Francine J.","Azino, Efe Paul (20)","Collins, Merle (1950-09-29)","Smith, Danez","Spellman, A. B., 1935-","Anastacia-Reneé","abdullah-matta, allia","Hannon, Brian James","Wong, Carmin.","Anderson, Keisha-Gaye","Miller, Kei (1978)","Pardlo, Gregory","Padilla, Jeremiah.","Baker, Sonya G.","Lee, Albert Rudolph","Sandler, Matt","Ferrari, Carlyn Ena, 1984-","Werbanowska, Marta.","Rutter, Emily Ruth (1978-02-28)","Lubrin, Canisia, 1984-","Browne, Mahogany L."],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":883,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T00:25:29.210Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vihart_repositories_4_resources_488"}},{"id":"viur_repositories_4_resources_19","type":"collection","attributes":{"title":"Gresham Correspondence Collection","creator":{"id":"https://arvasarchive.org/catalog/viur_repositories_4_resources_19#creator","type":"document_value","attributes":{"value":"Dew Gresham, William, 1925-1986","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/viur_repositories_4_resources_19#abstract_or_scope","type":"document_value","attributes":{"value":"The Gresham Correspondence Collection consists of a variety of correspondence between William Gresham and several poets, authors, and playwrights. The majority of the correspondence is invitations, made by Gresham, to speak and read for the Poetry Society of Virginia. The collection contains two booklets, newspaper clippings, correspondence, and a poem written by Gresham entitled Dewey Beach. The majority of the collection was found within the multitude of books that Gresham owned. Many of these books, including signed and first edition copies, are housed in the Galvin Rare Book Room in Boatwright Memorial Library.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viur_repositories_4_resources_19#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viur_repositories_4_resources_19","ead_ssi":"viur_repositories_4_resources_19","_root_":"viur_repositories_4_resources_19","_nest_parent_":"viur_repositories_4_resources_19","ead_source_url_ssi":"data/oai/RICH/repositories_4_resources_19.xml","title_ssm":["Gresham Correspondence Collection"],"title_tesim":["Gresham Correspondence Collection"],"unitdate_ssm":["1901-1984"],"unitdate_inclusive_ssm":["1901-1984"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-14","/repositories/4/resources/19"],"text":["MS-14","/repositories/4/resources/19","Gresham Correspondence Collection","Richmond (Va.)","Poetry","Nonbook Materials","Clippings","The collection is arranged into 3 series:","Series I: Gresham Correspondence \nSeries II: Pamphlets, Writings, and Newspaper Clippings \nSeries III: Other Correspondence","William Dew Gresham (1925-1986) was born and raised in Richmond, Virginia. He received his Bachelor's degree in Liberal Arts from University of Richmond in 1948 and went on to receive a degree in Divinity from Harvard in 1952 and a degree in Library Science from Columbia in 1955. In 1956, Gresham was an assistant librarian in the Boatwright Memorial Library. During his time at the library, Gresham founded a literature society entitled Great Books of Richmond. Gresham moved to Wilmington, Delaware, working in the field of public education from 1959-1985. Public education suited Gresham, as he loved to share what he learned from his wide variety of books, plays, travels, and lectures that he attended. Gresham was a voracious reader who felt that books were the best way to record history, culture, and traditions. His taste in books included literature, poetry, non-fiction, travel, and history. He also enjoyed books written by authors around the world, most notably Greek, Russian, French, and Spanish. Boatwright Memorial Library has a significant collection of his books that were donated by Gresham's family upon his passing. Among these books are first editions and signed copies, many of which are both. Included in these books are several written by the poets represented in the Gresham Correspondence Collection: Enid Starkie's  Arthur Rimbaud ,  Andre Gide , and  Baudelaire ; John Gassner's  The Theater in Our Times  and  Masters of the Drama ; W.H. Auden's  The Collected Poetry of W.H. Auden ,  The Shield of Achilles ,  Nones , and  The Age of Anxiety ; Marianne Moore's  The Complete Poems of Marianne Moore ; Muriel Rukeyser's  Selected Poems ; and W.H. Auden and Christopher Isherwood's  Journey to a War . In addition to the many books donated, the family also donated Gresham's collection of incunabula leaves (see  MS-11 Gresham Incunabula Leaves Collection ).","Enid Starkie (1897-1970) was born in Ireland and studied in both Ireland and England. She was an author of biographies and taught modern languages at the University of Oxford, University of Exeter, and Hollins College (now Hollins University).","John Gassner (1903-1967) was born in Hungary and lived in New York. He attended Columbia University, receiving his Masters. He taught at Labor Temple School (1925-1927), Columbia University, Hunter College (1928-1945), and Bryn Mawr College (1941-1943). Gassner was a playwright and wrote for several magazines, including the  New York Times Book Review .","Wystan Hugh Auden – better known as W.H. Auden – (1907-1973) was from England and emigrated to the United States during WWII (1939). He was a playwright and an author of poetry. Most of his poems were of a political and moral nature. During the Spanish Civil War, Auden spent time in Spain writing. Auden graduated from Oxford in 1928 and married Erika Mann in 1935 to protect her from the Nazi's. Mann stayed behind when Auden emigrated to the United States; the pair never divorced and remained friends. Auden wrote a few plays with Chester Kallman – his lifelong companion. Auden taught poetry at Oxford University from 1956-1961. In 1948, Auden won a Pulitzer Prize for  The Age of Anxiety ; the Gresham family donated a signed copy.","May Sarton (1912-1995) was a poet and author of novels. She is known for her interest in feminism and sexuality, which transfers to her writing. Sarton was born in Belgium, but in 1914, the family fled to England due to WWI. In 1918, the family emigrated to the United States where Sarton remained. The theater was Sarton's first love; after acting for a small New York theater, she ran her own theater company, but had to take on extra work to keep the theater's finances in the black. She began writing literary reviews specifically about theater, but dabbled in poetry as well. She briefly wrote documentary scripts for the United States Office of War Information. During the 1930s, she taught at Stuart School in Boston and from 1950-1953 she taught composition at Harvard University.","Barbara Guest (1920-2006) was an American poet and playwright. In addition, Guest also wrote art reviews for magazines, such as  Art News  and  Art in America . Guest graduated from the University of California, at Berkeley and lived in New York. Among the awards Guest won during her lifetime, include the Lawrence Lipton Award for Literature (1990) and the Robert Frost Medal for Distinguished Lifetime Achievement from Poetry Society of America (1999).","Marianne Moore (1887-1972) was an American poet known for her diverse writings. Moore grew up in the Midwest and graduated from Bryn Mawr in 1909. She lived in New York with her mother throughout her life. The literary community viewed her as an \"auntie figure\" and a mentor. During her lifetime, Moore won many awards: Levinson Prize from Poetry Magazine (1932), Pulitzer Prize for  Collected Poems  (1951), and gold medals from Poetry Society of America (1960 \u0026 1967).","Muriel Rukeyser (1913-1980) was an American poet and political activist. She attended school at Vassar College from 1930-1932, but did not graduate. Upon her departure from Vassar, Rukeyser started the journal  Student Review  with three other women. In 1933, Rukeyser travelled to Alabama to cover the Scottsboro, Alabama, trial of nine African-American boys who were accused of raping two white females, but Rukeyser was detained during the trial. In 1936, she went to Spain to cover an athletic competition; however, by the time she arrived, the Spanish Civil War had begun and Rukeyser began working for the medical bureau in Spain. Rukeyser was frequently involved with political activism and was an advocate against inhumanity. She taught at Sarah Lawrence College in 1946 and 1956-1967. She spoke several languages, including French, Spanish, Swedish, and Italian and enjoyed translating poems in these languages. Among her many awards are the Oscar Blumethal Prize in poetry (1940), Harriet Monroe Poetry Award (1941), and the Levinson Prize in poetry (1947). \nPaul Duke (1926-2005) graduated from University of Richmond in 1947. He was a classmate of William Dew Gresham's. Duke wrote a sports column during his time at the university. Duke is best known for his time on the television program Washington Week in Review where he worked for twenty years. During his time on the show, Duke was inducted into the Virginia Communications Hall of Fame (1992).","Paul Duke (1926-2005) graduated from University of Richmond in 1947. He was a classmate of William Dew Gresham's. Duke wrote a sports column during his time at the university. Duke is best known for his time on the television program  Washington Week in Review  where he worked for twenty years. During his time on the show, Duke was inducted into the Virginia Communications Hall of Fame (1992).","George Dillon (1906-1968) was an American poet, editor, and translator. He graduated from University of Chicago. He won a Pulitzer Prize for his book of poems entitled  Flowering Stone  (1930s).","Gilbert Murray (1866-1957) was an English classicist and translator of Greek literature. He graduated from St. John's College, Oxford and later taught at New College, Oxford where he was the Regius Professor of Greek (1908-1936). Upon his death, his ashes were placed at Westminster Abbey.","Due to deterioration of the newspaper clipping in Series I, File 2, the original clipping was discarded and has been replaced by a photocopied version.","Processed by Kelly Bryan.","This collection contains correspondence between William Gresham and several poets. The majority of the correspondences are replies to Gresham's invitations to speak for the Poetry Society of Virginia. Some of the correspondence Gresham saved was not written by him or to him. The collection also houses several programs, pamphlets, and newspaper articles that support Gresham's dedication and love of literature and culture.","Series I, Gresham Correspondence, includes correspondence between William Gresham and several poets. The letters are regarding Gresham's invitations for various poets to speak for the Poetry Society of Virginia in Williamsburg, Virginia. May Sarton spoke for the organization on May 14, 1960. Most of her letters are regarding her travel arrangements.","Series II, Pamphlets, Writings, and Newspaper Clippings, contains several personal keepsakes, most notably, a poem written by Gresham, two booklets – one autographed by Pearl S. Buck and the other by Art Buchwald – and a Christmas poem written by May Sarton.","Series III, Other Correspondence, comprises correspondence that did not include Gresham. One letter in particular was a thank you note from the poet George Dillon to Gresham's wife Nancy. The last item in the series is a payment note for a cab in Richmond; however, there does not appear to be any connection to Gresham himself and was written over twenty years before Gresham's birth.","Copyright restrictions may apply. Unpublished manuscripts are protected by copyright.  Permission to publish, quote, or reproduce must be secured from the repository and the copyright holder.","The Gresham Correspondence Collection consists of a variety of correspondence between William Gresham and several poets, authors, and playwrights. The majority of the correspondence is invitations, made by Gresham, to speak and read for the Poetry Society of Virginia. The collection contains two booklets, newspaper clippings, correspondence, and a poem written by Gresham entitled  Dewey Beach . The majority of the collection was found within the multitude of books that Gresham owned. Many of these books, including signed and first edition copies, are housed in the Galvin Rare Book Room in Boatwright Memorial Library.","University of Richmond ","Poetry Society of Virginia","Harvard University. Dramatic Club","Richmond Times-Dispatch","Gresham family","Dew Gresham, William, 1925-1986","Buchwald, Art","Buck, Pearl S. (Pearl Sydenstricker), 1892-1973","Pound, Ezra, 1885-1972","Rukeyser, Muriel, 1913-1980","Moore, Marianne, 1887-1972","Sarton, May, 1912-1995","Gassner, John, 1903-1967","Auden, W. H. (Wystan Hugh), 1907-1973","Starkie, Enid","Guest, Barbara","Murray, Gilbert, 1866-1957","English"],"unitid_tesim":["MS-14","/repositories/4/resources/19"],"normalized_title_ssm":["Gresham Correspondence Collection"],"collection_title_tesim":["Gresham Correspondence Collection"],"collection_ssim":["Gresham Correspondence Collection"],"repository_ssm":["University of Richmond"],"repository_ssim":["University of Richmond"],"geogname_ssm":["Richmond (Va.)"],"geogname_ssim":["Richmond (Va.)"],"creator_ssm":["Dew Gresham, William, 1925-1986","Gresham family"],"creator_ssim":["Dew Gresham, William, 1925-1986","Gresham family"],"creator_persname_ssim":["Dew Gresham, William, 1925-1986"],"creator_famname_ssim":["Gresham family"],"creators_ssim":["Dew Gresham, William, 1925-1986","Gresham family"],"places_ssim":["Richmond (Va.)"],"access_terms_ssm":["Copyright restrictions may apply. Unpublished manuscripts are protected by copyright.  Permission to publish, quote, or reproduce must be secured from the repository and the copyright holder."],"acqinfo_ssim":["William Dew Gresham's family donated the collection after his passing."],"access_subjects_ssim":["Poetry","Nonbook Materials","Clippings"],"access_subjects_ssm":["Poetry","Nonbook Materials","Clippings"],"has_online_content_ssim":["false"],"extent_ssm":[".25 Linear Feet"],"extent_tesim":[".25 Linear Feet"],"genreform_ssim":["Clippings"],"date_range_isim":[1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into 3 series:\u003c/p\u003e\n","\u003cp\u003eSeries I: Gresham Correspondence\u003cbr\u003e\nSeries II: Pamphlets, Writings, and Newspaper Clippings\u003cbr\u003e\nSeries III: Other Correspondence\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged into 3 series:","Series I: Gresham Correspondence \nSeries II: Pamphlets, Writings, and Newspaper Clippings \nSeries III: Other Correspondence"],"bioghist_html_tesm":["\u003cp\u003eWilliam Dew Gresham (1925-1986) was born and raised in Richmond, Virginia. He received his Bachelor's degree in Liberal Arts from University of Richmond in 1948 and went on to receive a degree in Divinity from Harvard in 1952 and a degree in Library Science from Columbia in 1955. In 1956, Gresham was an assistant librarian in the Boatwright Memorial Library. During his time at the library, Gresham founded a literature society entitled Great Books of Richmond. Gresham moved to Wilmington, Delaware, working in the field of public education from 1959-1985. Public education suited Gresham, as he loved to share what he learned from his wide variety of books, plays, travels, and lectures that he attended. Gresham was a voracious reader who felt that books were the best way to record history, culture, and traditions. His taste in books included literature, poetry, non-fiction, travel, and history. He also enjoyed books written by authors around the world, most notably Greek, Russian, French, and Spanish. Boatwright Memorial Library has a significant collection of his books that were donated by Gresham's family upon his passing. Among these books are first editions and signed copies, many of which are both. Included in these books are several written by the poets represented in the Gresham Correspondence Collection: Enid Starkie's \u003cemph render=\"italics\"\u003eArthur Rimbaud\u003c/emph\u003e, \u003cemph render=\"italics\"\u003eAndre Gide\u003c/emph\u003e, and \u003cemph render=\"italics\"\u003eBaudelaire\u003c/emph\u003e; John Gassner's \u003cemph render=\"italics\"\u003eThe Theater in Our Times\u003c/emph\u003e and \u003cemph render=\"italics\"\u003eMasters of the Drama\u003c/emph\u003e; W.H. Auden's \u003cemph render=\"italics\"\u003eThe Collected Poetry of W.H. Auden\u003c/emph\u003e, \u003cemph render=\"italics\"\u003eThe Shield of Achilles\u003c/emph\u003e, \u003cemph render=\"itlaics\"\u003eNones\u003c/emph\u003e, and \u003cemph render=\"italics\"\u003eThe Age of Anxiety\u003c/emph\u003e; Marianne Moore's \u003cemph render=\"italics\"\u003eThe Complete Poems of Marianne Moore\u003c/emph\u003e; Muriel Rukeyser's \u003cemph render=\"italics\"\u003eSelected Poems\u003c/emph\u003e; and W.H. Auden and Christopher Isherwood's \u003cemph render=\"italics\"\u003eJourney to a War\u003c/emph\u003e. In addition to the many books donated, the family also donated Gresham's collection of incunabula leaves (see \u003ca href=\"https://archives.richmond.edu/repositories/4/resources/5\"\u003eMS-11 Gresham Incunabula Leaves Collection\u003c/a\u003e).\u003c/p\u003e\n","\u003cp\u003eEnid Starkie (1897-1970) was born in Ireland and studied in both Ireland and England. She was an author of biographies and taught modern languages at the University of Oxford, University of Exeter, and Hollins College (now Hollins University).\u003c/p\u003e\n","\u003cp\u003eJohn Gassner (1903-1967) was born in Hungary and lived in New York. He attended Columbia University, receiving his Masters. He taught at Labor Temple School (1925-1927), Columbia University, Hunter College (1928-1945), and Bryn Mawr College (1941-1943). Gassner was a playwright and wrote for several magazines, including the \u003cemph render=\"italics\"\u003eNew York Times Book Review\u003c/emph\u003e.\u003c/p\u003e\n","\u003cp\u003eWystan Hugh Auden – better known as W.H. Auden – (1907-1973) was from England and emigrated to the United States during WWII (1939). He was a playwright and an author of poetry. Most of his poems were of a political and moral nature. During the Spanish Civil War, Auden spent time in Spain writing. Auden graduated from Oxford in 1928 and married Erika Mann in 1935 to protect her from the Nazi's. Mann stayed behind when Auden emigrated to the United States; the pair never divorced and remained friends. Auden wrote a few plays with Chester Kallman – his lifelong companion. Auden taught poetry at Oxford University from 1956-1961. In 1948, Auden won a Pulitzer Prize for \u003cemph render=\"italics\"\u003eThe Age of Anxiety\u003c/emph\u003e; the Gresham family donated a signed copy.\u003c/p\u003e\n","\u003cp\u003eMay Sarton (1912-1995) was a poet and author of novels. She is known for her interest in feminism and sexuality, which transfers to her writing. Sarton was born in Belgium, but in 1914, the family fled to England due to WWI. In 1918, the family emigrated to the United States where Sarton remained. The theater was Sarton's first love; after acting for a small New York theater, she ran her own theater company, but had to take on extra work to keep the theater's finances in the black. She began writing literary reviews specifically about theater, but dabbled in poetry as well. She briefly wrote documentary scripts for the United States Office of War Information. During the 1930s, she taught at Stuart School in Boston and from 1950-1953 she taught composition at Harvard University.\u003c/p\u003e\n","\u003cp\u003eBarbara Guest (1920-2006) was an American poet and playwright. In addition, Guest also wrote art reviews for magazines, such as \u003cemph render=\"italics\"\u003eArt News\u003c/emph\u003e and \u003cemph render=\"italics\"\u003eArt in America\u003c/emph\u003e. Guest graduated from the University of California, at Berkeley and lived in New York. Among the awards Guest won during her lifetime, include the Lawrence Lipton Award for Literature (1990) and the Robert Frost Medal for Distinguished Lifetime Achievement from Poetry Society of America (1999).\u003c/p\u003e\n","\u003cp\u003eMarianne Moore (1887-1972) was an American poet known for her diverse writings. Moore grew up in the Midwest and graduated from Bryn Mawr in 1909. She lived in New York with her mother throughout her life. The literary community viewed her as an \"auntie figure\" and a mentor. During her lifetime, Moore won many awards: Levinson Prize from Poetry Magazine (1932), Pulitzer Prize for \u003cemph render=\"italics\"\u003eCollected Poems\u003c/emph\u003e (1951), and gold medals from Poetry Society of America (1960 \u0026amp; 1967).\u003c/p\u003e\n","\u003cp\u003eMuriel Rukeyser (1913-1980) was an American poet and political activist. She attended school at Vassar College from 1930-1932, but did not graduate. Upon her departure from Vassar, Rukeyser started the journal \u003cemph render=\"italics\"\u003eStudent Review\u003c/emph\u003e with three other women. In 1933, Rukeyser travelled to Alabama to cover the Scottsboro, Alabama, trial of nine African-American boys who were accused of raping two white females, but Rukeyser was detained during the trial. In 1936, she went to Spain to cover an athletic competition; however, by the time she arrived, the Spanish Civil War had begun and Rukeyser began working for the medical bureau in Spain. Rukeyser was frequently involved with political activism and was an advocate against inhumanity. She taught at Sarah Lawrence College in 1946 and 1956-1967. She spoke several languages, including French, Spanish, Swedish, and Italian and enjoyed translating poems in these languages. Among her many awards are the Oscar Blumethal Prize in poetry (1940), Harriet Monroe Poetry Award (1941), and the Levinson Prize in poetry (1947). \nPaul Duke (1926-2005) graduated from University of Richmond in 1947. He was a classmate of William Dew Gresham's. Duke wrote a sports column during his time at the university. Duke is best known for his time on the television program Washington Week in Review where he worked for twenty years. During his time on the show, Duke was inducted into the Virginia Communications Hall of Fame (1992).\u003c/p\u003e\n","\u003cp\u003ePaul Duke (1926-2005) graduated from University of Richmond in 1947. He was a classmate of William Dew Gresham's. Duke wrote a sports column during his time at the university. Duke is best known for his time on the television program \u003cemph render=\"italics\"\u003eWashington Week in Review\u003c/emph\u003e where he worked for twenty years. During his time on the show, Duke was inducted into the Virginia Communications Hall of Fame (1992).\u003c/p\u003e\n","\u003cp\u003eGeorge Dillon (1906-1968) was an American poet, editor, and translator. He graduated from University of Chicago. He won a Pulitzer Prize for his book of poems entitled \u003cemph render=\"italics\"\u003eFlowering Stone\u003c/emph\u003e (1930s).\u003c/p\u003e\n","\u003cp\u003eGilbert Murray (1866-1957) was an English classicist and translator of Greek literature. He graduated from St. John's College, Oxford and later taught at New College, Oxford where he was the Regius Professor of Greek (1908-1936). Upon his death, his ashes were placed at Westminster Abbey.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["William Dew Gresham (1925-1986) was born and raised in Richmond, Virginia. He received his Bachelor's degree in Liberal Arts from University of Richmond in 1948 and went on to receive a degree in Divinity from Harvard in 1952 and a degree in Library Science from Columbia in 1955. In 1956, Gresham was an assistant librarian in the Boatwright Memorial Library. During his time at the library, Gresham founded a literature society entitled Great Books of Richmond. Gresham moved to Wilmington, Delaware, working in the field of public education from 1959-1985. Public education suited Gresham, as he loved to share what he learned from his wide variety of books, plays, travels, and lectures that he attended. Gresham was a voracious reader who felt that books were the best way to record history, culture, and traditions. His taste in books included literature, poetry, non-fiction, travel, and history. He also enjoyed books written by authors around the world, most notably Greek, Russian, French, and Spanish. Boatwright Memorial Library has a significant collection of his books that were donated by Gresham's family upon his passing. Among these books are first editions and signed copies, many of which are both. Included in these books are several written by the poets represented in the Gresham Correspondence Collection: Enid Starkie's  Arthur Rimbaud ,  Andre Gide , and  Baudelaire ; John Gassner's  The Theater in Our Times  and  Masters of the Drama ; W.H. Auden's  The Collected Poetry of W.H. Auden ,  The Shield of Achilles ,  Nones , and  The Age of Anxiety ; Marianne Moore's  The Complete Poems of Marianne Moore ; Muriel Rukeyser's  Selected Poems ; and W.H. Auden and Christopher Isherwood's  Journey to a War . In addition to the many books donated, the family also donated Gresham's collection of incunabula leaves (see  MS-11 Gresham Incunabula Leaves Collection ).","Enid Starkie (1897-1970) was born in Ireland and studied in both Ireland and England. She was an author of biographies and taught modern languages at the University of Oxford, University of Exeter, and Hollins College (now Hollins University).","John Gassner (1903-1967) was born in Hungary and lived in New York. He attended Columbia University, receiving his Masters. He taught at Labor Temple School (1925-1927), Columbia University, Hunter College (1928-1945), and Bryn Mawr College (1941-1943). Gassner was a playwright and wrote for several magazines, including the  New York Times Book Review .","Wystan Hugh Auden – better known as W.H. Auden – (1907-1973) was from England and emigrated to the United States during WWII (1939). He was a playwright and an author of poetry. Most of his poems were of a political and moral nature. During the Spanish Civil War, Auden spent time in Spain writing. Auden graduated from Oxford in 1928 and married Erika Mann in 1935 to protect her from the Nazi's. Mann stayed behind when Auden emigrated to the United States; the pair never divorced and remained friends. Auden wrote a few plays with Chester Kallman – his lifelong companion. Auden taught poetry at Oxford University from 1956-1961. In 1948, Auden won a Pulitzer Prize for  The Age of Anxiety ; the Gresham family donated a signed copy.","May Sarton (1912-1995) was a poet and author of novels. She is known for her interest in feminism and sexuality, which transfers to her writing. Sarton was born in Belgium, but in 1914, the family fled to England due to WWI. In 1918, the family emigrated to the United States where Sarton remained. The theater was Sarton's first love; after acting for a small New York theater, she ran her own theater company, but had to take on extra work to keep the theater's finances in the black. She began writing literary reviews specifically about theater, but dabbled in poetry as well. She briefly wrote documentary scripts for the United States Office of War Information. During the 1930s, she taught at Stuart School in Boston and from 1950-1953 she taught composition at Harvard University.","Barbara Guest (1920-2006) was an American poet and playwright. In addition, Guest also wrote art reviews for magazines, such as  Art News  and  Art in America . Guest graduated from the University of California, at Berkeley and lived in New York. Among the awards Guest won during her lifetime, include the Lawrence Lipton Award for Literature (1990) and the Robert Frost Medal for Distinguished Lifetime Achievement from Poetry Society of America (1999).","Marianne Moore (1887-1972) was an American poet known for her diverse writings. Moore grew up in the Midwest and graduated from Bryn Mawr in 1909. She lived in New York with her mother throughout her life. The literary community viewed her as an \"auntie figure\" and a mentor. During her lifetime, Moore won many awards: Levinson Prize from Poetry Magazine (1932), Pulitzer Prize for  Collected Poems  (1951), and gold medals from Poetry Society of America (1960 \u0026 1967).","Muriel Rukeyser (1913-1980) was an American poet and political activist. She attended school at Vassar College from 1930-1932, but did not graduate. Upon her departure from Vassar, Rukeyser started the journal  Student Review  with three other women. In 1933, Rukeyser travelled to Alabama to cover the Scottsboro, Alabama, trial of nine African-American boys who were accused of raping two white females, but Rukeyser was detained during the trial. In 1936, she went to Spain to cover an athletic competition; however, by the time she arrived, the Spanish Civil War had begun and Rukeyser began working for the medical bureau in Spain. Rukeyser was frequently involved with political activism and was an advocate against inhumanity. She taught at Sarah Lawrence College in 1946 and 1956-1967. She spoke several languages, including French, Spanish, Swedish, and Italian and enjoyed translating poems in these languages. Among her many awards are the Oscar Blumethal Prize in poetry (1940), Harriet Monroe Poetry Award (1941), and the Levinson Prize in poetry (1947). \nPaul Duke (1926-2005) graduated from University of Richmond in 1947. He was a classmate of William Dew Gresham's. Duke wrote a sports column during his time at the university. Duke is best known for his time on the television program Washington Week in Review where he worked for twenty years. During his time on the show, Duke was inducted into the Virginia Communications Hall of Fame (1992).","Paul Duke (1926-2005) graduated from University of Richmond in 1947. He was a classmate of William Dew Gresham's. Duke wrote a sports column during his time at the university. Duke is best known for his time on the television program  Washington Week in Review  where he worked for twenty years. During his time on the show, Duke was inducted into the Virginia Communications Hall of Fame (1992).","George Dillon (1906-1968) was an American poet, editor, and translator. He graduated from University of Chicago. He won a Pulitzer Prize for his book of poems entitled  Flowering Stone  (1930s).","Gilbert Murray (1866-1957) was an English classicist and translator of Greek literature. He graduated from St. John's College, Oxford and later taught at New College, Oxford where he was the Regius Professor of Greek (1908-1936). Upon his death, his ashes were placed at Westminster Abbey."],"prefercite_html_tesm":["\u003cp\u003e[Box Number, Folder Number], MS-14, Gresham Correspondence Collection, Book Arts, Archives, \u0026amp; Rare Books, Boatwright Memorial Library, University of Richmond, Richmond, Virginia.\u003c/p\u003e"],"prefercite_tesim":["[Box Number, Folder Number], MS-14, Gresham Correspondence Collection, Book Arts, Archives, \u0026 Rare Books, Boatwright Memorial Library, University of Richmond, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eDue to deterioration of the newspaper clipping in Series I, File 2, the original clipping was discarded and has been replaced by a photocopied version.\u003c/p\u003e","\u003cp\u003eProcessed by Kelly Bryan.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Due to deterioration of the newspaper clipping in Series I, File 2, the original clipping was discarded and has been replaced by a photocopied version.","Processed by Kelly Bryan."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains correspondence between William Gresham and several poets. The majority of the correspondences are replies to Gresham's invitations to speak for the Poetry Society of Virginia. Some of the correspondence Gresham saved was not written by him or to him. The collection also houses several programs, pamphlets, and newspaper articles that support Gresham's dedication and love of literature and culture.\u003c/p\u003e\n","\u003cp\u003eSeries I, Gresham Correspondence, includes correspondence between William Gresham and several poets. The letters are regarding Gresham's invitations for various poets to speak for the Poetry Society of Virginia in Williamsburg, Virginia. May Sarton spoke for the organization on May 14, 1960. Most of her letters are regarding her travel arrangements.\u003c/p\u003e\n","\u003cp\u003eSeries II, Pamphlets, Writings, and Newspaper Clippings, contains several personal keepsakes, most notably, a poem written by Gresham, two booklets – one autographed by Pearl S. Buck and the other by Art Buchwald – and a Christmas poem written by May Sarton.\u003c/p\u003e\n","\u003cp\u003eSeries III, Other Correspondence, comprises correspondence that did not include Gresham. One letter in particular was a thank you note from the poet George Dillon to Gresham's wife Nancy. The last item in the series is a payment note for a cab in Richmond; however, there does not appear to be any connection to Gresham himself and was written over twenty years before Gresham's birth.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection contains correspondence between William Gresham and several poets. The majority of the correspondences are replies to Gresham's invitations to speak for the Poetry Society of Virginia. Some of the correspondence Gresham saved was not written by him or to him. The collection also houses several programs, pamphlets, and newspaper articles that support Gresham's dedication and love of literature and culture.","Series I, Gresham Correspondence, includes correspondence between William Gresham and several poets. The letters are regarding Gresham's invitations for various poets to speak for the Poetry Society of Virginia in Williamsburg, Virginia. May Sarton spoke for the organization on May 14, 1960. Most of her letters are regarding her travel arrangements.","Series II, Pamphlets, Writings, and Newspaper Clippings, contains several personal keepsakes, most notably, a poem written by Gresham, two booklets – one autographed by Pearl S. Buck and the other by Art Buchwald – and a Christmas poem written by May Sarton.","Series III, Other Correspondence, comprises correspondence that did not include Gresham. One letter in particular was a thank you note from the poet George Dillon to Gresham's wife Nancy. The last item in the series is a payment note for a cab in Richmond; however, there does not appear to be any connection to Gresham himself and was written over twenty years before Gresham's birth."],"userestrict_html_tesm":["\u003cp\u003eCopyright restrictions may apply. Unpublished manuscripts are protected by copyright.  Permission to publish, quote, or reproduce must be secured from the repository and the copyright holder.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Copyright restrictions may apply. Unpublished manuscripts are protected by copyright.  Permission to publish, quote, or reproduce must be secured from the repository and the copyright holder."],"abstract_html_tesm":["\u003cabstract id=\"aspace_MS-14\"\u003eThe Gresham Correspondence Collection consists of a variety of correspondence between William Gresham and several poets, authors, and playwrights. The majority of the correspondence is invitations, made by Gresham, to speak and read for the Poetry Society of Virginia. The collection contains two booklets, newspaper clippings, correspondence, and a poem written by Gresham entitled \u003cemph render=\"italics\"\u003eDewey Beach\u003c/emph\u003e. The majority of the collection was found within the multitude of books that Gresham owned. Many of these books, including signed and first edition copies, are housed in the Galvin Rare Book Room in Boatwright Memorial Library.\u003c/abstract\u003e"],"abstract_tesim":["The Gresham Correspondence Collection consists of a variety of correspondence between William Gresham and several poets, authors, and playwrights. The majority of the correspondence is invitations, made by Gresham, to speak and read for the Poetry Society of Virginia. The collection contains two booklets, newspaper clippings, correspondence, and a poem written by Gresham entitled  Dewey Beach . The majority of the collection was found within the multitude of books that Gresham owned. Many of these books, including signed and first edition copies, are housed in the Galvin Rare Book Room in Boatwright Memorial Library."],"names_coll_ssim":["Poetry Society of Virginia","Harvard University. Dramatic Club","Richmond Times-Dispatch","Buchwald, Art","Buck, Pearl S. (Pearl Sydenstricker), 1892-1973","Pound, Ezra, 1885-1972","Rukeyser, Muriel, 1913-1980","Moore, Marianne, 1887-1972","Sarton, May, 1912-1995","Gassner, John, 1903-1967","Auden, W. H. (Wystan Hugh), 1907-1973","Starkie, Enid","Guest, Barbara","Murray, Gilbert, 1866-1957"],"names_ssim":["University of Richmond ","Poetry Society of Virginia","Harvard University. Dramatic Club","Richmond Times-Dispatch","Gresham family","Dew Gresham, William, 1925-1986","Buchwald, Art","Buck, Pearl S. (Pearl Sydenstricker), 1892-1973","Pound, Ezra, 1885-1972","Rukeyser, Muriel, 1913-1980","Moore, Marianne, 1887-1972","Sarton, May, 1912-1995","Gassner, John, 1903-1967","Auden, W. H. (Wystan Hugh), 1907-1973","Starkie, Enid","Guest, Barbara","Murray, Gilbert, 1866-1957"],"corpname_ssim":["University of Richmond ","Poetry Society of Virginia","Harvard University. Dramatic Club","Richmond Times-Dispatch"],"famname_ssim":["Gresham family"],"persname_ssim":["Dew Gresham, William, 1925-1986","Buchwald, Art","Buck, Pearl S. (Pearl Sydenstricker), 1892-1973","Pound, Ezra, 1885-1972","Rukeyser, Muriel, 1913-1980","Moore, Marianne, 1887-1972","Sarton, May, 1912-1995","Gassner, John, 1903-1967","Auden, W. H. (Wystan Hugh), 1907-1973","Starkie, Enid","Guest, Barbara","Murray, Gilbert, 1866-1957"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":30,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T04:08:34.809Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viur_repositories_4_resources_19","ead_ssi":"viur_repositories_4_resources_19","_root_":"viur_repositories_4_resources_19","_nest_parent_":"viur_repositories_4_resources_19","ead_source_url_ssi":"data/oai/RICH/repositories_4_resources_19.xml","title_ssm":["Gresham Correspondence Collection"],"title_tesim":["Gresham Correspondence Collection"],"unitdate_ssm":["1901-1984"],"unitdate_inclusive_ssm":["1901-1984"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS-14","/repositories/4/resources/19"],"text":["MS-14","/repositories/4/resources/19","Gresham Correspondence Collection","Richmond (Va.)","Poetry","Nonbook Materials","Clippings","The collection is arranged into 3 series:","Series I: Gresham Correspondence \nSeries II: Pamphlets, Writings, and Newspaper Clippings \nSeries III: Other Correspondence","William Dew Gresham (1925-1986) was born and raised in Richmond, Virginia. He received his Bachelor's degree in Liberal Arts from University of Richmond in 1948 and went on to receive a degree in Divinity from Harvard in 1952 and a degree in Library Science from Columbia in 1955. In 1956, Gresham was an assistant librarian in the Boatwright Memorial Library. During his time at the library, Gresham founded a literature society entitled Great Books of Richmond. Gresham moved to Wilmington, Delaware, working in the field of public education from 1959-1985. Public education suited Gresham, as he loved to share what he learned from his wide variety of books, plays, travels, and lectures that he attended. Gresham was a voracious reader who felt that books were the best way to record history, culture, and traditions. His taste in books included literature, poetry, non-fiction, travel, and history. He also enjoyed books written by authors around the world, most notably Greek, Russian, French, and Spanish. Boatwright Memorial Library has a significant collection of his books that were donated by Gresham's family upon his passing. Among these books are first editions and signed copies, many of which are both. Included in these books are several written by the poets represented in the Gresham Correspondence Collection: Enid Starkie's  Arthur Rimbaud ,  Andre Gide , and  Baudelaire ; John Gassner's  The Theater in Our Times  and  Masters of the Drama ; W.H. Auden's  The Collected Poetry of W.H. Auden ,  The Shield of Achilles ,  Nones , and  The Age of Anxiety ; Marianne Moore's  The Complete Poems of Marianne Moore ; Muriel Rukeyser's  Selected Poems ; and W.H. Auden and Christopher Isherwood's  Journey to a War . In addition to the many books donated, the family also donated Gresham's collection of incunabula leaves (see  MS-11 Gresham Incunabula Leaves Collection ).","Enid Starkie (1897-1970) was born in Ireland and studied in both Ireland and England. She was an author of biographies and taught modern languages at the University of Oxford, University of Exeter, and Hollins College (now Hollins University).","John Gassner (1903-1967) was born in Hungary and lived in New York. He attended Columbia University, receiving his Masters. He taught at Labor Temple School (1925-1927), Columbia University, Hunter College (1928-1945), and Bryn Mawr College (1941-1943). Gassner was a playwright and wrote for several magazines, including the  New York Times Book Review .","Wystan Hugh Auden – better known as W.H. Auden – (1907-1973) was from England and emigrated to the United States during WWII (1939). He was a playwright and an author of poetry. Most of his poems were of a political and moral nature. During the Spanish Civil War, Auden spent time in Spain writing. Auden graduated from Oxford in 1928 and married Erika Mann in 1935 to protect her from the Nazi's. Mann stayed behind when Auden emigrated to the United States; the pair never divorced and remained friends. Auden wrote a few plays with Chester Kallman – his lifelong companion. Auden taught poetry at Oxford University from 1956-1961. In 1948, Auden won a Pulitzer Prize for  The Age of Anxiety ; the Gresham family donated a signed copy.","May Sarton (1912-1995) was a poet and author of novels. She is known for her interest in feminism and sexuality, which transfers to her writing. Sarton was born in Belgium, but in 1914, the family fled to England due to WWI. In 1918, the family emigrated to the United States where Sarton remained. The theater was Sarton's first love; after acting for a small New York theater, she ran her own theater company, but had to take on extra work to keep the theater's finances in the black. She began writing literary reviews specifically about theater, but dabbled in poetry as well. She briefly wrote documentary scripts for the United States Office of War Information. During the 1930s, she taught at Stuart School in Boston and from 1950-1953 she taught composition at Harvard University.","Barbara Guest (1920-2006) was an American poet and playwright. In addition, Guest also wrote art reviews for magazines, such as  Art News  and  Art in America . Guest graduated from the University of California, at Berkeley and lived in New York. Among the awards Guest won during her lifetime, include the Lawrence Lipton Award for Literature (1990) and the Robert Frost Medal for Distinguished Lifetime Achievement from Poetry Society of America (1999).","Marianne Moore (1887-1972) was an American poet known for her diverse writings. Moore grew up in the Midwest and graduated from Bryn Mawr in 1909. She lived in New York with her mother throughout her life. The literary community viewed her as an \"auntie figure\" and a mentor. During her lifetime, Moore won many awards: Levinson Prize from Poetry Magazine (1932), Pulitzer Prize for  Collected Poems  (1951), and gold medals from Poetry Society of America (1960 \u0026 1967).","Muriel Rukeyser (1913-1980) was an American poet and political activist. She attended school at Vassar College from 1930-1932, but did not graduate. Upon her departure from Vassar, Rukeyser started the journal  Student Review  with three other women. In 1933, Rukeyser travelled to Alabama to cover the Scottsboro, Alabama, trial of nine African-American boys who were accused of raping two white females, but Rukeyser was detained during the trial. In 1936, she went to Spain to cover an athletic competition; however, by the time she arrived, the Spanish Civil War had begun and Rukeyser began working for the medical bureau in Spain. Rukeyser was frequently involved with political activism and was an advocate against inhumanity. She taught at Sarah Lawrence College in 1946 and 1956-1967. She spoke several languages, including French, Spanish, Swedish, and Italian and enjoyed translating poems in these languages. Among her many awards are the Oscar Blumethal Prize in poetry (1940), Harriet Monroe Poetry Award (1941), and the Levinson Prize in poetry (1947). \nPaul Duke (1926-2005) graduated from University of Richmond in 1947. He was a classmate of William Dew Gresham's. Duke wrote a sports column during his time at the university. Duke is best known for his time on the television program Washington Week in Review where he worked for twenty years. During his time on the show, Duke was inducted into the Virginia Communications Hall of Fame (1992).","Paul Duke (1926-2005) graduated from University of Richmond in 1947. He was a classmate of William Dew Gresham's. Duke wrote a sports column during his time at the university. Duke is best known for his time on the television program  Washington Week in Review  where he worked for twenty years. During his time on the show, Duke was inducted into the Virginia Communications Hall of Fame (1992).","George Dillon (1906-1968) was an American poet, editor, and translator. He graduated from University of Chicago. He won a Pulitzer Prize for his book of poems entitled  Flowering Stone  (1930s).","Gilbert Murray (1866-1957) was an English classicist and translator of Greek literature. He graduated from St. John's College, Oxford and later taught at New College, Oxford where he was the Regius Professor of Greek (1908-1936). Upon his death, his ashes were placed at Westminster Abbey.","Due to deterioration of the newspaper clipping in Series I, File 2, the original clipping was discarded and has been replaced by a photocopied version.","Processed by Kelly Bryan.","This collection contains correspondence between William Gresham and several poets. The majority of the correspondences are replies to Gresham's invitations to speak for the Poetry Society of Virginia. Some of the correspondence Gresham saved was not written by him or to him. The collection also houses several programs, pamphlets, and newspaper articles that support Gresham's dedication and love of literature and culture.","Series I, Gresham Correspondence, includes correspondence between William Gresham and several poets. The letters are regarding Gresham's invitations for various poets to speak for the Poetry Society of Virginia in Williamsburg, Virginia. May Sarton spoke for the organization on May 14, 1960. Most of her letters are regarding her travel arrangements.","Series II, Pamphlets, Writings, and Newspaper Clippings, contains several personal keepsakes, most notably, a poem written by Gresham, two booklets – one autographed by Pearl S. Buck and the other by Art Buchwald – and a Christmas poem written by May Sarton.","Series III, Other Correspondence, comprises correspondence that did not include Gresham. One letter in particular was a thank you note from the poet George Dillon to Gresham's wife Nancy. The last item in the series is a payment note for a cab in Richmond; however, there does not appear to be any connection to Gresham himself and was written over twenty years before Gresham's birth.","Copyright restrictions may apply. Unpublished manuscripts are protected by copyright.  Permission to publish, quote, or reproduce must be secured from the repository and the copyright holder.","The Gresham Correspondence Collection consists of a variety of correspondence between William Gresham and several poets, authors, and playwrights. The majority of the correspondence is invitations, made by Gresham, to speak and read for the Poetry Society of Virginia. The collection contains two booklets, newspaper clippings, correspondence, and a poem written by Gresham entitled  Dewey Beach . The majority of the collection was found within the multitude of books that Gresham owned. Many of these books, including signed and first edition copies, are housed in the Galvin Rare Book Room in Boatwright Memorial Library.","University of Richmond ","Poetry Society of Virginia","Harvard University. Dramatic Club","Richmond Times-Dispatch","Gresham family","Dew Gresham, William, 1925-1986","Buchwald, Art","Buck, Pearl S. (Pearl Sydenstricker), 1892-1973","Pound, Ezra, 1885-1972","Rukeyser, Muriel, 1913-1980","Moore, Marianne, 1887-1972","Sarton, May, 1912-1995","Gassner, John, 1903-1967","Auden, W. H. (Wystan Hugh), 1907-1973","Starkie, Enid","Guest, Barbara","Murray, Gilbert, 1866-1957","English"],"unitid_tesim":["MS-14","/repositories/4/resources/19"],"normalized_title_ssm":["Gresham Correspondence Collection"],"collection_title_tesim":["Gresham Correspondence Collection"],"collection_ssim":["Gresham Correspondence Collection"],"repository_ssm":["University of Richmond"],"repository_ssim":["University of Richmond"],"geogname_ssm":["Richmond (Va.)"],"geogname_ssim":["Richmond (Va.)"],"creator_ssm":["Dew Gresham, William, 1925-1986","Gresham family"],"creator_ssim":["Dew Gresham, William, 1925-1986","Gresham family"],"creator_persname_ssim":["Dew Gresham, William, 1925-1986"],"creator_famname_ssim":["Gresham family"],"creators_ssim":["Dew Gresham, William, 1925-1986","Gresham family"],"places_ssim":["Richmond (Va.)"],"access_terms_ssm":["Copyright restrictions may apply. Unpublished manuscripts are protected by copyright.  Permission to publish, quote, or reproduce must be secured from the repository and the copyright holder."],"acqinfo_ssim":["William Dew Gresham's family donated the collection after his passing."],"access_subjects_ssim":["Poetry","Nonbook Materials","Clippings"],"access_subjects_ssm":["Poetry","Nonbook Materials","Clippings"],"has_online_content_ssim":["false"],"extent_ssm":[".25 Linear Feet"],"extent_tesim":[".25 Linear Feet"],"genreform_ssim":["Clippings"],"date_range_isim":[1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into 3 series:\u003c/p\u003e\n","\u003cp\u003eSeries I: Gresham Correspondence\u003cbr\u003e\nSeries II: Pamphlets, Writings, and Newspaper Clippings\u003cbr\u003e\nSeries III: Other Correspondence\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged into 3 series:","Series I: Gresham Correspondence \nSeries II: Pamphlets, Writings, and Newspaper Clippings \nSeries III: Other Correspondence"],"bioghist_html_tesm":["\u003cp\u003eWilliam Dew Gresham (1925-1986) was born and raised in Richmond, Virginia. He received his Bachelor's degree in Liberal Arts from University of Richmond in 1948 and went on to receive a degree in Divinity from Harvard in 1952 and a degree in Library Science from Columbia in 1955. In 1956, Gresham was an assistant librarian in the Boatwright Memorial Library. During his time at the library, Gresham founded a literature society entitled Great Books of Richmond. Gresham moved to Wilmington, Delaware, working in the field of public education from 1959-1985. Public education suited Gresham, as he loved to share what he learned from his wide variety of books, plays, travels, and lectures that he attended. Gresham was a voracious reader who felt that books were the best way to record history, culture, and traditions. His taste in books included literature, poetry, non-fiction, travel, and history. He also enjoyed books written by authors around the world, most notably Greek, Russian, French, and Spanish. Boatwright Memorial Library has a significant collection of his books that were donated by Gresham's family upon his passing. Among these books are first editions and signed copies, many of which are both. Included in these books are several written by the poets represented in the Gresham Correspondence Collection: Enid Starkie's \u003cemph render=\"italics\"\u003eArthur Rimbaud\u003c/emph\u003e, \u003cemph render=\"italics\"\u003eAndre Gide\u003c/emph\u003e, and \u003cemph render=\"italics\"\u003eBaudelaire\u003c/emph\u003e; John Gassner's \u003cemph render=\"italics\"\u003eThe Theater in Our Times\u003c/emph\u003e and \u003cemph render=\"italics\"\u003eMasters of the Drama\u003c/emph\u003e; W.H. Auden's \u003cemph render=\"italics\"\u003eThe Collected Poetry of W.H. Auden\u003c/emph\u003e, \u003cemph render=\"italics\"\u003eThe Shield of Achilles\u003c/emph\u003e, \u003cemph render=\"itlaics\"\u003eNones\u003c/emph\u003e, and \u003cemph render=\"italics\"\u003eThe Age of Anxiety\u003c/emph\u003e; Marianne Moore's \u003cemph render=\"italics\"\u003eThe Complete Poems of Marianne Moore\u003c/emph\u003e; Muriel Rukeyser's \u003cemph render=\"italics\"\u003eSelected Poems\u003c/emph\u003e; and W.H. Auden and Christopher Isherwood's \u003cemph render=\"italics\"\u003eJourney to a War\u003c/emph\u003e. In addition to the many books donated, the family also donated Gresham's collection of incunabula leaves (see \u003ca href=\"https://archives.richmond.edu/repositories/4/resources/5\"\u003eMS-11 Gresham Incunabula Leaves Collection\u003c/a\u003e).\u003c/p\u003e\n","\u003cp\u003eEnid Starkie (1897-1970) was born in Ireland and studied in both Ireland and England. She was an author of biographies and taught modern languages at the University of Oxford, University of Exeter, and Hollins College (now Hollins University).\u003c/p\u003e\n","\u003cp\u003eJohn Gassner (1903-1967) was born in Hungary and lived in New York. He attended Columbia University, receiving his Masters. He taught at Labor Temple School (1925-1927), Columbia University, Hunter College (1928-1945), and Bryn Mawr College (1941-1943). Gassner was a playwright and wrote for several magazines, including the \u003cemph render=\"italics\"\u003eNew York Times Book Review\u003c/emph\u003e.\u003c/p\u003e\n","\u003cp\u003eWystan Hugh Auden – better known as W.H. Auden – (1907-1973) was from England and emigrated to the United States during WWII (1939). He was a playwright and an author of poetry. Most of his poems were of a political and moral nature. During the Spanish Civil War, Auden spent time in Spain writing. Auden graduated from Oxford in 1928 and married Erika Mann in 1935 to protect her from the Nazi's. Mann stayed behind when Auden emigrated to the United States; the pair never divorced and remained friends. Auden wrote a few plays with Chester Kallman – his lifelong companion. Auden taught poetry at Oxford University from 1956-1961. In 1948, Auden won a Pulitzer Prize for \u003cemph render=\"italics\"\u003eThe Age of Anxiety\u003c/emph\u003e; the Gresham family donated a signed copy.\u003c/p\u003e\n","\u003cp\u003eMay Sarton (1912-1995) was a poet and author of novels. She is known for her interest in feminism and sexuality, which transfers to her writing. Sarton was born in Belgium, but in 1914, the family fled to England due to WWI. In 1918, the family emigrated to the United States where Sarton remained. The theater was Sarton's first love; after acting for a small New York theater, she ran her own theater company, but had to take on extra work to keep the theater's finances in the black. She began writing literary reviews specifically about theater, but dabbled in poetry as well. She briefly wrote documentary scripts for the United States Office of War Information. During the 1930s, she taught at Stuart School in Boston and from 1950-1953 she taught composition at Harvard University.\u003c/p\u003e\n","\u003cp\u003eBarbara Guest (1920-2006) was an American poet and playwright. In addition, Guest also wrote art reviews for magazines, such as \u003cemph render=\"italics\"\u003eArt News\u003c/emph\u003e and \u003cemph render=\"italics\"\u003eArt in America\u003c/emph\u003e. Guest graduated from the University of California, at Berkeley and lived in New York. Among the awards Guest won during her lifetime, include the Lawrence Lipton Award for Literature (1990) and the Robert Frost Medal for Distinguished Lifetime Achievement from Poetry Society of America (1999).\u003c/p\u003e\n","\u003cp\u003eMarianne Moore (1887-1972) was an American poet known for her diverse writings. Moore grew up in the Midwest and graduated from Bryn Mawr in 1909. She lived in New York with her mother throughout her life. The literary community viewed her as an \"auntie figure\" and a mentor. During her lifetime, Moore won many awards: Levinson Prize from Poetry Magazine (1932), Pulitzer Prize for \u003cemph render=\"italics\"\u003eCollected Poems\u003c/emph\u003e (1951), and gold medals from Poetry Society of America (1960 \u0026amp; 1967).\u003c/p\u003e\n","\u003cp\u003eMuriel Rukeyser (1913-1980) was an American poet and political activist. She attended school at Vassar College from 1930-1932, but did not graduate. Upon her departure from Vassar, Rukeyser started the journal \u003cemph render=\"italics\"\u003eStudent Review\u003c/emph\u003e with three other women. In 1933, Rukeyser travelled to Alabama to cover the Scottsboro, Alabama, trial of nine African-American boys who were accused of raping two white females, but Rukeyser was detained during the trial. In 1936, she went to Spain to cover an athletic competition; however, by the time she arrived, the Spanish Civil War had begun and Rukeyser began working for the medical bureau in Spain. Rukeyser was frequently involved with political activism and was an advocate against inhumanity. She taught at Sarah Lawrence College in 1946 and 1956-1967. She spoke several languages, including French, Spanish, Swedish, and Italian and enjoyed translating poems in these languages. Among her many awards are the Oscar Blumethal Prize in poetry (1940), Harriet Monroe Poetry Award (1941), and the Levinson Prize in poetry (1947). \nPaul Duke (1926-2005) graduated from University of Richmond in 1947. He was a classmate of William Dew Gresham's. Duke wrote a sports column during his time at the university. Duke is best known for his time on the television program Washington Week in Review where he worked for twenty years. During his time on the show, Duke was inducted into the Virginia Communications Hall of Fame (1992).\u003c/p\u003e\n","\u003cp\u003ePaul Duke (1926-2005) graduated from University of Richmond in 1947. He was a classmate of William Dew Gresham's. Duke wrote a sports column during his time at the university. Duke is best known for his time on the television program \u003cemph render=\"italics\"\u003eWashington Week in Review\u003c/emph\u003e where he worked for twenty years. During his time on the show, Duke was inducted into the Virginia Communications Hall of Fame (1992).\u003c/p\u003e\n","\u003cp\u003eGeorge Dillon (1906-1968) was an American poet, editor, and translator. He graduated from University of Chicago. He won a Pulitzer Prize for his book of poems entitled \u003cemph render=\"italics\"\u003eFlowering Stone\u003c/emph\u003e (1930s).\u003c/p\u003e\n","\u003cp\u003eGilbert Murray (1866-1957) was an English classicist and translator of Greek literature. He graduated from St. John's College, Oxford and later taught at New College, Oxford where he was the Regius Professor of Greek (1908-1936). Upon his death, his ashes were placed at Westminster Abbey.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["William Dew Gresham (1925-1986) was born and raised in Richmond, Virginia. He received his Bachelor's degree in Liberal Arts from University of Richmond in 1948 and went on to receive a degree in Divinity from Harvard in 1952 and a degree in Library Science from Columbia in 1955. In 1956, Gresham was an assistant librarian in the Boatwright Memorial Library. During his time at the library, Gresham founded a literature society entitled Great Books of Richmond. Gresham moved to Wilmington, Delaware, working in the field of public education from 1959-1985. Public education suited Gresham, as he loved to share what he learned from his wide variety of books, plays, travels, and lectures that he attended. Gresham was a voracious reader who felt that books were the best way to record history, culture, and traditions. His taste in books included literature, poetry, non-fiction, travel, and history. He also enjoyed books written by authors around the world, most notably Greek, Russian, French, and Spanish. Boatwright Memorial Library has a significant collection of his books that were donated by Gresham's family upon his passing. Among these books are first editions and signed copies, many of which are both. Included in these books are several written by the poets represented in the Gresham Correspondence Collection: Enid Starkie's  Arthur Rimbaud ,  Andre Gide , and  Baudelaire ; John Gassner's  The Theater in Our Times  and  Masters of the Drama ; W.H. Auden's  The Collected Poetry of W.H. Auden ,  The Shield of Achilles ,  Nones , and  The Age of Anxiety ; Marianne Moore's  The Complete Poems of Marianne Moore ; Muriel Rukeyser's  Selected Poems ; and W.H. Auden and Christopher Isherwood's  Journey to a War . In addition to the many books donated, the family also donated Gresham's collection of incunabula leaves (see  MS-11 Gresham Incunabula Leaves Collection ).","Enid Starkie (1897-1970) was born in Ireland and studied in both Ireland and England. She was an author of biographies and taught modern languages at the University of Oxford, University of Exeter, and Hollins College (now Hollins University).","John Gassner (1903-1967) was born in Hungary and lived in New York. He attended Columbia University, receiving his Masters. He taught at Labor Temple School (1925-1927), Columbia University, Hunter College (1928-1945), and Bryn Mawr College (1941-1943). Gassner was a playwright and wrote for several magazines, including the  New York Times Book Review .","Wystan Hugh Auden – better known as W.H. Auden – (1907-1973) was from England and emigrated to the United States during WWII (1939). He was a playwright and an author of poetry. Most of his poems were of a political and moral nature. During the Spanish Civil War, Auden spent time in Spain writing. Auden graduated from Oxford in 1928 and married Erika Mann in 1935 to protect her from the Nazi's. Mann stayed behind when Auden emigrated to the United States; the pair never divorced and remained friends. Auden wrote a few plays with Chester Kallman – his lifelong companion. Auden taught poetry at Oxford University from 1956-1961. In 1948, Auden won a Pulitzer Prize for  The Age of Anxiety ; the Gresham family donated a signed copy.","May Sarton (1912-1995) was a poet and author of novels. She is known for her interest in feminism and sexuality, which transfers to her writing. Sarton was born in Belgium, but in 1914, the family fled to England due to WWI. In 1918, the family emigrated to the United States where Sarton remained. The theater was Sarton's first love; after acting for a small New York theater, she ran her own theater company, but had to take on extra work to keep the theater's finances in the black. She began writing literary reviews specifically about theater, but dabbled in poetry as well. She briefly wrote documentary scripts for the United States Office of War Information. During the 1930s, she taught at Stuart School in Boston and from 1950-1953 she taught composition at Harvard University.","Barbara Guest (1920-2006) was an American poet and playwright. In addition, Guest also wrote art reviews for magazines, such as  Art News  and  Art in America . Guest graduated from the University of California, at Berkeley and lived in New York. Among the awards Guest won during her lifetime, include the Lawrence Lipton Award for Literature (1990) and the Robert Frost Medal for Distinguished Lifetime Achievement from Poetry Society of America (1999).","Marianne Moore (1887-1972) was an American poet known for her diverse writings. Moore grew up in the Midwest and graduated from Bryn Mawr in 1909. She lived in New York with her mother throughout her life. The literary community viewed her as an \"auntie figure\" and a mentor. During her lifetime, Moore won many awards: Levinson Prize from Poetry Magazine (1932), Pulitzer Prize for  Collected Poems  (1951), and gold medals from Poetry Society of America (1960 \u0026 1967).","Muriel Rukeyser (1913-1980) was an American poet and political activist. She attended school at Vassar College from 1930-1932, but did not graduate. Upon her departure from Vassar, Rukeyser started the journal  Student Review  with three other women. In 1933, Rukeyser travelled to Alabama to cover the Scottsboro, Alabama, trial of nine African-American boys who were accused of raping two white females, but Rukeyser was detained during the trial. In 1936, she went to Spain to cover an athletic competition; however, by the time she arrived, the Spanish Civil War had begun and Rukeyser began working for the medical bureau in Spain. Rukeyser was frequently involved with political activism and was an advocate against inhumanity. She taught at Sarah Lawrence College in 1946 and 1956-1967. She spoke several languages, including French, Spanish, Swedish, and Italian and enjoyed translating poems in these languages. Among her many awards are the Oscar Blumethal Prize in poetry (1940), Harriet Monroe Poetry Award (1941), and the Levinson Prize in poetry (1947). \nPaul Duke (1926-2005) graduated from University of Richmond in 1947. He was a classmate of William Dew Gresham's. Duke wrote a sports column during his time at the university. Duke is best known for his time on the television program Washington Week in Review where he worked for twenty years. During his time on the show, Duke was inducted into the Virginia Communications Hall of Fame (1992).","Paul Duke (1926-2005) graduated from University of Richmond in 1947. He was a classmate of William Dew Gresham's. Duke wrote a sports column during his time at the university. Duke is best known for his time on the television program  Washington Week in Review  where he worked for twenty years. During his time on the show, Duke was inducted into the Virginia Communications Hall of Fame (1992).","George Dillon (1906-1968) was an American poet, editor, and translator. He graduated from University of Chicago. He won a Pulitzer Prize for his book of poems entitled  Flowering Stone  (1930s).","Gilbert Murray (1866-1957) was an English classicist and translator of Greek literature. He graduated from St. John's College, Oxford and later taught at New College, Oxford where he was the Regius Professor of Greek (1908-1936). Upon his death, his ashes were placed at Westminster Abbey."],"prefercite_html_tesm":["\u003cp\u003e[Box Number, Folder Number], MS-14, Gresham Correspondence Collection, Book Arts, Archives, \u0026amp; Rare Books, Boatwright Memorial Library, University of Richmond, Richmond, Virginia.\u003c/p\u003e"],"prefercite_tesim":["[Box Number, Folder Number], MS-14, Gresham Correspondence Collection, Book Arts, Archives, \u0026 Rare Books, Boatwright Memorial Library, University of Richmond, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eDue to deterioration of the newspaper clipping in Series I, File 2, the original clipping was discarded and has been replaced by a photocopied version.\u003c/p\u003e","\u003cp\u003eProcessed by Kelly Bryan.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Due to deterioration of the newspaper clipping in Series I, File 2, the original clipping was discarded and has been replaced by a photocopied version.","Processed by Kelly Bryan."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains correspondence between William Gresham and several poets. The majority of the correspondences are replies to Gresham's invitations to speak for the Poetry Society of Virginia. Some of the correspondence Gresham saved was not written by him or to him. The collection also houses several programs, pamphlets, and newspaper articles that support Gresham's dedication and love of literature and culture.\u003c/p\u003e\n","\u003cp\u003eSeries I, Gresham Correspondence, includes correspondence between William Gresham and several poets. The letters are regarding Gresham's invitations for various poets to speak for the Poetry Society of Virginia in Williamsburg, Virginia. May Sarton spoke for the organization on May 14, 1960. Most of her letters are regarding her travel arrangements.\u003c/p\u003e\n","\u003cp\u003eSeries II, Pamphlets, Writings, and Newspaper Clippings, contains several personal keepsakes, most notably, a poem written by Gresham, two booklets – one autographed by Pearl S. Buck and the other by Art Buchwald – and a Christmas poem written by May Sarton.\u003c/p\u003e\n","\u003cp\u003eSeries III, Other Correspondence, comprises correspondence that did not include Gresham. One letter in particular was a thank you note from the poet George Dillon to Gresham's wife Nancy. The last item in the series is a payment note for a cab in Richmond; however, there does not appear to be any connection to Gresham himself and was written over twenty years before Gresham's birth.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection contains correspondence between William Gresham and several poets. The majority of the correspondences are replies to Gresham's invitations to speak for the Poetry Society of Virginia. Some of the correspondence Gresham saved was not written by him or to him. The collection also houses several programs, pamphlets, and newspaper articles that support Gresham's dedication and love of literature and culture.","Series I, Gresham Correspondence, includes correspondence between William Gresham and several poets. The letters are regarding Gresham's invitations for various poets to speak for the Poetry Society of Virginia in Williamsburg, Virginia. May Sarton spoke for the organization on May 14, 1960. Most of her letters are regarding her travel arrangements.","Series II, Pamphlets, Writings, and Newspaper Clippings, contains several personal keepsakes, most notably, a poem written by Gresham, two booklets – one autographed by Pearl S. Buck and the other by Art Buchwald – and a Christmas poem written by May Sarton.","Series III, Other Correspondence, comprises correspondence that did not include Gresham. One letter in particular was a thank you note from the poet George Dillon to Gresham's wife Nancy. The last item in the series is a payment note for a cab in Richmond; however, there does not appear to be any connection to Gresham himself and was written over twenty years before Gresham's birth."],"userestrict_html_tesm":["\u003cp\u003eCopyright restrictions may apply. Unpublished manuscripts are protected by copyright.  Permission to publish, quote, or reproduce must be secured from the repository and the copyright holder.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Copyright restrictions may apply. Unpublished manuscripts are protected by copyright.  Permission to publish, quote, or reproduce must be secured from the repository and the copyright holder."],"abstract_html_tesm":["\u003cabstract id=\"aspace_MS-14\"\u003eThe Gresham Correspondence Collection consists of a variety of correspondence between William Gresham and several poets, authors, and playwrights. The majority of the correspondence is invitations, made by Gresham, to speak and read for the Poetry Society of Virginia. The collection contains two booklets, newspaper clippings, correspondence, and a poem written by Gresham entitled \u003cemph render=\"italics\"\u003eDewey Beach\u003c/emph\u003e. The majority of the collection was found within the multitude of books that Gresham owned. Many of these books, including signed and first edition copies, are housed in the Galvin Rare Book Room in Boatwright Memorial Library.\u003c/abstract\u003e"],"abstract_tesim":["The Gresham Correspondence Collection consists of a variety of correspondence between William Gresham and several poets, authors, and playwrights. The majority of the correspondence is invitations, made by Gresham, to speak and read for the Poetry Society of Virginia. The collection contains two booklets, newspaper clippings, correspondence, and a poem written by Gresham entitled  Dewey Beach . The majority of the collection was found within the multitude of books that Gresham owned. Many of these books, including signed and first edition copies, are housed in the Galvin Rare Book Room in Boatwright Memorial Library."],"names_coll_ssim":["Poetry Society of Virginia","Harvard University. Dramatic Club","Richmond Times-Dispatch","Buchwald, Art","Buck, Pearl S. (Pearl Sydenstricker), 1892-1973","Pound, Ezra, 1885-1972","Rukeyser, Muriel, 1913-1980","Moore, Marianne, 1887-1972","Sarton, May, 1912-1995","Gassner, John, 1903-1967","Auden, W. H. (Wystan Hugh), 1907-1973","Starkie, Enid","Guest, Barbara","Murray, Gilbert, 1866-1957"],"names_ssim":["University of Richmond ","Poetry Society of Virginia","Harvard University. Dramatic Club","Richmond Times-Dispatch","Gresham family","Dew Gresham, William, 1925-1986","Buchwald, Art","Buck, Pearl S. (Pearl Sydenstricker), 1892-1973","Pound, Ezra, 1885-1972","Rukeyser, Muriel, 1913-1980","Moore, Marianne, 1887-1972","Sarton, May, 1912-1995","Gassner, John, 1903-1967","Auden, W. H. (Wystan Hugh), 1907-1973","Starkie, Enid","Guest, Barbara","Murray, Gilbert, 1866-1957"],"corpname_ssim":["University of Richmond ","Poetry Society of Virginia","Harvard University. Dramatic Club","Richmond Times-Dispatch"],"famname_ssim":["Gresham family"],"persname_ssim":["Dew Gresham, William, 1925-1986","Buchwald, Art","Buck, Pearl S. (Pearl Sydenstricker), 1892-1973","Pound, Ezra, 1885-1972","Rukeyser, Muriel, 1913-1980","Moore, Marianne, 1887-1972","Sarton, May, 1912-1995","Gassner, John, 1903-1967","Auden, W. H. (Wystan Hugh), 1907-1973","Starkie, Enid","Guest, Barbara","Murray, Gilbert, 1866-1957"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":30,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T04:08:34.809Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viur_repositories_4_resources_19"}},{"id":"vihart_repositories_4_resources_627","type":"collection","attributes":{"title":"Joanne V. Gabbin Papers","creator":{"id":"https://arvasarchive.org/catalog/vihart_repositories_4_resources_627#creator","type":"document_value","attributes":{"value":"Gabbin, Joanne V. (Joanne Veal), 1946-","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vihart_repositories_4_resources_627#abstract_or_scope","type":"document_value","attributes":{"value":"The Joanne V. Gabbin Papers, 1930-2017 [bulk 1960-2017], contain the professional, academic, and personal papers of Joanne V. Gabbin, professor of English at James Madison University and director of the Furious Flower Poetry Center.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vihart_repositories_4_resources_627#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vihart_repositories_4_resources_627","ead_ssi":"vihart_repositories_4_resources_627","_root_":"vihart_repositories_4_resources_627","_nest_parent_":"vihart_repositories_4_resources_627","ead_source_url_ssi":"data/oai/JMU/repositories_4_resources_627.xml","title_ssm":["Joanne V. Gabbin Papers"],"title_tesim":["Joanne V. Gabbin Papers"],"unitdate_ssm":["1930-2017","1960-2017"],"unitdate_bulk_ssim":["1960-2017"],"unitdate_inclusive_ssm":["1930-2017"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC 0296","/repositories/4/resources/627"],"text":["SC 0296","/repositories/4/resources/627","Joanne V. Gabbin Papers","English language -- Study and teaching (Higher)","Poetry -- Black authors","African Americans -- Poetry","African American poets","Poets, Black","Letters (correspondence)","Manuscripts (documents)","Research notes","Photographs","Printed Ephemera","Pamphlets","Brochures","Personal papers","Articles","Syllabi","Poetry","Faculty papers","Newsletters","Newspaper clippings","Collection is open to research. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection","Two boxes filled with empty file folders were recycled prior to processing.","The collection is arranged in six series. Series 3 and Series 5 are arranged further into subseries. Each series is arranged chronologically except for Series 1: Manuscripts which is arranged alphabetically. Exceptions to this arrangement scheme were made in order to group like materials (e.g. photographs, newspaper clippings) together. As a result chronological arrangements are approximate. In order to maintain original intellectual order, photographs and correspondence, for example, may be found across multiple series.","Manuscripts, 1930-2015 Research, 1960-2016 Professional Activities, 1963-2017 Teaching Materials, 1971-2013 Personal Papers, 1967-2016 Printed Ephemera and Photographs, 1961-2013","A professor of English at James Madison University, Joanne Gabbin earned her B.A. from Morgan State College in Baltimore, Maryland in 1967, and received her M.A. and Ph.D. from the University of Chicago in 1970 and 1980, respectively. Gabbin taught at Roosevelt University, Chicago State University, and Lincoln University before she was hired at James Madison University in 1985 as a Commonwealth Visiting Professor. She became the director of the Honors Program (now the Honors College) in 1986, where she served for 19 years and founded many programs that define the Honors College today. ","In 1994, she organized the first Furious Flower Poetry Conference, which she held at JMU and in honor of Pulitzer Prize-winning poet Gwendolyn Brooks. The event was considered historic and likely the largest gathering of African American poets and literature scholars to that date. After a second successful conference a decade later, JMU chartered the Furious Flower Poetry Center in 2005, the nation's first academic center devoted to Black poetry. ","The author/editor of numerous books and founder of the Wintergreen Women Writers' Collective, Gabbin's contributions to the academic field of African American poetry have been acknowledged with awards and honors from such organizations as the HistoryMakers Archives, the National Museum of African American History and Culture, the College Language Association and the International Literary Hall of Fame for Writers of African Descent, among many others. Her publications include  Sterling A. Brown: Building the Black Aesthetic Tradition  (1985), which was reissued in 1994 by the University Press of Virginia and the children's book  I Bet She Called Me Sugar Plum  (2004). She also edited  The Furious Flowering of African American Poetry  (1999),  Furious Flower: African American Poetry from the Black Arts Movement to the Present  (2004),  Furious Flower: Seeding the Future of African American Poetry  (2020),  Shaping Memories: Reflections of African American Women Writers  (2009), and  Mourning Katrina: A Poetic Response to Tragedy  (2009). ","Collection was donated in clearly labeled folders housed in multiple cubic boxes. In Feburary 2017, Cardinal House experienced a flood as a result of plumbing issues. Materials in this collection were affected and may exhibit water damage. Processors used labels as direction for series arrangement, and focused on discards of duplicates and assessing water-damage materials. Afterwards, materials were moved to hollingers and additional accruals were integrated into the existing arrangement.","Duplicate newspapers, newsletters, brochures, articles, etc. were discarded. Financial records including receipts, credit card and bank statements, and travel reimbursements were not retained and were discarded. Student records containing personally identifiable information (student identification numbers, GPAs, grades, etc.)—beyond what is considered directory information—were removed and discarded.","Furious Flower Poetry Center Records, 1990-2014, UA 0017, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA.","Furious Flower Poetry Center Conference Records, 1970-2015, UA 0018, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA.","The Joanne V. Gabbin Papers, 1930-2017 [bulk 1960-2017], contain the professional, academic, and personal papers of Joanne V. Gabbin, professor of English at James Madison University and director of the Furious Flower Poetry Center. The materials chiefly relate to her professional role as an influential figure in the African American literary community and include manuscripts she wrote or edited, notes and materials from events where she spoke or was featured, and her correspondence with publishers, professional organizations, and other members of the African American literary community. Other materials include articles for research or teaching purposes, syllabi, documents and correspondence related to her role as professor and head of the JMU Honors College, personal correspondence, and documents related to her role as director of the Furious Flower Poetry Center.","Series 1: Manuscripts, 1930-2015, includes manuscripts authored by Gabbin and her colleagues. The majority of the series is made up of edits and drafts of the anthology manuscript that would be come to known as  Shaping Memories: Reflections of African American Women Writers . This manuscript would be the culmination of works by Gabbin and her colleagues after their annual Wintergreen Women's Writer's retreat. Also of note in this series is Gabbin's dissertation on Sterling Brown, written during her time at the University of Chicago as she pursued her master's degree and PhD.","Series 2: Research, 1960-2016, includes a wide variety of materials that relate to Gabbin's research during her time as a student in the master's and doctorate program at the University of Chicago and research for the manuscripts she wrote  and contributed to later in her life. The content mostly consists of articles from academic journals and books written on the subject at hand (e.g. Sonia Sanchez and Sterling Brown), with some interesting items including legal pads and spiral notebooks containing personal notes and thoughts on the topic being researched.","Series 3: Professional Activities, 1963-2017, comprises three subseries: general material, materials relating to the honors college at JMU, and material related to the Furious Flower Poetry Center. The items in this series relate to Gabbin's numerous speaking engagements and events held by the poetry center and honors college. This can include professional correspondence, promotional material, and invitations and programs to events held over the years.","Series 4: Teaching Materials, 1971-2013, includes items related to Joanne Gabbin's teaching career at James Madison University. The majority of this series comprises syllabi from the English classes Gabbin taught, all relating to Black Literature. Scattered throughout the series are also course evaluations, in which the majority of her students give her high marks for her enthusiasm for the material and accessible teaching style, and miscellaneous pedagogical materials likely used to inform instruction.","Series 5: Personal Papers, 1967-2016, is made up of two subseries: general personal materials and personal correspondence. Personal items cover a variety of material, which include: essays written by Gabbin when she was a student at Morgan State College and the University of Chicago (some marked up by her professors), drafted manuscripts, and a folder containing numerous drafts and illustrations for her children's book  I Bet She Called Me Sugar Plum . The personal correspondence is made up of letters written to Gabbin from former students she has had over the years (seen through numerous holiday cards and announcements), from collaborators on the manuscripts she has worked on over the years, or notes and letters written to her husband Alexander Gabbin as she attended the University of Chicago.","Series 6: Printed Ephemera and Photographs, 1961-2013, comprises chiefly newsletters, newspapers, and pamphlets. Most of the newspapers are national titles, such as the  Washington Post , with the  Daily News-Record  also being represented. Most of the articles center on events concerning African American issues. Of interest is a small pamphlet entitled \"Race and Psychology,\" dated 1961, in which the author details the history of psychological intelligence tests and how different racial/ethnic groups scored in comparison to each other. This series also contains several folders of photographs, documenting Gabbin's personal and professional life. Photographs of poets Rita Dove, Gwendolyn Brooks, and Nikki Giovanni are included.","Three poetry broadsides printed in 2017 at the Virginia Arts of the Book Center for the Virginia Festival of the Book - Heavenly Madrigal, Seasons Change Before We're Ready, and Zombie Blues Villanelle - were removed from the collection and cataloged individually. These broadsides are held by Special Collections.","The copyright interests in this collection have not been transferred to the James Madison University Special Collections Library. Staff have taken special care to identify and remove sensitive materials, particularly those relating to students' academic records, found within this collection. However, in rare instances, privacy protected information may be revealed during use of this collection. Researchers agree to make no notes or other recordation of privacy protected information if found within this collection, and further agree not to publish or disclose such information for any purpose. Researchers agree to alert Special Collections staff if potentially privacy protected information is found within this collection. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","The Joanne V. Gabbin Papers, 1930-2017 [bulk 1960-2017], contain the professional, academic, and personal papers of Joanne V. Gabbin, professor of English at James Madison University and director of the Furious Flower Poetry Center.","James Madison University Libraries Special Collections","Furious Flower Conference (1st ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 1994 :.)","Furious Flower Conference (2nd ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 2004 :.)","Furious Flower Conference (3rd ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 2014 :.)","Furious Flower Poetry Center (1999-2004)","James Madison University. Furious Flower Poetry Center","James Madison University. Honors College","James Madison University. Honors Program","Gabbin, Joanne V. (Joanne Veal), 1946-","English"],"unitid_tesim":["SC 0296","/repositories/4/resources/627"],"normalized_title_ssm":["Joanne V. Gabbin Papers"],"collection_title_tesim":["Joanne V. Gabbin Papers"],"collection_ssim":["Joanne V. Gabbin Papers"],"repository_ssm":["James Madison University"],"repository_ssim":["James Madison University"],"creator_ssm":["Gabbin, Joanne V. (Joanne Veal), 1946-","Gabbin, Joanne V. (Joanne Veal), 1946-"],"creator_ssim":["Gabbin, Joanne V. (Joanne Veal), 1946-","Gabbin, Joanne V. (Joanne Veal), 1946-"],"creator_persname_ssim":["Gabbin, Joanne V. (Joanne Veal), 1946-","Gabbin, Joanne V. (Joanne Veal), 1946-"],"creators_ssim":["Gabbin, Joanne V. (Joanne Veal), 1946-","Gabbin, Joanne V. (Joanne Veal), 1946-"],"access_terms_ssm":["The copyright interests in this collection have not been transferred to the James Madison University Special Collections Library. Staff have taken special care to identify and remove sensitive materials, particularly those relating to students' academic records, found within this collection. However, in rare instances, privacy protected information may be revealed during use of this collection. Researchers agree to make no notes or other recordation of privacy protected information if found within this collection, and further agree not to publish or disclose such information for any purpose. Researchers agree to alert Special Collections staff if potentially privacy protected information is found within this collection. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu)."],"acqinfo_ssim":["Materials were donated by Joanne V. Gabbin in September 2017."],"access_subjects_ssim":["English language -- Study and teaching (Higher)","Poetry -- Black authors","African Americans -- Poetry","African American poets","Poets, Black","Letters (correspondence)","Manuscripts (documents)","Research notes","Photographs","Printed Ephemera","Pamphlets","Brochures","Personal papers","Articles","Syllabi","Poetry","Faculty papers","Newsletters","Newspaper clippings"],"access_subjects_ssm":["English language -- Study and teaching (Higher)","Poetry -- Black authors","African Americans -- Poetry","African American poets","Poets, Black","Letters (correspondence)","Manuscripts (documents)","Research notes","Photographs","Printed Ephemera","Pamphlets","Brochures","Personal papers","Articles","Syllabi","Poetry","Faculty papers","Newsletters","Newspaper clippings"],"has_online_content_ssim":["false"],"extent_ssm":["12.54 cubic feet 42 boxes","134 Megabytes 216 digital files"],"extent_tesim":["12.54 cubic feet 42 boxes","134 Megabytes 216 digital files"],"genreform_ssim":["Letters (correspondence)","Manuscripts (documents)","Research notes","Photographs","Printed Ephemera","Pamphlets","Brochures","Personal papers","Articles","Syllabi","Poetry","Faculty papers","Newsletters","Newspaper clippings"],"date_range_isim":[1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection"],"appraisal_html_tesm":["\u003cp\u003eTwo boxes filled with empty file folders were recycled prior to processing.\u003c/p\u003e"],"appraisal_heading_ssm":["Appraisal Information"],"appraisal_tesim":["Two boxes filled with empty file folders were recycled prior to processing."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged in six series. Series 3 and Series 5 are arranged further into subseries. Each series is arranged chronologically except for Series 1: Manuscripts which is arranged alphabetically. Exceptions to this arrangement scheme were made in order to group like materials (e.g. photographs, newspaper clippings) together. As a result chronological arrangements are approximate. In order to maintain original intellectual order, photographs and correspondence, for example, may be found across multiple series.\u003c/p\u003e","\u003clist numeration=\"arabic\" type=\"ordered\"\u003e\n      \u003citem\u003eManuscripts, 1930-2015\u003c/item\u003e\n      \u003citem\u003eResearch, 1960-2016\u003c/item\u003e\n      \u003citem\u003eProfessional Activities, 1963-2017\u003c/item\u003e\n      \u003citem\u003eTeaching Materials, 1971-2013\u003c/item\u003e\n      \u003citem\u003ePersonal Papers, 1967-2016\u003c/item\u003e\n      \u003citem\u003ePrinted Ephemera and Photographs, 1961-2013\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged in six series. Series 3 and Series 5 are arranged further into subseries. Each series is arranged chronologically except for Series 1: Manuscripts which is arranged alphabetically. Exceptions to this arrangement scheme were made in order to group like materials (e.g. photographs, newspaper clippings) together. As a result chronological arrangements are approximate. In order to maintain original intellectual order, photographs and correspondence, for example, may be found across multiple series.","Manuscripts, 1930-2015 Research, 1960-2016 Professional Activities, 1963-2017 Teaching Materials, 1971-2013 Personal Papers, 1967-2016 Printed Ephemera and Photographs, 1961-2013"],"bioghist_html_tesm":["\u003cp\u003eA professor of English at James Madison University, Joanne Gabbin earned her B.A. from Morgan State College in Baltimore, Maryland in 1967, and received her M.A. and Ph.D. from the University of Chicago in 1970 and 1980, respectively. Gabbin taught at Roosevelt University, Chicago State University, and Lincoln University before she was hired at James Madison University in 1985 as a Commonwealth Visiting Professor. She became the director of the Honors Program (now the Honors College) in 1986, where she served for 19 years and founded many programs that define the Honors College today. \u003c/p\u003e\n","\u003cp\u003eIn 1994, she organized the first Furious Flower Poetry Conference, which she held at JMU and in honor of Pulitzer Prize-winning poet Gwendolyn Brooks. The event was considered historic and likely the largest gathering of African American poets and literature scholars to that date. After a second successful conference a decade later, JMU chartered the Furious Flower Poetry Center in 2005, the nation's first academic center devoted to Black poetry. \u003c/p\u003e\n","\u003cp\u003eThe author/editor of numerous books and founder of the Wintergreen Women Writers' Collective, Gabbin's contributions to the academic field of African American poetry have been acknowledged with awards and honors from such organizations as the HistoryMakers Archives, the National Museum of African American History and Culture, the College Language Association and the International Literary Hall of Fame for Writers of African Descent, among many others. Her publications include \u003cemph render=\"italic\"\u003eSterling A. Brown: Building the Black Aesthetic Tradition\u003c/emph\u003e (1985), which was reissued in 1994 by the University Press of Virginia and the children's book \u003cemph render=\"italic\"\u003eI Bet She Called Me Sugar Plum\u003c/emph\u003e (2004). She also edited \u003cemph render=\"italic\"\u003eThe Furious Flowering of African American Poetry\u003c/emph\u003e (1999), \u003cemph render=\"italic\"\u003eFurious Flower: African American Poetry from the Black Arts Movement to the Present\u003c/emph\u003e (2004), \u003cemph render=\"italic\"\u003eFurious Flower: Seeding the Future of African American Poetry\u003c/emph\u003e (2020), \u003cemph render=\"italic\"\u003eShaping Memories: Reflections of African American Women Writers\u003c/emph\u003e (2009), and \u003cemph render=\"italic\"\u003eMourning Katrina: A Poetic Response to Tragedy\u003c/emph\u003e (2009). \u003c/p\u003e"],"bioghist_heading_ssm":["Bio/Historical Note"],"bioghist_tesim":["A professor of English at James Madison University, Joanne Gabbin earned her B.A. from Morgan State College in Baltimore, Maryland in 1967, and received her M.A. and Ph.D. from the University of Chicago in 1970 and 1980, respectively. Gabbin taught at Roosevelt University, Chicago State University, and Lincoln University before she was hired at James Madison University in 1985 as a Commonwealth Visiting Professor. She became the director of the Honors Program (now the Honors College) in 1986, where she served for 19 years and founded many programs that define the Honors College today. ","In 1994, she organized the first Furious Flower Poetry Conference, which she held at JMU and in honor of Pulitzer Prize-winning poet Gwendolyn Brooks. The event was considered historic and likely the largest gathering of African American poets and literature scholars to that date. After a second successful conference a decade later, JMU chartered the Furious Flower Poetry Center in 2005, the nation's first academic center devoted to Black poetry. ","The author/editor of numerous books and founder of the Wintergreen Women Writers' Collective, Gabbin's contributions to the academic field of African American poetry have been acknowledged with awards and honors from such organizations as the HistoryMakers Archives, the National Museum of African American History and Culture, the College Language Association and the International Literary Hall of Fame for Writers of African Descent, among many others. Her publications include  Sterling A. Brown: Building the Black Aesthetic Tradition  (1985), which was reissued in 1994 by the University Press of Virginia and the children's book  I Bet She Called Me Sugar Plum  (2004). She also edited  The Furious Flowering of African American Poetry  (1999),  Furious Flower: African American Poetry from the Black Arts Movement to the Present  (2004),  Furious Flower: Seeding the Future of African American Poetry  (2020),  Shaping Memories: Reflections of African American Women Writers  (2009), and  Mourning Katrina: A Poetic Response to Tragedy  (2009). "],"prefercite_html_tesm":["\u003cp\u003e[identification of item], [box #, folder #], Joanne V. Gabbin Papers, 1930-2017 [bulk 1960-2017], undated, SC 0296, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA.\u003c/p\u003e"],"prefercite_tesim":["[identification of item], [box #, folder #], Joanne V. Gabbin Papers, 1930-2017 [bulk 1960-2017], undated, SC 0296, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA."],"processinfo_html_tesm":["\u003cp\u003eCollection was donated in clearly labeled folders housed in multiple cubic boxes. In Feburary 2017, Cardinal House experienced a flood as a result of plumbing issues. Materials in this collection were affected and may exhibit water damage. Processors used labels as direction for series arrangement, and focused on discards of duplicates and assessing water-damage materials. Afterwards, materials were moved to hollingers and additional accruals were integrated into the existing arrangement.\u003c/p\u003e","\u003cp\u003eDuplicate newspapers, newsletters, brochures, articles, etc. were discarded. Financial records including receipts, credit card and bank statements, and travel reimbursements were not retained and were discarded. Student records containing personally identifiable information (student identification numbers, GPAs, grades, etc.)—beyond what is considered directory information—were removed and discarded.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Collection was donated in clearly labeled folders housed in multiple cubic boxes. In Feburary 2017, Cardinal House experienced a flood as a result of plumbing issues. Materials in this collection were affected and may exhibit water damage. Processors used labels as direction for series arrangement, and focused on discards of duplicates and assessing water-damage materials. Afterwards, materials were moved to hollingers and additional accruals were integrated into the existing arrangement.","Duplicate newspapers, newsletters, brochures, articles, etc. were discarded. Financial records including receipts, credit card and bank statements, and travel reimbursements were not retained and were discarded. Student records containing personally identifiable information (student identification numbers, GPAs, grades, etc.)—beyond what is considered directory information—were removed and discarded."],"relatedmaterial_html_tesm":["\u003cp\u003eFurious Flower Poetry Center Records, 1990-2014, UA 0017, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA.\u003c/p\u003e\n","\u003cp\u003eFurious Flower Poetry Center Conference Records, 1970-2015, UA 0018, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Furious Flower Poetry Center Records, 1990-2014, UA 0017, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA.","Furious Flower Poetry Center Conference Records, 1970-2015, UA 0018, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA."],"scopecontent_html_tesm":["\u003cp\u003eThe Joanne V. Gabbin Papers, 1930-2017 [bulk 1960-2017], contain the professional, academic, and personal papers of Joanne V. Gabbin, professor of English at James Madison University and director of the Furious Flower Poetry Center. The materials chiefly relate to her professional role as an influential figure in the African American literary community and include manuscripts she wrote or edited, notes and materials from events where she spoke or was featured, and her correspondence with publishers, professional organizations, and other members of the African American literary community. Other materials include articles for research or teaching purposes, syllabi, documents and correspondence related to her role as professor and head of the JMU Honors College, personal correspondence, and documents related to her role as director of the Furious Flower Poetry Center.\u003c/p\u003e","\u003cp\u003eSeries 1: Manuscripts, 1930-2015, includes manuscripts authored by Gabbin and her colleagues. The majority of the series is made up of edits and drafts of the anthology manuscript that would be come to known as \u003cemph render=\"italic\"\u003eShaping Memories: Reflections of African American Women Writers\u003c/emph\u003e. This manuscript would be the culmination of works by Gabbin and her colleagues after their annual Wintergreen Women's Writer's retreat. Also of note in this series is Gabbin's dissertation on Sterling Brown, written during her time at the University of Chicago as she pursued her master's degree and PhD.\u003c/p\u003e","\u003cp\u003eSeries 2: Research, 1960-2016, includes a wide variety of materials that relate to Gabbin's research during her time as a student in the master's and doctorate program at the University of Chicago and research for the manuscripts she wrote  and contributed to later in her life. The content mostly consists of articles from academic journals and books written on the subject at hand (e.g. Sonia Sanchez and Sterling Brown), with some interesting items including legal pads and spiral notebooks containing personal notes and thoughts on the topic being researched.\u003c/p\u003e","\u003cp\u003eSeries 3: Professional Activities, 1963-2017, comprises three subseries: general material, materials relating to the honors college at JMU, and material related to the Furious Flower Poetry Center. The items in this series relate to Gabbin's numerous speaking engagements and events held by the poetry center and honors college. This can include professional correspondence, promotional material, and invitations and programs to events held over the years.\u003c/p\u003e","\u003cp\u003eSeries 4: Teaching Materials, 1971-2013, includes items related to Joanne Gabbin's teaching career at James Madison University. The majority of this series comprises syllabi from the English classes Gabbin taught, all relating to Black Literature. Scattered throughout the series are also course evaluations, in which the majority of her students give her high marks for her enthusiasm for the material and accessible teaching style, and miscellaneous pedagogical materials likely used to inform instruction.\u003c/p\u003e","\u003cp\u003eSeries 5: Personal Papers, 1967-2016, is made up of two subseries: general personal materials and personal correspondence. Personal items cover a variety of material, which include: essays written by Gabbin when she was a student at Morgan State College and the University of Chicago (some marked up by her professors), drafted manuscripts, and a folder containing numerous drafts and illustrations for her children's book \u003cemph render=\"italic\"\u003eI Bet She Called Me Sugar Plum\u003c/emph\u003e. The personal correspondence is made up of letters written to Gabbin from former students she has had over the years (seen through numerous holiday cards and announcements), from collaborators on the manuscripts she has worked on over the years, or notes and letters written to her husband Alexander Gabbin as she attended the University of Chicago.\u003c/p\u003e","\u003cp\u003eSeries 6: Printed Ephemera and Photographs, 1961-2013, comprises chiefly newsletters, newspapers, and pamphlets. Most of the newspapers are national titles, such as the \u003cemph render=\"italic\"\u003eWashington Post\u003c/emph\u003e, with the \u003cemph render=\"italic\"\u003eDaily News-Record\u003c/emph\u003e also being represented. Most of the articles center on events concerning African American issues. Of interest is a small pamphlet entitled \"Race and Psychology,\" dated 1961, in which the author details the history of psychological intelligence tests and how different racial/ethnic groups scored in comparison to each other. This series also contains several folders of photographs, documenting Gabbin's personal and professional life. Photographs of poets Rita Dove, Gwendolyn Brooks, and Nikki Giovanni are included.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content"],"scopecontent_tesim":["The Joanne V. Gabbin Papers, 1930-2017 [bulk 1960-2017], contain the professional, academic, and personal papers of Joanne V. Gabbin, professor of English at James Madison University and director of the Furious Flower Poetry Center. The materials chiefly relate to her professional role as an influential figure in the African American literary community and include manuscripts she wrote or edited, notes and materials from events where she spoke or was featured, and her correspondence with publishers, professional organizations, and other members of the African American literary community. Other materials include articles for research or teaching purposes, syllabi, documents and correspondence related to her role as professor and head of the JMU Honors College, personal correspondence, and documents related to her role as director of the Furious Flower Poetry Center.","Series 1: Manuscripts, 1930-2015, includes manuscripts authored by Gabbin and her colleagues. The majority of the series is made up of edits and drafts of the anthology manuscript that would be come to known as  Shaping Memories: Reflections of African American Women Writers . This manuscript would be the culmination of works by Gabbin and her colleagues after their annual Wintergreen Women's Writer's retreat. Also of note in this series is Gabbin's dissertation on Sterling Brown, written during her time at the University of Chicago as she pursued her master's degree and PhD.","Series 2: Research, 1960-2016, includes a wide variety of materials that relate to Gabbin's research during her time as a student in the master's and doctorate program at the University of Chicago and research for the manuscripts she wrote  and contributed to later in her life. The content mostly consists of articles from academic journals and books written on the subject at hand (e.g. Sonia Sanchez and Sterling Brown), with some interesting items including legal pads and spiral notebooks containing personal notes and thoughts on the topic being researched.","Series 3: Professional Activities, 1963-2017, comprises three subseries: general material, materials relating to the honors college at JMU, and material related to the Furious Flower Poetry Center. The items in this series relate to Gabbin's numerous speaking engagements and events held by the poetry center and honors college. This can include professional correspondence, promotional material, and invitations and programs to events held over the years.","Series 4: Teaching Materials, 1971-2013, includes items related to Joanne Gabbin's teaching career at James Madison University. The majority of this series comprises syllabi from the English classes Gabbin taught, all relating to Black Literature. Scattered throughout the series are also course evaluations, in which the majority of her students give her high marks for her enthusiasm for the material and accessible teaching style, and miscellaneous pedagogical materials likely used to inform instruction.","Series 5: Personal Papers, 1967-2016, is made up of two subseries: general personal materials and personal correspondence. Personal items cover a variety of material, which include: essays written by Gabbin when she was a student at Morgan State College and the University of Chicago (some marked up by her professors), drafted manuscripts, and a folder containing numerous drafts and illustrations for her children's book  I Bet She Called Me Sugar Plum . The personal correspondence is made up of letters written to Gabbin from former students she has had over the years (seen through numerous holiday cards and announcements), from collaborators on the manuscripts she has worked on over the years, or notes and letters written to her husband Alexander Gabbin as she attended the University of Chicago.","Series 6: Printed Ephemera and Photographs, 1961-2013, comprises chiefly newsletters, newspapers, and pamphlets. Most of the newspapers are national titles, such as the  Washington Post , with the  Daily News-Record  also being represented. Most of the articles center on events concerning African American issues. Of interest is a small pamphlet entitled \"Race and Psychology,\" dated 1961, in which the author details the history of psychological intelligence tests and how different racial/ethnic groups scored in comparison to each other. This series also contains several folders of photographs, documenting Gabbin's personal and professional life. Photographs of poets Rita Dove, Gwendolyn Brooks, and Nikki Giovanni are included."],"separatedmaterial_html_tesm":["\u003cp\u003eThree poetry broadsides printed in 2017 at the Virginia Arts of the Book Center for the Virginia Festival of the Book - Heavenly Madrigal, Seasons Change Before We're Ready, and Zombie Blues Villanelle - were removed from the collection and cataloged individually. These broadsides are held by Special Collections.\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["Three poetry broadsides printed in 2017 at the Virginia Arts of the Book Center for the Virginia Festival of the Book - Heavenly Madrigal, Seasons Change Before We're Ready, and Zombie Blues Villanelle - were removed from the collection and cataloged individually. These broadsides are held by Special Collections."],"userestrict_html_tesm":["\u003cp\u003eThe copyright interests in this collection have not been transferred to the James Madison University Special Collections Library. Staff have taken special care to identify and remove sensitive materials, particularly those relating to students' academic records, found within this collection. However, in rare instances, privacy protected information may be revealed during use of this collection. Researchers agree to make no notes or other recordation of privacy protected information if found within this collection, and further agree not to publish or disclose such information for any purpose. Researchers agree to alert Special Collections staff if potentially privacy protected information is found within this collection. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright interests in this collection have not been transferred to the James Madison University Special Collections Library. Staff have taken special care to identify and remove sensitive materials, particularly those relating to students' academic records, found within this collection. However, in rare instances, privacy protected information may be revealed during use of this collection. Researchers agree to make no notes or other recordation of privacy protected information if found within this collection, and further agree not to publish or disclose such information for any purpose. Researchers agree to alert Special Collections staff if potentially privacy protected information is found within this collection. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu)."],"abstract_html_tesm":["\u003cabstract id=\"aspace_f08c87141a4134568799bd39ab722aea\"\u003eThe Joanne V. Gabbin Papers, 1930-2017 [bulk 1960-2017], contain the professional, academic, and personal papers of Joanne V. Gabbin, professor of English at James Madison University and director of the Furious Flower Poetry Center.\u003c/abstract\u003e"],"abstract_tesim":["The Joanne V. Gabbin Papers, 1930-2017 [bulk 1960-2017], contain the professional, academic, and personal papers of Joanne V. Gabbin, professor of English at James Madison University and director of the Furious Flower Poetry Center."],"names_coll_ssim":["Furious Flower Conference (1st ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 1994 :.)","Furious Flower Conference (2nd ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 2004 :.)","Furious Flower Conference (3rd ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 2014 :.)","Furious Flower Poetry Center (1999-2004)","James Madison University. Furious Flower Poetry Center","James Madison University. Honors College","James Madison University. Honors Program","Gabbin, Joanne V. (Joanne Veal), 1946-"],"names_ssim":["James Madison University Libraries Special Collections","Furious Flower Conference (1st ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 1994 :.)","Furious Flower Conference (2nd ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 2004 :.)","Furious Flower Conference (3rd ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 2014 :.)","Furious Flower Poetry Center (1999-2004)","James Madison University. Furious Flower Poetry Center","James Madison University. Honors College","James Madison University. Honors Program","Gabbin, Joanne V. (Joanne Veal), 1946-"],"corpname_ssim":["James Madison University Libraries Special Collections","Furious Flower Conference (1st ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 1994 :.)","Furious Flower Conference (2nd ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 2004 :.)","Furious Flower Conference (3rd ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 2014 :.)","Furious Flower Poetry Center (1999-2004)","James Madison University. Furious Flower Poetry Center","James Madison University. Honors College","James Madison University. Honors Program"],"persname_ssim":["Gabbin, Joanne V. (Joanne Veal), 1946-"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":389,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T00:19:58.075Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vihart_repositories_4_resources_627","ead_ssi":"vihart_repositories_4_resources_627","_root_":"vihart_repositories_4_resources_627","_nest_parent_":"vihart_repositories_4_resources_627","ead_source_url_ssi":"data/oai/JMU/repositories_4_resources_627.xml","title_ssm":["Joanne V. Gabbin Papers"],"title_tesim":["Joanne V. Gabbin Papers"],"unitdate_ssm":["1930-2017","1960-2017"],"unitdate_bulk_ssim":["1960-2017"],"unitdate_inclusive_ssm":["1930-2017"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC 0296","/repositories/4/resources/627"],"text":["SC 0296","/repositories/4/resources/627","Joanne V. Gabbin Papers","English language -- Study and teaching (Higher)","Poetry -- Black authors","African Americans -- Poetry","African American poets","Poets, Black","Letters (correspondence)","Manuscripts (documents)","Research notes","Photographs","Printed Ephemera","Pamphlets","Brochures","Personal papers","Articles","Syllabi","Poetry","Faculty papers","Newsletters","Newspaper clippings","Collection is open to research. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection","Two boxes filled with empty file folders were recycled prior to processing.","The collection is arranged in six series. Series 3 and Series 5 are arranged further into subseries. Each series is arranged chronologically except for Series 1: Manuscripts which is arranged alphabetically. Exceptions to this arrangement scheme were made in order to group like materials (e.g. photographs, newspaper clippings) together. As a result chronological arrangements are approximate. In order to maintain original intellectual order, photographs and correspondence, for example, may be found across multiple series.","Manuscripts, 1930-2015 Research, 1960-2016 Professional Activities, 1963-2017 Teaching Materials, 1971-2013 Personal Papers, 1967-2016 Printed Ephemera and Photographs, 1961-2013","A professor of English at James Madison University, Joanne Gabbin earned her B.A. from Morgan State College in Baltimore, Maryland in 1967, and received her M.A. and Ph.D. from the University of Chicago in 1970 and 1980, respectively. Gabbin taught at Roosevelt University, Chicago State University, and Lincoln University before she was hired at James Madison University in 1985 as a Commonwealth Visiting Professor. She became the director of the Honors Program (now the Honors College) in 1986, where she served for 19 years and founded many programs that define the Honors College today. ","In 1994, she organized the first Furious Flower Poetry Conference, which she held at JMU and in honor of Pulitzer Prize-winning poet Gwendolyn Brooks. The event was considered historic and likely the largest gathering of African American poets and literature scholars to that date. After a second successful conference a decade later, JMU chartered the Furious Flower Poetry Center in 2005, the nation's first academic center devoted to Black poetry. ","The author/editor of numerous books and founder of the Wintergreen Women Writers' Collective, Gabbin's contributions to the academic field of African American poetry have been acknowledged with awards and honors from such organizations as the HistoryMakers Archives, the National Museum of African American History and Culture, the College Language Association and the International Literary Hall of Fame for Writers of African Descent, among many others. Her publications include  Sterling A. Brown: Building the Black Aesthetic Tradition  (1985), which was reissued in 1994 by the University Press of Virginia and the children's book  I Bet She Called Me Sugar Plum  (2004). She also edited  The Furious Flowering of African American Poetry  (1999),  Furious Flower: African American Poetry from the Black Arts Movement to the Present  (2004),  Furious Flower: Seeding the Future of African American Poetry  (2020),  Shaping Memories: Reflections of African American Women Writers  (2009), and  Mourning Katrina: A Poetic Response to Tragedy  (2009). ","Collection was donated in clearly labeled folders housed in multiple cubic boxes. In Feburary 2017, Cardinal House experienced a flood as a result of plumbing issues. Materials in this collection were affected and may exhibit water damage. Processors used labels as direction for series arrangement, and focused on discards of duplicates and assessing water-damage materials. Afterwards, materials were moved to hollingers and additional accruals were integrated into the existing arrangement.","Duplicate newspapers, newsletters, brochures, articles, etc. were discarded. Financial records including receipts, credit card and bank statements, and travel reimbursements were not retained and were discarded. Student records containing personally identifiable information (student identification numbers, GPAs, grades, etc.)—beyond what is considered directory information—were removed and discarded.","Furious Flower Poetry Center Records, 1990-2014, UA 0017, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA.","Furious Flower Poetry Center Conference Records, 1970-2015, UA 0018, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA.","The Joanne V. Gabbin Papers, 1930-2017 [bulk 1960-2017], contain the professional, academic, and personal papers of Joanne V. Gabbin, professor of English at James Madison University and director of the Furious Flower Poetry Center. The materials chiefly relate to her professional role as an influential figure in the African American literary community and include manuscripts she wrote or edited, notes and materials from events where she spoke or was featured, and her correspondence with publishers, professional organizations, and other members of the African American literary community. Other materials include articles for research or teaching purposes, syllabi, documents and correspondence related to her role as professor and head of the JMU Honors College, personal correspondence, and documents related to her role as director of the Furious Flower Poetry Center.","Series 1: Manuscripts, 1930-2015, includes manuscripts authored by Gabbin and her colleagues. The majority of the series is made up of edits and drafts of the anthology manuscript that would be come to known as  Shaping Memories: Reflections of African American Women Writers . This manuscript would be the culmination of works by Gabbin and her colleagues after their annual Wintergreen Women's Writer's retreat. Also of note in this series is Gabbin's dissertation on Sterling Brown, written during her time at the University of Chicago as she pursued her master's degree and PhD.","Series 2: Research, 1960-2016, includes a wide variety of materials that relate to Gabbin's research during her time as a student in the master's and doctorate program at the University of Chicago and research for the manuscripts she wrote  and contributed to later in her life. The content mostly consists of articles from academic journals and books written on the subject at hand (e.g. Sonia Sanchez and Sterling Brown), with some interesting items including legal pads and spiral notebooks containing personal notes and thoughts on the topic being researched.","Series 3: Professional Activities, 1963-2017, comprises three subseries: general material, materials relating to the honors college at JMU, and material related to the Furious Flower Poetry Center. The items in this series relate to Gabbin's numerous speaking engagements and events held by the poetry center and honors college. This can include professional correspondence, promotional material, and invitations and programs to events held over the years.","Series 4: Teaching Materials, 1971-2013, includes items related to Joanne Gabbin's teaching career at James Madison University. The majority of this series comprises syllabi from the English classes Gabbin taught, all relating to Black Literature. Scattered throughout the series are also course evaluations, in which the majority of her students give her high marks for her enthusiasm for the material and accessible teaching style, and miscellaneous pedagogical materials likely used to inform instruction.","Series 5: Personal Papers, 1967-2016, is made up of two subseries: general personal materials and personal correspondence. Personal items cover a variety of material, which include: essays written by Gabbin when she was a student at Morgan State College and the University of Chicago (some marked up by her professors), drafted manuscripts, and a folder containing numerous drafts and illustrations for her children's book  I Bet She Called Me Sugar Plum . The personal correspondence is made up of letters written to Gabbin from former students she has had over the years (seen through numerous holiday cards and announcements), from collaborators on the manuscripts she has worked on over the years, or notes and letters written to her husband Alexander Gabbin as she attended the University of Chicago.","Series 6: Printed Ephemera and Photographs, 1961-2013, comprises chiefly newsletters, newspapers, and pamphlets. Most of the newspapers are national titles, such as the  Washington Post , with the  Daily News-Record  also being represented. Most of the articles center on events concerning African American issues. Of interest is a small pamphlet entitled \"Race and Psychology,\" dated 1961, in which the author details the history of psychological intelligence tests and how different racial/ethnic groups scored in comparison to each other. This series also contains several folders of photographs, documenting Gabbin's personal and professional life. Photographs of poets Rita Dove, Gwendolyn Brooks, and Nikki Giovanni are included.","Three poetry broadsides printed in 2017 at the Virginia Arts of the Book Center for the Virginia Festival of the Book - Heavenly Madrigal, Seasons Change Before We're Ready, and Zombie Blues Villanelle - were removed from the collection and cataloged individually. These broadsides are held by Special Collections.","The copyright interests in this collection have not been transferred to the James Madison University Special Collections Library. Staff have taken special care to identify and remove sensitive materials, particularly those relating to students' academic records, found within this collection. However, in rare instances, privacy protected information may be revealed during use of this collection. Researchers agree to make no notes or other recordation of privacy protected information if found within this collection, and further agree not to publish or disclose such information for any purpose. Researchers agree to alert Special Collections staff if potentially privacy protected information is found within this collection. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","The Joanne V. Gabbin Papers, 1930-2017 [bulk 1960-2017], contain the professional, academic, and personal papers of Joanne V. Gabbin, professor of English at James Madison University and director of the Furious Flower Poetry Center.","James Madison University Libraries Special Collections","Furious Flower Conference (1st ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 1994 :.)","Furious Flower Conference (2nd ) (Location of meeting: James Madison University). 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For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu)."],"acqinfo_ssim":["Materials were donated by Joanne V. 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Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open to research. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection"],"appraisal_html_tesm":["\u003cp\u003eTwo boxes filled with empty file folders were recycled prior to processing.\u003c/p\u003e"],"appraisal_heading_ssm":["Appraisal Information"],"appraisal_tesim":["Two boxes filled with empty file folders were recycled prior to processing."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged in six series. Series 3 and Series 5 are arranged further into subseries. Each series is arranged chronologically except for Series 1: Manuscripts which is arranged alphabetically. Exceptions to this arrangement scheme were made in order to group like materials (e.g. photographs, newspaper clippings) together. As a result chronological arrangements are approximate. In order to maintain original intellectual order, photographs and correspondence, for example, may be found across multiple series.\u003c/p\u003e","\u003clist numeration=\"arabic\" type=\"ordered\"\u003e\n      \u003citem\u003eManuscripts, 1930-2015\u003c/item\u003e\n      \u003citem\u003eResearch, 1960-2016\u003c/item\u003e\n      \u003citem\u003eProfessional Activities, 1963-2017\u003c/item\u003e\n      \u003citem\u003eTeaching Materials, 1971-2013\u003c/item\u003e\n      \u003citem\u003ePersonal Papers, 1967-2016\u003c/item\u003e\n      \u003citem\u003ePrinted Ephemera and Photographs, 1961-2013\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged in six series. Series 3 and Series 5 are arranged further into subseries. Each series is arranged chronologically except for Series 1: Manuscripts which is arranged alphabetically. Exceptions to this arrangement scheme were made in order to group like materials (e.g. photographs, newspaper clippings) together. As a result chronological arrangements are approximate. In order to maintain original intellectual order, photographs and correspondence, for example, may be found across multiple series.","Manuscripts, 1930-2015 Research, 1960-2016 Professional Activities, 1963-2017 Teaching Materials, 1971-2013 Personal Papers, 1967-2016 Printed Ephemera and Photographs, 1961-2013"],"bioghist_html_tesm":["\u003cp\u003eA professor of English at James Madison University, Joanne Gabbin earned her B.A. from Morgan State College in Baltimore, Maryland in 1967, and received her M.A. and Ph.D. from the University of Chicago in 1970 and 1980, respectively. Gabbin taught at Roosevelt University, Chicago State University, and Lincoln University before she was hired at James Madison University in 1985 as a Commonwealth Visiting Professor. She became the director of the Honors Program (now the Honors College) in 1986, where she served for 19 years and founded many programs that define the Honors College today. \u003c/p\u003e\n","\u003cp\u003eIn 1994, she organized the first Furious Flower Poetry Conference, which she held at JMU and in honor of Pulitzer Prize-winning poet Gwendolyn Brooks. The event was considered historic and likely the largest gathering of African American poets and literature scholars to that date. After a second successful conference a decade later, JMU chartered the Furious Flower Poetry Center in 2005, the nation's first academic center devoted to Black poetry. \u003c/p\u003e\n","\u003cp\u003eThe author/editor of numerous books and founder of the Wintergreen Women Writers' Collective, Gabbin's contributions to the academic field of African American poetry have been acknowledged with awards and honors from such organizations as the HistoryMakers Archives, the National Museum of African American History and Culture, the College Language Association and the International Literary Hall of Fame for Writers of African Descent, among many others. Her publications include \u003cemph render=\"italic\"\u003eSterling A. Brown: Building the Black Aesthetic Tradition\u003c/emph\u003e (1985), which was reissued in 1994 by the University Press of Virginia and the children's book \u003cemph render=\"italic\"\u003eI Bet She Called Me Sugar Plum\u003c/emph\u003e (2004). She also edited \u003cemph render=\"italic\"\u003eThe Furious Flowering of African American Poetry\u003c/emph\u003e (1999), \u003cemph render=\"italic\"\u003eFurious Flower: African American Poetry from the Black Arts Movement to the Present\u003c/emph\u003e (2004), \u003cemph render=\"italic\"\u003eFurious Flower: Seeding the Future of African American Poetry\u003c/emph\u003e (2020), \u003cemph render=\"italic\"\u003eShaping Memories: Reflections of African American Women Writers\u003c/emph\u003e (2009), and \u003cemph render=\"italic\"\u003eMourning Katrina: A Poetic Response to Tragedy\u003c/emph\u003e (2009). \u003c/p\u003e"],"bioghist_heading_ssm":["Bio/Historical Note"],"bioghist_tesim":["A professor of English at James Madison University, Joanne Gabbin earned her B.A. from Morgan State College in Baltimore, Maryland in 1967, and received her M.A. and Ph.D. from the University of Chicago in 1970 and 1980, respectively. Gabbin taught at Roosevelt University, Chicago State University, and Lincoln University before she was hired at James Madison University in 1985 as a Commonwealth Visiting Professor. She became the director of the Honors Program (now the Honors College) in 1986, where she served for 19 years and founded many programs that define the Honors College today. ","In 1994, she organized the first Furious Flower Poetry Conference, which she held at JMU and in honor of Pulitzer Prize-winning poet Gwendolyn Brooks. The event was considered historic and likely the largest gathering of African American poets and literature scholars to that date. After a second successful conference a decade later, JMU chartered the Furious Flower Poetry Center in 2005, the nation's first academic center devoted to Black poetry. ","The author/editor of numerous books and founder of the Wintergreen Women Writers' Collective, Gabbin's contributions to the academic field of African American poetry have been acknowledged with awards and honors from such organizations as the HistoryMakers Archives, the National Museum of African American History and Culture, the College Language Association and the International Literary Hall of Fame for Writers of African Descent, among many others. Her publications include  Sterling A. Brown: Building the Black Aesthetic Tradition  (1985), which was reissued in 1994 by the University Press of Virginia and the children's book  I Bet She Called Me Sugar Plum  (2004). She also edited  The Furious Flowering of African American Poetry  (1999),  Furious Flower: African American Poetry from the Black Arts Movement to the Present  (2004),  Furious Flower: Seeding the Future of African American Poetry  (2020),  Shaping Memories: Reflections of African American Women Writers  (2009), and  Mourning Katrina: A Poetic Response to Tragedy  (2009). "],"prefercite_html_tesm":["\u003cp\u003e[identification of item], [box #, folder #], Joanne V. Gabbin Papers, 1930-2017 [bulk 1960-2017], undated, SC 0296, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA.\u003c/p\u003e"],"prefercite_tesim":["[identification of item], [box #, folder #], Joanne V. Gabbin Papers, 1930-2017 [bulk 1960-2017], undated, SC 0296, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA."],"processinfo_html_tesm":["\u003cp\u003eCollection was donated in clearly labeled folders housed in multiple cubic boxes. In Feburary 2017, Cardinal House experienced a flood as a result of plumbing issues. Materials in this collection were affected and may exhibit water damage. Processors used labels as direction for series arrangement, and focused on discards of duplicates and assessing water-damage materials. Afterwards, materials were moved to hollingers and additional accruals were integrated into the existing arrangement.\u003c/p\u003e","\u003cp\u003eDuplicate newspapers, newsletters, brochures, articles, etc. were discarded. Financial records including receipts, credit card and bank statements, and travel reimbursements were not retained and were discarded. Student records containing personally identifiable information (student identification numbers, GPAs, grades, etc.)—beyond what is considered directory information—were removed and discarded.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Collection was donated in clearly labeled folders housed in multiple cubic boxes. In Feburary 2017, Cardinal House experienced a flood as a result of plumbing issues. Materials in this collection were affected and may exhibit water damage. Processors used labels as direction for series arrangement, and focused on discards of duplicates and assessing water-damage materials. Afterwards, materials were moved to hollingers and additional accruals were integrated into the existing arrangement.","Duplicate newspapers, newsletters, brochures, articles, etc. were discarded. Financial records including receipts, credit card and bank statements, and travel reimbursements were not retained and were discarded. Student records containing personally identifiable information (student identification numbers, GPAs, grades, etc.)—beyond what is considered directory information—were removed and discarded."],"relatedmaterial_html_tesm":["\u003cp\u003eFurious Flower Poetry Center Records, 1990-2014, UA 0017, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA.\u003c/p\u003e\n","\u003cp\u003eFurious Flower Poetry Center Conference Records, 1970-2015, UA 0018, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Furious Flower Poetry Center Records, 1990-2014, UA 0017, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA.","Furious Flower Poetry Center Conference Records, 1970-2015, UA 0018, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA."],"scopecontent_html_tesm":["\u003cp\u003eThe Joanne V. Gabbin Papers, 1930-2017 [bulk 1960-2017], contain the professional, academic, and personal papers of Joanne V. Gabbin, professor of English at James Madison University and director of the Furious Flower Poetry Center. The materials chiefly relate to her professional role as an influential figure in the African American literary community and include manuscripts she wrote or edited, notes and materials from events where she spoke or was featured, and her correspondence with publishers, professional organizations, and other members of the African American literary community. Other materials include articles for research or teaching purposes, syllabi, documents and correspondence related to her role as professor and head of the JMU Honors College, personal correspondence, and documents related to her role as director of the Furious Flower Poetry Center.\u003c/p\u003e","\u003cp\u003eSeries 1: Manuscripts, 1930-2015, includes manuscripts authored by Gabbin and her colleagues. The majority of the series is made up of edits and drafts of the anthology manuscript that would be come to known as \u003cemph render=\"italic\"\u003eShaping Memories: Reflections of African American Women Writers\u003c/emph\u003e. This manuscript would be the culmination of works by Gabbin and her colleagues after their annual Wintergreen Women's Writer's retreat. Also of note in this series is Gabbin's dissertation on Sterling Brown, written during her time at the University of Chicago as she pursued her master's degree and PhD.\u003c/p\u003e","\u003cp\u003eSeries 2: Research, 1960-2016, includes a wide variety of materials that relate to Gabbin's research during her time as a student in the master's and doctorate program at the University of Chicago and research for the manuscripts she wrote  and contributed to later in her life. The content mostly consists of articles from academic journals and books written on the subject at hand (e.g. Sonia Sanchez and Sterling Brown), with some interesting items including legal pads and spiral notebooks containing personal notes and thoughts on the topic being researched.\u003c/p\u003e","\u003cp\u003eSeries 3: Professional Activities, 1963-2017, comprises three subseries: general material, materials relating to the honors college at JMU, and material related to the Furious Flower Poetry Center. The items in this series relate to Gabbin's numerous speaking engagements and events held by the poetry center and honors college. This can include professional correspondence, promotional material, and invitations and programs to events held over the years.\u003c/p\u003e","\u003cp\u003eSeries 4: Teaching Materials, 1971-2013, includes items related to Joanne Gabbin's teaching career at James Madison University. The majority of this series comprises syllabi from the English classes Gabbin taught, all relating to Black Literature. Scattered throughout the series are also course evaluations, in which the majority of her students give her high marks for her enthusiasm for the material and accessible teaching style, and miscellaneous pedagogical materials likely used to inform instruction.\u003c/p\u003e","\u003cp\u003eSeries 5: Personal Papers, 1967-2016, is made up of two subseries: general personal materials and personal correspondence. Personal items cover a variety of material, which include: essays written by Gabbin when she was a student at Morgan State College and the University of Chicago (some marked up by her professors), drafted manuscripts, and a folder containing numerous drafts and illustrations for her children's book \u003cemph render=\"italic\"\u003eI Bet She Called Me Sugar Plum\u003c/emph\u003e. The personal correspondence is made up of letters written to Gabbin from former students she has had over the years (seen through numerous holiday cards and announcements), from collaborators on the manuscripts she has worked on over the years, or notes and letters written to her husband Alexander Gabbin as she attended the University of Chicago.\u003c/p\u003e","\u003cp\u003eSeries 6: Printed Ephemera and Photographs, 1961-2013, comprises chiefly newsletters, newspapers, and pamphlets. Most of the newspapers are national titles, such as the \u003cemph render=\"italic\"\u003eWashington Post\u003c/emph\u003e, with the \u003cemph render=\"italic\"\u003eDaily News-Record\u003c/emph\u003e also being represented. Most of the articles center on events concerning African American issues. Of interest is a small pamphlet entitled \"Race and Psychology,\" dated 1961, in which the author details the history of psychological intelligence tests and how different racial/ethnic groups scored in comparison to each other. This series also contains several folders of photographs, documenting Gabbin's personal and professional life. Photographs of poets Rita Dove, Gwendolyn Brooks, and Nikki Giovanni are included.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content"],"scopecontent_tesim":["The Joanne V. Gabbin Papers, 1930-2017 [bulk 1960-2017], contain the professional, academic, and personal papers of Joanne V. Gabbin, professor of English at James Madison University and director of the Furious Flower Poetry Center. The materials chiefly relate to her professional role as an influential figure in the African American literary community and include manuscripts she wrote or edited, notes and materials from events where she spoke or was featured, and her correspondence with publishers, professional organizations, and other members of the African American literary community. Other materials include articles for research or teaching purposes, syllabi, documents and correspondence related to her role as professor and head of the JMU Honors College, personal correspondence, and documents related to her role as director of the Furious Flower Poetry Center.","Series 1: Manuscripts, 1930-2015, includes manuscripts authored by Gabbin and her colleagues. The majority of the series is made up of edits and drafts of the anthology manuscript that would be come to known as  Shaping Memories: Reflections of African American Women Writers . This manuscript would be the culmination of works by Gabbin and her colleagues after their annual Wintergreen Women's Writer's retreat. Also of note in this series is Gabbin's dissertation on Sterling Brown, written during her time at the University of Chicago as she pursued her master's degree and PhD.","Series 2: Research, 1960-2016, includes a wide variety of materials that relate to Gabbin's research during her time as a student in the master's and doctorate program at the University of Chicago and research for the manuscripts she wrote  and contributed to later in her life. The content mostly consists of articles from academic journals and books written on the subject at hand (e.g. Sonia Sanchez and Sterling Brown), with some interesting items including legal pads and spiral notebooks containing personal notes and thoughts on the topic being researched.","Series 3: Professional Activities, 1963-2017, comprises three subseries: general material, materials relating to the honors college at JMU, and material related to the Furious Flower Poetry Center. The items in this series relate to Gabbin's numerous speaking engagements and events held by the poetry center and honors college. This can include professional correspondence, promotional material, and invitations and programs to events held over the years.","Series 4: Teaching Materials, 1971-2013, includes items related to Joanne Gabbin's teaching career at James Madison University. The majority of this series comprises syllabi from the English classes Gabbin taught, all relating to Black Literature. Scattered throughout the series are also course evaluations, in which the majority of her students give her high marks for her enthusiasm for the material and accessible teaching style, and miscellaneous pedagogical materials likely used to inform instruction.","Series 5: Personal Papers, 1967-2016, is made up of two subseries: general personal materials and personal correspondence. Personal items cover a variety of material, which include: essays written by Gabbin when she was a student at Morgan State College and the University of Chicago (some marked up by her professors), drafted manuscripts, and a folder containing numerous drafts and illustrations for her children's book  I Bet She Called Me Sugar Plum . The personal correspondence is made up of letters written to Gabbin from former students she has had over the years (seen through numerous holiday cards and announcements), from collaborators on the manuscripts she has worked on over the years, or notes and letters written to her husband Alexander Gabbin as she attended the University of Chicago.","Series 6: Printed Ephemera and Photographs, 1961-2013, comprises chiefly newsletters, newspapers, and pamphlets. Most of the newspapers are national titles, such as the  Washington Post , with the  Daily News-Record  also being represented. Most of the articles center on events concerning African American issues. Of interest is a small pamphlet entitled \"Race and Psychology,\" dated 1961, in which the author details the history of psychological intelligence tests and how different racial/ethnic groups scored in comparison to each other. This series also contains several folders of photographs, documenting Gabbin's personal and professional life. Photographs of poets Rita Dove, Gwendolyn Brooks, and Nikki Giovanni are included."],"separatedmaterial_html_tesm":["\u003cp\u003eThree poetry broadsides printed in 2017 at the Virginia Arts of the Book Center for the Virginia Festival of the Book - Heavenly Madrigal, Seasons Change Before We're Ready, and Zombie Blues Villanelle - were removed from the collection and cataloged individually. These broadsides are held by Special Collections.\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["Three poetry broadsides printed in 2017 at the Virginia Arts of the Book Center for the Virginia Festival of the Book - Heavenly Madrigal, Seasons Change Before We're Ready, and Zombie Blues Villanelle - were removed from the collection and cataloged individually. These broadsides are held by Special Collections."],"userestrict_html_tesm":["\u003cp\u003eThe copyright interests in this collection have not been transferred to the James Madison University Special Collections Library. Staff have taken special care to identify and remove sensitive materials, particularly those relating to students' academic records, found within this collection. However, in rare instances, privacy protected information may be revealed during use of this collection. Researchers agree to make no notes or other recordation of privacy protected information if found within this collection, and further agree not to publish or disclose such information for any purpose. Researchers agree to alert Special Collections staff if potentially privacy protected information is found within this collection. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright interests in this collection have not been transferred to the James Madison University Special Collections Library. Staff have taken special care to identify and remove sensitive materials, particularly those relating to students' academic records, found within this collection. However, in rare instances, privacy protected information may be revealed during use of this collection. Researchers agree to make no notes or other recordation of privacy protected information if found within this collection, and further agree not to publish or disclose such information for any purpose. Researchers agree to alert Special Collections staff if potentially privacy protected information is found within this collection. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu)."],"abstract_html_tesm":["\u003cabstract id=\"aspace_f08c87141a4134568799bd39ab722aea\"\u003eThe Joanne V. Gabbin Papers, 1930-2017 [bulk 1960-2017], contain the professional, academic, and personal papers of Joanne V. Gabbin, professor of English at James Madison University and director of the Furious Flower Poetry Center.\u003c/abstract\u003e"],"abstract_tesim":["The Joanne V. Gabbin Papers, 1930-2017 [bulk 1960-2017], contain the professional, academic, and personal papers of Joanne V. Gabbin, professor of English at James Madison University and director of the Furious Flower Poetry Center."],"names_coll_ssim":["Furious Flower Conference (1st ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 1994 :.)","Furious Flower Conference (2nd ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 2004 :.)","Furious Flower Conference (3rd ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 2014 :.)","Furious Flower Poetry Center (1999-2004)","James Madison University. Furious Flower Poetry Center","James Madison University. Honors College","James Madison University. Honors Program","Gabbin, Joanne V. (Joanne Veal), 1946-"],"names_ssim":["James Madison University Libraries Special Collections","Furious Flower Conference (1st ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 1994 :.)","Furious Flower Conference (2nd ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 2004 :.)","Furious Flower Conference (3rd ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 2014 :.)","Furious Flower Poetry Center (1999-2004)","James Madison University. Furious Flower Poetry Center","James Madison University. Honors College","James Madison University. Honors Program","Gabbin, Joanne V. (Joanne Veal), 1946-"],"corpname_ssim":["James Madison University Libraries Special Collections","Furious Flower Conference (1st ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 1994 :.)","Furious Flower Conference (2nd ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 2004 :.)","Furious Flower Conference (3rd ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 2014 :.)","Furious Flower Poetry Center (1999-2004)","James Madison University. Furious Flower Poetry Center","James Madison University. Honors College","James Madison University. Honors Program"],"persname_ssim":["Gabbin, Joanne V. (Joanne Veal), 1946-"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":389,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T00:19:58.075Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vihart_repositories_4_resources_627"}},{"id":"vifgm_repositories_2_resources_579","type":"collection","attributes":{"title":"Margaret W. Fisher papers","creator":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_579#creator","type":"document_value","attributes":{"value":"Fisher, Margaret W. (Margaret Winslow)","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_579#abstract_or_scope","type":"document_value","attributes":{"value":"This collection houses poetry and art pieces by Margaret W. Fisher alongside letters, correspondences and other materials from her life.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_579#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_579","ead_ssi":"vifgm_repositories_2_resources_579","_root_":"vifgm_repositories_2_resources_579","_nest_parent_":"vifgm_repositories_2_resources_579","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_579.xml","title_ssm":["Margaret W. Fisher papers"],"title_tesim":["Margaret W. Fisher papers"],"unitdate_ssm":["1972-1996"],"unitdate_inclusive_ssm":["1972-1996"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0033","/repositories/2/resources/579"],"text":["C0033","/repositories/2/resources/579","Margaret W. Fisher papers","Virginia, Northern","Watercolor painting","Creative writing","Postcards","Poetry","Correspondence","There are no access restrictions.","Arranged by subject, chronologically and alphabetically.","Margaret Winslow Fisher was a painter, poet, and public lecturer. She served actively on numerous voluntary committees in Fairfax, Loudoun, and Arlington Counties, including the Goose Creek Scenic River Advisory Board, the Friends of George Mason University, and the Preservation Society of Loudoun County, and belonged to the National League of American Penwomen and the Virginia Watercolor Society. She was married to economist and congressman Joseph Lyman Fisher.","Processed by Special Collections Research Center staff, reprocessed by SCRC intern Amy Blake in 2018. EAD markup completed by Eron Ackerman and Jordan Patty in August 2009. EAD revised by Amy Blake in 2018.","The Special Collections Research Center also holds the ","This collection contains poetry written by Margaret Fisher, memorabilia, correspondence, and postcards she published featuring images of her watercolor paintings.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","This collection houses poetry and art pieces by Margaret W. Fisher alongside letters, correspondences and other materials from her life.","R17, C2, S4","George Mason University. Libraries. Special Collections Research Center","Fisher, Margaret W. (Margaret Winslow)","English"],"unitid_tesim":["C0033","/repositories/2/resources/579"],"normalized_title_ssm":["Margaret W. Fisher papers"],"collection_title_tesim":["Margaret W. Fisher papers"],"collection_ssim":["Margaret W. Fisher papers"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Virginia, Northern"],"geogname_ssim":["Virginia, Northern"],"creator_ssm":["Fisher, Margaret W. (Margaret Winslow)"],"creator_ssim":["Fisher, Margaret W. (Margaret Winslow)"],"creator_persname_ssim":["Fisher, Margaret W. (Margaret Winslow)"],"creators_ssim":["Fisher, Margaret W. (Margaret Winslow)"],"places_ssim":["Virginia, Northern"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Collection donated by Margaret Fisher in 1996."],"access_subjects_ssim":["Watercolor painting","Creative writing","Postcards","Poetry","Correspondence"],"access_subjects_ssm":["Watercolor painting","Creative writing","Postcards","Poetry","Correspondence"],"has_online_content_ssim":["false"],"extent_ssm":["0.25 linear feet 1 box"],"extent_tesim":["0.25 linear feet 1 box"],"genreform_ssim":["Postcards","Poetry","Correspondence"],"date_range_isim":[1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eArranged by subject, chronologically and alphabetically.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Arranged by subject, chronologically and alphabetically."],"bioghist_html_tesm":["\u003cp\u003eMargaret Winslow Fisher was a painter, poet, and public lecturer. She served actively on numerous voluntary committees in Fairfax, Loudoun, and Arlington Counties, including the Goose Creek Scenic River Advisory Board, the Friends of George Mason University, and the Preservation Society of Loudoun County, and belonged to the National League of American Penwomen and the Virginia Watercolor Society. She was married to economist and congressman Joseph Lyman Fisher.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["Margaret Winslow Fisher was a painter, poet, and public lecturer. She served actively on numerous voluntary committees in Fairfax, Loudoun, and Arlington Counties, including the Goose Creek Scenic River Advisory Board, the Friends of George Mason University, and the Preservation Society of Loudoun County, and belonged to the National League of American Penwomen and the Virginia Watercolor Society. She was married to economist and congressman Joseph Lyman Fisher."],"prefercite_html_tesm":["\u003cp\u003eMargaret W. Fisher papers, C0033, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Margaret W. Fisher papers, C0033, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections Research Center staff, reprocessed by SCRC intern Amy Blake in 2018. EAD markup completed by Eron Ackerman and Jordan Patty in August 2009. EAD revised by Amy Blake in 2018.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections Research Center staff, reprocessed by SCRC intern Amy Blake in 2018. EAD markup completed by Eron Ackerman and Jordan Patty in August 2009. EAD revised by Amy Blake in 2018."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0028\" title=\"Joseph L. 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She was married to economist and congressman Joseph Lyman Fisher."],"prefercite_html_tesm":["\u003cp\u003eMargaret W. Fisher papers, C0033, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Margaret W. Fisher papers, C0033, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections Research Center staff, reprocessed by SCRC intern Amy Blake in 2018. EAD markup completed by Eron Ackerman and Jordan Patty in August 2009. EAD revised by Amy Blake in 2018.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections Research Center staff, reprocessed by SCRC intern Amy Blake in 2018. EAD markup completed by Eron Ackerman and Jordan Patty in August 2009. EAD revised by Amy Blake in 2018."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the \u003cextptr href=\"https://aspace.gmu.edu/resources/c0028\" title=\"Joseph L. 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While a student, Conn was involved in the Lanier Literary Society, Racket Tennis Club, and the editorial staff for the yearbook. After graduation, she became a school teacher before moving to Richmond, Virginia where she became an office manager for the Fiedens Typewriter Company.","Control #Alumni85+2, JMU Historic Photos Online, Special Collections, Carrier Library, James Madison University, Harrisonburg, Va.","The Ruth Conn Papers, 1884-1993, comprise seven folders with materials primarily focused on Ruth Conn's life surrounding her attendance at the State Normal  and Industrial School for Women, now James Madison University. The collection mainly focuses on campus events, correspondence between her and her fellow students, and poetry she worked on or read in her lifetime. ","Correspondence in the collection ranges in content but predominantly focuses on Ruth Conn's time in the Harrisonburg and McGaheysville area with a focus on her friendships and time at the State Normal School. 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After graduation, she became a school teacher before moving to Richmond, Virginia where she became an office manager for the Fiedens Typewriter Company."],"prefercite_html_tesm":["\u003cp\u003e[identification of item], [box #, folder #], Ruth Conn Papers, 1894-1993, SC 0339, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA.\u003c/p\u003e"],"prefercite_tesim":["[identification of item], [box #, folder #], Ruth Conn Papers, 1894-1993, SC 0339, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA."],"relatedmaterial_html_tesm":["\u003cp\u003eControl #Alumni85+2, JMU Historic Photos Online, Special Collections, Carrier Library, James Madison University, Harrisonburg, Va.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Control #Alumni85+2, JMU Historic Photos Online, Special Collections, Carrier Library, James Madison University, Harrisonburg, Va."],"scopecontent_html_tesm":["\u003cp\u003eThe Ruth Conn Papers, 1884-1993, comprise seven folders with materials primarily focused on Ruth Conn's life surrounding her attendance at the State Normal  and Industrial School for Women, now James Madison University. 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Ephemera primarily contains pamphlets, flyers, and grades pertaining to Conn's time at the State Normal School with some items being associated with her early jobs right after graduation. In addition, her collection of poetry primarily comprises her original work. Occasional pieces included are not originally by her but are works that she recited or wrote out. The majority of her poetry in the collection is dated between 1975-1989; however, there is some undated poetry that is estimated to be prior to 1975. As a member of St. Paul's Episcopal Church in Richmond, Virginia, Conn also had a collection of sermons from the 1940-1950s, mostly preached by Reverend Vincent C. Franks, D.D."],"userestrict_html_tesm":["\u003cp\u003eThe copyright interests in this collection have been transferred to the James Madison University Special Collections Library. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright interests in this collection have been transferred to the James Madison University Special Collections Library. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu)."],"abstract_html_tesm":["\u003cabstract id=\"aspace_93551d342ea56edc6a1240e4d5bad96d\"\u003eThe Ruth Conn Papers, 1884-1993, comprise seven folders with materials primarily focused on Ruth Conn's life surrounding her attendance at the State Normal and Industrial School for Women, now James Madison University. 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The collection mainly focuses on campus events, correspondence between her and her fellow students, and poetry she worked on or read in her lifetime."],"names_coll_ssim":["State Normal and Industrial School for Women (Harrisonburg, Va.) -- Students","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Students -- Social life and customs","State Normal and Industrial School for Women (Harrisonburg, Va.) -- History","James Madison University -- History","Dixon, Lori"],"names_ssim":["James Madison University Libraries Special Collections","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Students","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Students -- Social life and customs","State Normal and Industrial School for Women (Harrisonburg, Va.) -- History","James Madison University -- History","Conn, Ruth R, (Ruth Randolph), 1893-1993","Dixon, Lori"],"corpname_ssim":["James Madison University Libraries Special Collections","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Students","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Students -- Social life and customs","State Normal and Industrial School for Women (Harrisonburg, Va.) -- History","James Madison University -- History"],"persname_ssim":["Conn, Ruth R, (Ruth Randolph), 1893-1993","Dixon, Lori"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":7,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T00:21:32.588Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vihart_repositories_4_resources_713","ead_ssi":"vihart_repositories_4_resources_713","_root_":"vihart_repositories_4_resources_713","_nest_parent_":"vihart_repositories_4_resources_713","ead_source_url_ssi":"data/oai/JMU/repositories_4_resources_713.xml","title_ssm":["Ruth Conn papers"],"title_tesim":["Ruth Conn papers"],"unitdate_ssm":["1884-1993"],"unitdate_inclusive_ssm":["1884-1993"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC 0339","/repositories/4/resources/713"],"text":["SC 0339","/repositories/4/resources/713","Ruth Conn papers","Harrisonburg (Va.) -- History","McGaheysville (Va.) -- History","Universities and colleges -- Virginia -- Harrisonburg -- History","Poetry","Letters (correspondence)","Printed Ephemera","Photograph albums","Collection open to research. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection.","A copy of the 1912 Schoolma'am yearbook was not retained due to significant preservation issues.","The collection is arranged chronologically.","\"Ruth Randolph Conn (1893–1993) • FamilySearch.\" FamilySearch, https://ancestors.familysearch.org/en/L71N-8K3/ruth-randolph-conn-1893-1993. Accessed 23 January 2023.","Ruth Randolph Conn (1893-1993) was born on January 16, 1893 in McGaheysville, Virginia. Raised in McGaheysville, Conn was known locally as the great-great granddaughter of the town's founder, Tobia McGahey. She attended the State Normal and Industrial School for Women, now James Madison University, where she graduated in 1912. While a student, Conn was involved in the Lanier Literary Society, Racket Tennis Club, and the editorial staff for the yearbook. After graduation, she became a school teacher before moving to Richmond, Virginia where she became an office manager for the Fiedens Typewriter Company.","Control #Alumni85+2, JMU Historic Photos Online, Special Collections, Carrier Library, James Madison University, Harrisonburg, Va.","The Ruth Conn Papers, 1884-1993, comprise seven folders with materials primarily focused on Ruth Conn's life surrounding her attendance at the State Normal  and Industrial School for Women, now James Madison University. The collection mainly focuses on campus events, correspondence between her and her fellow students, and poetry she worked on or read in her lifetime. ","Correspondence in the collection ranges in content but predominantly focuses on Ruth Conn's time in the Harrisonburg and McGaheysville area with a focus on her friendships and time at the State Normal School. Ephemera primarily contains pamphlets, flyers, and grades pertaining to Conn's time at the State Normal School with some items being associated with her early jobs right after graduation. In addition, her collection of poetry primarily comprises her original work. Occasional pieces included are not originally by her but are works that she recited or wrote out. The majority of her poetry in the collection is dated between 1975-1989; however, there is some undated poetry that is estimated to be prior to 1975. As a member of St. Paul's Episcopal Church in Richmond, Virginia, Conn also had a collection of sermons from the 1940-1950s, mostly preached by Reverend Vincent C. Franks, D.D.","The copyright interests in this collection have been transferred to the James Madison University Special Collections Library. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","The Ruth Conn Papers, 1884-1993, comprise seven folders with materials primarily focused on Ruth Conn's life surrounding her attendance at the State Normal and Industrial School for Women, now James Madison University. The collection mainly focuses on campus events, correspondence between her and her fellow students, and poetry she worked on or read in her lifetime.","James Madison University Libraries Special Collections","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Students","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Students -- Social life and customs","State Normal and Industrial School for Women (Harrisonburg, Va.) -- History","James Madison University -- History","Conn, Ruth R, (Ruth Randolph), 1893-1993","Dixon, Lori","English"],"unitid_tesim":["SC 0339","/repositories/4/resources/713"],"normalized_title_ssm":["Ruth Conn papers"],"collection_title_tesim":["Ruth Conn papers"],"collection_ssim":["Ruth Conn papers"],"repository_ssm":["James Madison University"],"repository_ssim":["James Madison University"],"geogname_ssm":["Harrisonburg (Va.) -- History","McGaheysville (Va.) -- History"],"geogname_ssim":["Harrisonburg (Va.) -- History","McGaheysville (Va.) -- History"],"creator_ssm":["Conn, Ruth R, (Ruth Randolph), 1893-1993","Dixon, Lori"],"creator_ssim":["Conn, Ruth R, (Ruth Randolph), 1893-1993","Dixon, Lori"],"creator_persname_ssim":["Conn, Ruth R, (Ruth Randolph), 1893-1993","Dixon, Lori"],"creators_ssim":["Conn, Ruth R, (Ruth Randolph), 1893-1993","Dixon, Lori"],"places_ssim":["Harrisonburg (Va.) -- History","McGaheysville (Va.) -- History"],"access_terms_ssm":["The copyright interests in this collection have been transferred to the James Madison University Special Collections Library. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu)."],"acqinfo_ssim":["Lori Dixon, daughter-in-law of Madelyn Dixon who was a lifelong friend of Ruth Conn, donated the collection on August 16, 2022."],"access_subjects_ssim":["Universities and colleges -- Virginia -- Harrisonburg -- History","Poetry","Letters (correspondence)","Printed Ephemera","Photograph albums"],"access_subjects_ssm":["Universities and colleges -- Virginia -- Harrisonburg -- History","Poetry","Letters (correspondence)","Printed Ephemera","Photograph albums"],"has_online_content_ssim":["false"],"extent_ssm":["0.33 cubic feet 1 box"],"extent_tesim":["0.33 cubic feet 1 box"],"genreform_ssim":["Poetry","Letters (correspondence)","Printed Ephemera","Photograph albums"],"date_range_isim":[1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993],"accessrestrict_html_tesm":["\u003cp\u003eCollection open to research. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection open to research. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection."],"appraisal_html_tesm":["\u003cp\u003eA copy of the 1912 Schoolma'am yearbook was not retained due to significant preservation issues.\u003c/p\u003e"],"appraisal_heading_ssm":["Appraisal Information"],"appraisal_tesim":["A copy of the 1912 Schoolma'am yearbook was not retained due to significant preservation issues."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged chronologically.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged chronologically."],"bibliography_html_tesm":["\u003cp\u003e\"Ruth Randolph Conn (1893–1993) • FamilySearch.\" FamilySearch, https://ancestors.familysearch.org/en/L71N-8K3/ruth-randolph-conn-1893-1993. Accessed 23 January 2023.\u003c/p\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["\"Ruth Randolph Conn (1893–1993) • FamilySearch.\" FamilySearch, https://ancestors.familysearch.org/en/L71N-8K3/ruth-randolph-conn-1893-1993. Accessed 23 January 2023."],"bioghist_html_tesm":["\u003cp\u003eRuth Randolph Conn (1893-1993) was born on January 16, 1893 in McGaheysville, Virginia. Raised in McGaheysville, Conn was known locally as the great-great granddaughter of the town's founder, Tobia McGahey. She attended the State Normal and Industrial School for Women, now James Madison University, where she graduated in 1912. While a student, Conn was involved in the Lanier Literary Society, Racket Tennis Club, and the editorial staff for the yearbook. After graduation, she became a school teacher before moving to Richmond, Virginia where she became an office manager for the Fiedens Typewriter Company.\u003c/p\u003e"],"bioghist_heading_ssm":["Bio/Historical Note"],"bioghist_tesim":["Ruth Randolph Conn (1893-1993) was born on January 16, 1893 in McGaheysville, Virginia. Raised in McGaheysville, Conn was known locally as the great-great granddaughter of the town's founder, Tobia McGahey. She attended the State Normal and Industrial School for Women, now James Madison University, where she graduated in 1912. While a student, Conn was involved in the Lanier Literary Society, Racket Tennis Club, and the editorial staff for the yearbook. After graduation, she became a school teacher before moving to Richmond, Virginia where she became an office manager for the Fiedens Typewriter Company."],"prefercite_html_tesm":["\u003cp\u003e[identification of item], [box #, folder #], Ruth Conn Papers, 1894-1993, SC 0339, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA.\u003c/p\u003e"],"prefercite_tesim":["[identification of item], [box #, folder #], Ruth Conn Papers, 1894-1993, SC 0339, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA."],"relatedmaterial_html_tesm":["\u003cp\u003eControl #Alumni85+2, JMU Historic Photos Online, Special Collections, Carrier Library, James Madison University, Harrisonburg, Va.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Control #Alumni85+2, JMU Historic Photos Online, Special Collections, Carrier Library, James Madison University, Harrisonburg, Va."],"scopecontent_html_tesm":["\u003cp\u003eThe Ruth Conn Papers, 1884-1993, comprise seven folders with materials primarily focused on Ruth Conn's life surrounding her attendance at the State Normal  and Industrial School for Women, now James Madison University. The collection mainly focuses on campus events, correspondence between her and her fellow students, and poetry she worked on or read in her lifetime. \u003c/p\u003e\n","\u003cp\u003eCorrespondence in the collection ranges in content but predominantly focuses on Ruth Conn's time in the Harrisonburg and McGaheysville area with a focus on her friendships and time at the State Normal School. Ephemera primarily contains pamphlets, flyers, and grades pertaining to Conn's time at the State Normal School with some items being associated with her early jobs right after graduation. In addition, her collection of poetry primarily comprises her original work. Occasional pieces included are not originally by her but are works that she recited or wrote out. The majority of her poetry in the collection is dated between 1975-1989; however, there is some undated poetry that is estimated to be prior to 1975. As a member of St. Paul's Episcopal Church in Richmond, Virginia, Conn also had a collection of sermons from the 1940-1950s, mostly preached by Reverend Vincent C. Franks, D.D.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Ruth Conn Papers, 1884-1993, comprise seven folders with materials primarily focused on Ruth Conn's life surrounding her attendance at the State Normal  and Industrial School for Women, now James Madison University. The collection mainly focuses on campus events, correspondence between her and her fellow students, and poetry she worked on or read in her lifetime. ","Correspondence in the collection ranges in content but predominantly focuses on Ruth Conn's time in the Harrisonburg and McGaheysville area with a focus on her friendships and time at the State Normal School. Ephemera primarily contains pamphlets, flyers, and grades pertaining to Conn's time at the State Normal School with some items being associated with her early jobs right after graduation. In addition, her collection of poetry primarily comprises her original work. Occasional pieces included are not originally by her but are works that she recited or wrote out. The majority of her poetry in the collection is dated between 1975-1989; however, there is some undated poetry that is estimated to be prior to 1975. As a member of St. Paul's Episcopal Church in Richmond, Virginia, Conn also had a collection of sermons from the 1940-1950s, mostly preached by Reverend Vincent C. Franks, D.D."],"userestrict_html_tesm":["\u003cp\u003eThe copyright interests in this collection have been transferred to the James Madison University Special Collections Library. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright interests in this collection have been transferred to the James Madison University Special Collections Library. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu)."],"abstract_html_tesm":["\u003cabstract id=\"aspace_93551d342ea56edc6a1240e4d5bad96d\"\u003eThe Ruth Conn Papers, 1884-1993, comprise seven folders with materials primarily focused on Ruth Conn's life surrounding her attendance at the State Normal and Industrial School for Women, now James Madison University. The collection mainly focuses on campus events, correspondence between her and her fellow students, and poetry she worked on or read in her lifetime.\u003c/abstract\u003e"],"abstract_tesim":["The Ruth Conn Papers, 1884-1993, comprise seven folders with materials primarily focused on Ruth Conn's life surrounding her attendance at the State Normal and Industrial School for Women, now James Madison University. The collection mainly focuses on campus events, correspondence between her and her fellow students, and poetry she worked on or read in her lifetime."],"names_coll_ssim":["State Normal and Industrial School for Women (Harrisonburg, Va.) -- Students","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Students -- Social life and customs","State Normal and Industrial School for Women (Harrisonburg, Va.) -- History","James Madison University -- History","Dixon, Lori"],"names_ssim":["James Madison University Libraries Special Collections","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Students","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Students -- Social life and customs","State Normal and Industrial School for Women (Harrisonburg, Va.) -- History","James Madison University -- History","Conn, Ruth R, (Ruth Randolph), 1893-1993","Dixon, Lori"],"corpname_ssim":["James Madison University Libraries Special Collections","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Students","State Normal and Industrial School for Women (Harrisonburg, Va.) -- Students -- Social life and customs","State Normal and Industrial School for Women (Harrisonburg, Va.) -- History","James Madison University -- History"],"persname_ssim":["Conn, Ruth R, (Ruth Randolph), 1893-1993","Dixon, Lori"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":7,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T00:21:32.588Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vihart_repositories_4_resources_713"}},{"id":"vilxw_repositories_5_resources_641","type":"collection","attributes":{"title":"Shenandoah records","creator":{"id":"https://arvasarchive.org/catalog/vilxw_repositories_5_resources_641#creator","type":"document_value","attributes":{"value":"Washington and Lee University","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vilxw_repositories_5_resources_641#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis collection record material of the Washington and Lee University's literary magazine \u003cem\u003eShenandoah\u003c/em\u003e. The records include correspondence created by and sent to editors of the publication, financial records, its constitution, reprint permissions, galley proofs, manuscripts, copyright assignments, and subject files. \u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vilxw_repositories_5_resources_641#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vilxw_repositories_5_resources_641","ead_ssi":"vilxw_repositories_5_resources_641","_root_":"vilxw_repositories_5_resources_641","_nest_parent_":"vilxw_repositories_5_resources_641","ead_source_url_ssi":"data/oai/WLU/repositories_5_resources_641.xml","title_filing_ssi":"Shenandoah  records","title_ssm":["Shenandoah records"],"title_tesim":["Shenandoah records"],"unitdate_ssm":["1952-2013"],"unitdate_inclusive_ssm":["1952-2013"],"level_ssm":["collection"],"level_ssim":["Record Group","Collection"],"unitid_ssm":["WLU.RG.29","/repositories/5/resources/641"],"text":["WLU.RG.29","/repositories/5/resources/641","Shenandoah records","Poetry","American prose literature","This collection is open for research use but must be accessed in person in the Special Collections and Archives reading room. The majority of the collection falls under various copyright and intellectual property rights laws. To ensure compliance with literary estates and federal law, we will not digitize items from this collection without the expressed written permission by the appropriate entities. Special Collections and Archives staff will not serve as the intermediary between researchers and literary estates or living contributors. That responsibility falls solely to the researcher. ","This site can help determine copyright holders: https://norman.hrc.utexas.edu/watch/.","Researchers are restricted from viewing letters of agreement because they include personal privacy information. These documents are restricted for 75 years plus one day from year of creation.","While Washington and Lee University may own the physical documents contained within this collection, the content of the correspondence from contributors and their submitted manuscripts fall under copyright. The manuscripts in this collection, both prose and poetry, were published in the journal. ","Several individuals whose letters and/or manuscripts are included in this colleague have estates which manage their intellectual property rights. The Special Collections and Archives staff will not reproduce material by these individuals which would result in copyright violation. Access will only be allowed in the Special Collections and Archives reading room.","Signed by Tolkien, this poem is under copyright which is managed by the Tolkien Estate. Access is available in person. No reproduction without expressed written permission of the Tolkien Estate. The researcher is responsible for obtaining appropriate permissions.","Restricted until January 1, 2064","Restricted until January 1, 2065","Restricted until January 1, 2065","Restricted until January 1, 2065","Restricted until January 1, 2066","Restricted until January 1, 2067","Restricted until January 1, 2067","Restricted until January 1, 2068","Restricted until January 1, 2069","Restricted until January 1, 2070","Restricted until January 1, 2087","Restricted until January 1, 2088","Restricted until January 1, 2089","This collection has been arranged in six series. Series 1 contains the correspondence of past editors with the majority created during the tenure of James Boatwright. The files are arranged by surname. In his correspondence files, Boatwright sometimes included letters by, to, and about specific contributors into one file. Series 2 includes both prose and poetry that was submitted and accepted for publication. They are arranged by the volume/number they were published in. Series 3 contains galley proofs. Series 4 includes permission requests for reprints and requests for copyright assignments. Series 5 contains subject files that do not fit within other series. Series 6 contains letters of agreement. This series is restricted because the agreements include contributor social security numbers.","From https://shenandoahliterary.org/about/","Shenandoah  was founded in 1950 by a group of Washington and Lee University faculty members and undergraduates, Tom Wolfe among them. For a brief time it was primarily an undergraduate magazine, but under the leadership of student editor Tom Carter,  Shenandoah  became a quarterly, publishing a cast of international writers including e e cummings, Dylan Thomas, W. H. Auden, James Merrill, Ezra Pound, William Faulkner, and Flannery O'Connor. From the 1960s to the 1980s, Washington and Lee faculty member James Boatwright expanded the journal and published occasional theme issues, including a thirty-fifth anniversary anthology. After Boatwright's death in 1988, Dabney Stuart took over as editor. In 1995, R. T. Smith was selected as the magazine's first full-time editor. In 2011, Shenandoah moved online, and is now a web magazine that publishes semiannually. In August 2018, after the retirement of R. T. Smith, Beth Staples took over as editor. Shenandoah is now part of W\u0026L's English Department and, under Beth's direction, is supported by a class of undergraduate interns studying editing and publishing.","Former editors include Tom Wolfe, Tom Carter, James Boatwright, Dabney Stuart, and R. T. Smith. ","Spring 1950-Summer 1950: J. J. Donovan, D. C. G. Kerr, Thomas K. Wolfe, Jr.","Winter 1950-Spring 1951: W. H. Adams, Thomas K. Wolfe, Jr., J. A. F. Hall, Jr.","Summer 1951-Autumn 1953: Thomas Carter","Winter 1953-Summer 1954: Raymond D. Smith, Jr.","Winter 1954-Summer 1956: Edward M. Hood","Winter 1956-Summer 1958: M. Maxwell Caskie, III","Autumn 1958: Marshall W. Fishwick","Winter 1959: Paxton Davis","Spring 1959: James G. Leyburn","Autumn 1959: Marvin B. Perry, Jr.","Winter 1960: Lynwood D. Zinn","Spring 1960: Randolph M. Bulgin","Autumn 1960: William W. Pusey, III","Winter 1961: Bond Johnson, III","Spring 1961: Edward B. Hamer","Autumn 1961: Marshall W. Fishwick","Winter 1962: Douglas Day","Spring 1962: Cecil D. Eby, Jr.","Summer 1962: B. S. Stephenson","Autumn 1962-1988: James Boatwright","1988-1995: Dabney Stuart","1995-2018: R. T. Smith","2018- : Beth Staples","Shenandoah  ceased publishing print journals and went fully online starting with Volume 61.\n View materials in this collection online.","Thomas H. Carter Papers (WLU-Coll-0004)","Dabney Stuart Papers (WLU-Coll-0364)","This collection record material of the Washington and Lee University's literary magazine  Shenandoah . The records include correspondence created by and sent to editors of the publication, financial records, its constitution, reprint permissions, galley proofs, manuscripts, copyright assignments, and subject files. ","The bulk of the collection is from the tenure of editor James Boatwright. The subject matter of the correspondence varies but is primarily from contributors. Correspondents include Langston Hughes, James Baldwin, J. R. R. Tolkien, E. E. Cummings, Eudora Welty, Joyce Carol Oates, James McCourt, George Plimpton, Tom Wolfe, and Flannery O'Connor. The correspondence creating during both Boatwright and Dabney Stuart's tenure may also include letters written or received by  Shenandoah  staff including Helen Schuyler, Sue Stewart, and Lynn Williams.","Researchers are expected to review the access retrictions associated with this collection prior to a virtual inquiry and/or in-person visit.","Includes one letter written to Thomas Carter and one written to Raymond Smith","Includes correspondence to Editor Hood","Also includes correspondence to Smith and Hood.","The 1957 letter is to Mr. Caskie.","The 1958 document is a typescript letter to Merrill from Arthur R. Borden, Jr., Chairman of the Board of  Shenandoah  and then Merrill's handwritten reply to Borden below.","1955 letter was written to Hood","Includes a letter from Harold Pinter dated September 26, 1966","Of particular note is an undated letter from an individual named Willy who describes the Mel Greenberg affair.","This series includes both correspondence and submitted manuscripts that contributors included with their correspondence.","Submitted and accepted manuscripts, both poetry and prose. These are under copyright by the original copyright holder and will not be reproduced without expressed written permission by the copyright holder. Special Collections and Archives staff will not serve as the intermidiaries between researchers and copyright holders. That responsibility lies with the researcher.","This series contains letters of agreement between contributers and  Shenandoah , and they include social security numbers. To protect this information, researchers are restricted from accessing this series for 75 years plus one day from the year of creation. For example, agreements signed in 1988 will be accessible January 1, 2064.","The materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.","Washington and Lee University, University Library Special Collections and Archives","Washington and Lee University","English \n.    "],"unitid_tesim":["WLU.RG.29","/repositories/5/resources/641"],"normalized_title_ssm":["Shenandoah records"],"collection_title_tesim":["Shenandoah records"],"collection_ssim":["Shenandoah records"],"repository_ssm":["Washington and Lee University, Leyburn Library"],"repository_ssim":["Washington and Lee University, Leyburn Library"],"creator_ssm":["Washington and Lee University"],"creator_ssim":["Washington and Lee University"],"creator_corpname_ssim":["Washington and Lee University"],"creators_ssim":["Washington and Lee University"],"access_terms_ssm":["The materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source."],"access_subjects_ssim":["Poetry","American prose literature"],"access_subjects_ssm":["Poetry","American prose literature"],"has_online_content_ssim":["false"],"extent_ssm":["17.0 Linear Feet 34 document cases"],"extent_tesim":["17.0 Linear Feet 34 document cases"],"date_range_isim":[1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for research use but must be accessed in person in the Special Collections and Archives reading room. The majority of the collection falls under various copyright and intellectual property rights laws. To ensure compliance with literary estates and federal law, we will not digitize items from this collection without the expressed written permission by the appropriate entities. Special Collections and Archives staff will not serve as the intermediary between researchers and literary estates or living contributors. That responsibility falls solely to the researcher. \u003c/p\u003e\n","\u003cp\u003eThis site can help determine copyright holders: https://norman.hrc.utexas.edu/watch/.\u003c/p\u003e","\u003cp\u003eResearchers are restricted from viewing letters of agreement because they include personal privacy information. These documents are restricted for 75 years plus one day from year of creation.\u003c/p\u003e","\u003cp\u003eWhile Washington and Lee University may own the physical documents contained within this collection, the content of the correspondence from contributors and their submitted manuscripts fall under copyright. The manuscripts in this collection, both prose and poetry, were published in the journal. \u003c/p\u003e\n","\u003cp\u003eSeveral individuals whose letters and/or manuscripts are included in this colleague have estates which manage their intellectual property rights. The Special Collections and Archives staff will not reproduce material by these individuals which would result in copyright violation. Access will only be allowed in the Special Collections and Archives reading room.\u003c/p\u003e","\u003cp\u003eSigned by Tolkien, this poem is under copyright which is managed by the Tolkien Estate. Access is available in person. No reproduction without expressed written permission of the Tolkien Estate. The researcher is responsible for obtaining appropriate permissions.\u003c/p\u003e","\u003cp\u003eRestricted until January 1, 2064\u003c/p\u003e","\u003cp\u003eRestricted until January 1, 2065\u003c/p\u003e","\u003cp\u003eRestricted until January 1, 2065\u003c/p\u003e","\u003cp\u003eRestricted until January 1, 2065\u003c/p\u003e","\u003cp\u003eRestricted until January 1, 2066\u003c/p\u003e","\u003cp\u003eRestricted until January 1, 2067\u003c/p\u003e","\u003cp\u003eRestricted until January 1, 2067\u003c/p\u003e","\u003cp\u003eRestricted until January 1, 2068\u003c/p\u003e","\u003cp\u003eRestricted until January 1, 2069\u003c/p\u003e","\u003cp\u003eRestricted until January 1, 2070\u003c/p\u003e","\u003cp\u003eRestricted until January 1, 2087\u003c/p\u003e","\u003cp\u003eRestricted until January 1, 2088\u003c/p\u003e","\u003cp\u003eRestricted until January 1, 2089\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access","Restrictions - Letters of Agreement","Restrictions - Reproductions","Conditions Governing Access","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions"],"accessrestrict_tesim":["This collection is open for research use but must be accessed in person in the Special Collections and Archives reading room. The majority of the collection falls under various copyright and intellectual property rights laws. To ensure compliance with literary estates and federal law, we will not digitize items from this collection without the expressed written permission by the appropriate entities. Special Collections and Archives staff will not serve as the intermediary between researchers and literary estates or living contributors. That responsibility falls solely to the researcher. ","This site can help determine copyright holders: https://norman.hrc.utexas.edu/watch/.","Researchers are restricted from viewing letters of agreement because they include personal privacy information. These documents are restricted for 75 years plus one day from year of creation.","While Washington and Lee University may own the physical documents contained within this collection, the content of the correspondence from contributors and their submitted manuscripts fall under copyright. The manuscripts in this collection, both prose and poetry, were published in the journal. ","Several individuals whose letters and/or manuscripts are included in this colleague have estates which manage their intellectual property rights. The Special Collections and Archives staff will not reproduce material by these individuals which would result in copyright violation. Access will only be allowed in the Special Collections and Archives reading room.","Signed by Tolkien, this poem is under copyright which is managed by the Tolkien Estate. Access is available in person. No reproduction without expressed written permission of the Tolkien Estate. The researcher is responsible for obtaining appropriate permissions.","Restricted until January 1, 2064","Restricted until January 1, 2065","Restricted until January 1, 2065","Restricted until January 1, 2065","Restricted until January 1, 2066","Restricted until January 1, 2067","Restricted until January 1, 2067","Restricted until January 1, 2068","Restricted until January 1, 2069","Restricted until January 1, 2070","Restricted until January 1, 2087","Restricted until January 1, 2088","Restricted until January 1, 2089"],"arrangement_html_tesm":["\u003cp\u003eThis collection has been arranged in six series. Series 1 contains the correspondence of past editors with the majority created during the tenure of James Boatwright. The files are arranged by surname. In his correspondence files, Boatwright sometimes included letters by, to, and about specific contributors into one file. Series 2 includes both prose and poetry that was submitted and accepted for publication. They are arranged by the volume/number they were published in. Series 3 contains galley proofs. Series 4 includes permission requests for reprints and requests for copyright assignments. Series 5 contains subject files that do not fit within other series. Series 6 contains letters of agreement. This series is restricted because the agreements include contributor social security numbers.\u003c/p\u003e"],"arrangement_heading_ssm":["Collection Arrangement"],"arrangement_tesim":["This collection has been arranged in six series. Series 1 contains the correspondence of past editors with the majority created during the tenure of James Boatwright. The files are arranged by surname. In his correspondence files, Boatwright sometimes included letters by, to, and about specific contributors into one file. Series 2 includes both prose and poetry that was submitted and accepted for publication. They are arranged by the volume/number they were published in. Series 3 contains galley proofs. Series 4 includes permission requests for reprints and requests for copyright assignments. Series 5 contains subject files that do not fit within other series. Series 6 contains letters of agreement. This series is restricted because the agreements include contributor social security numbers."],"bioghist_html_tesm":["\u003cp\u003eFrom https://shenandoahliterary.org/about/\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003eShenandoah\u003c/title\u003e was founded in 1950 by a group of Washington and Lee University faculty members and undergraduates, Tom Wolfe among them. For a brief time it was primarily an undergraduate magazine, but under the leadership of student editor Tom Carter, \u003ctitle\u003eShenandoah\u003c/title\u003e became a quarterly, publishing a cast of international writers including e e cummings, Dylan Thomas, W. H. Auden, James Merrill, Ezra Pound, William Faulkner, and Flannery O'Connor. From the 1960s to the 1980s, Washington and Lee faculty member James Boatwright expanded the journal and published occasional theme issues, including a thirty-fifth anniversary anthology. After Boatwright's death in 1988, Dabney Stuart took over as editor. In 1995, R. T. Smith was selected as the magazine's first full-time editor. In 2011, Shenandoah moved online, and is now a web magazine that publishes semiannually. In August 2018, after the retirement of R. T. Smith, Beth Staples took over as editor. Shenandoah is now part of W\u0026amp;L's English Department and, under Beth's direction, is supported by a class of undergraduate interns studying editing and publishing.\u003c/p\u003e\n","\u003cp\u003eFormer editors include Tom Wolfe, Tom Carter, James Boatwright, Dabney Stuart, and R. T. Smith. \u003c/p\u003e","\u003cp\u003eSpring 1950-Summer 1950: J. J. Donovan, D. C. G. Kerr, Thomas K. Wolfe, Jr.\u003c/p\u003e","\u003cp\u003eWinter 1950-Spring 1951: W. H. Adams, Thomas K. Wolfe, Jr., J. A. F. Hall, Jr.\u003c/p\u003e","\u003cp\u003eSummer 1951-Autumn 1953: Thomas Carter\u003c/p\u003e","\u003cp\u003eWinter 1953-Summer 1954: Raymond D. Smith, Jr.\u003c/p\u003e","\u003cp\u003eWinter 1954-Summer 1956: Edward M. Hood\u003c/p\u003e","\u003cp\u003eWinter 1956-Summer 1958: M. Maxwell Caskie, III\u003c/p\u003e","\u003cp\u003eAutumn 1958: Marshall W. Fishwick\u003c/p\u003e","\u003cp\u003eWinter 1959: Paxton Davis\u003c/p\u003e","\u003cp\u003eSpring 1959: James G. Leyburn\u003c/p\u003e","\u003cp\u003eAutumn 1959: Marvin B. Perry, Jr.\u003c/p\u003e","\u003cp\u003eWinter 1960: Lynwood D. Zinn\u003c/p\u003e","\u003cp\u003eSpring 1960: Randolph M. Bulgin\u003c/p\u003e","\u003cp\u003eAutumn 1960: William W. Pusey, III\u003c/p\u003e","\u003cp\u003eWinter 1961: Bond Johnson, III\u003c/p\u003e","\u003cp\u003eSpring 1961: Edward B. Hamer\u003c/p\u003e","\u003cp\u003eAutumn 1961: Marshall W. Fishwick\u003c/p\u003e","\u003cp\u003eWinter 1962: Douglas Day\u003c/p\u003e","\u003cp\u003eSpring 1962: Cecil D. Eby, Jr.\u003c/p\u003e","\u003cp\u003eSummer 1962: B. S. Stephenson\u003c/p\u003e","\u003cp\u003eAutumn 1962-1988: James Boatwright\u003c/p\u003e","\u003cp\u003e1988-1995: Dabney Stuart\u003c/p\u003e","\u003cp\u003e1995-2018: R. T. Smith\u003c/p\u003e","\u003cp\u003e2018- : Beth Staples\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Note","Chronology of Editors"],"bioghist_tesim":["From https://shenandoahliterary.org/about/","Shenandoah  was founded in 1950 by a group of Washington and Lee University faculty members and undergraduates, Tom Wolfe among them. For a brief time it was primarily an undergraduate magazine, but under the leadership of student editor Tom Carter,  Shenandoah  became a quarterly, publishing a cast of international writers including e e cummings, Dylan Thomas, W. H. Auden, James Merrill, Ezra Pound, William Faulkner, and Flannery O'Connor. From the 1960s to the 1980s, Washington and Lee faculty member James Boatwright expanded the journal and published occasional theme issues, including a thirty-fifth anniversary anthology. After Boatwright's death in 1988, Dabney Stuart took over as editor. In 1995, R. T. Smith was selected as the magazine's first full-time editor. In 2011, Shenandoah moved online, and is now a web magazine that publishes semiannually. In August 2018, after the retirement of R. T. Smith, Beth Staples took over as editor. Shenandoah is now part of W\u0026L's English Department and, under Beth's direction, is supported by a class of undergraduate interns studying editing and publishing.","Former editors include Tom Wolfe, Tom Carter, James Boatwright, Dabney Stuart, and R. T. Smith. ","Spring 1950-Summer 1950: J. J. Donovan, D. C. G. Kerr, Thomas K. Wolfe, Jr.","Winter 1950-Spring 1951: W. H. Adams, Thomas K. Wolfe, Jr., J. A. F. Hall, Jr.","Summer 1951-Autumn 1953: Thomas Carter","Winter 1953-Summer 1954: Raymond D. Smith, Jr.","Winter 1954-Summer 1956: Edward M. Hood","Winter 1956-Summer 1958: M. Maxwell Caskie, III","Autumn 1958: Marshall W. Fishwick","Winter 1959: Paxton Davis","Spring 1959: James G. Leyburn","Autumn 1959: Marvin B. Perry, Jr.","Winter 1960: Lynwood D. Zinn","Spring 1960: Randolph M. Bulgin","Autumn 1960: William W. Pusey, III","Winter 1961: Bond Johnson, III","Spring 1961: Edward B. Hamer","Autumn 1961: Marshall W. Fishwick","Winter 1962: Douglas Day","Spring 1962: Cecil D. Eby, Jr.","Summer 1962: B. S. Stephenson","Autumn 1962-1988: James Boatwright","1988-1995: Dabney Stuart","1995-2018: R. T. Smith","2018- : Beth Staples"],"originalsloc_html_tesm":["\u003cp\u003e\u003cemph render=\"italic\"\u003eShenandoah\u003c/emph\u003e ceased publishing print journals and went fully online starting with Volume 61.\n\u003ca href=\"http://shenandoahliterary.org/\"\u003eView materials in this collection online.\u003c/a\u003e\u003c/p\u003e"],"originalsloc_heading_ssm":["Online Access for Digital Issues"],"originalsloc_tesim":["Shenandoah  ceased publishing print journals and went fully online starting with Volume 61.\n View materials in this collection online."],"prefercite_html_tesm":["\u003cp\u003e[Identification of item], Record Group 29: Shenandoah Records, Special Collections and Archives, James G. Leyburn Library, Washington and Lee University, Lexington, VA\u003c/p\u003e"],"prefercite_tesim":["[Identification of item], Record Group 29: Shenandoah Records, Special Collections and Archives, James G. Leyburn Library, Washington and Lee University, Lexington, VA"],"relatedmaterial_html_tesm":["\u003cp\u003eThomas H. Carter Papers (WLU-Coll-0004)\u003c/p\u003e\n","\u003cp\u003eDabney Stuart Papers (WLU-Coll-0364)\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Thomas H. Carter Papers (WLU-Coll-0004)","Dabney Stuart Papers (WLU-Coll-0364)"],"scopecontent_html_tesm":["\u003cp\u003eThis collection record material of the Washington and Lee University's literary magazine \u003cemph render=\"italic\"\u003eShenandoah\u003c/emph\u003e. The records include correspondence created by and sent to editors of the publication, financial records, its constitution, reprint permissions, galley proofs, manuscripts, copyright assignments, and subject files. \u003c/p\u003e\n","\u003cp\u003eThe bulk of the collection is from the tenure of editor James Boatwright. The subject matter of the correspondence varies but is primarily from contributors. Correspondents include Langston Hughes, James Baldwin, J. R. R. Tolkien, E. E. Cummings, Eudora Welty, Joyce Carol Oates, James McCourt, George Plimpton, Tom Wolfe, and Flannery O'Connor. The correspondence creating during both Boatwright and Dabney Stuart's tenure may also include letters written or received by \u003cemph render=\"italic\"\u003eShenandoah\u003c/emph\u003e staff including Helen Schuyler, Sue Stewart, and Lynn Williams.\u003c/p\u003e\n","\u003cp\u003eResearchers are expected to review the access retrictions associated with this collection prior to a virtual inquiry and/or in-person visit.\u003c/p\u003e","\u003cp\u003eIncludes one letter written to Thomas Carter and one written to Raymond Smith\u003c/p\u003e","\u003cp\u003eIncludes correspondence to Editor Hood\u003c/p\u003e","\u003cp\u003eAlso includes correspondence to Smith and Hood.\u003c/p\u003e","\u003cp\u003eThe 1957 letter is to Mr. Caskie.\u003c/p\u003e","\u003cp\u003eThe 1958 document is a typescript letter to Merrill from Arthur R. Borden, Jr., Chairman of the Board of \u003citalic\u003eShenandoah\u003c/italic\u003e and then Merrill's handwritten reply to Borden below.\u003c/p\u003e","\u003cp\u003e1955 letter was written to Hood\u003c/p\u003e","\u003cp\u003eIncludes a letter from Harold Pinter dated September 26, 1966\u003c/p\u003e","\u003cp\u003eOf particular note is an undated letter from an individual named Willy who describes the Mel Greenberg affair.\u003c/p\u003e","\u003cp\u003eThis series includes both correspondence and submitted manuscripts that contributors included with their correspondence.\u003c/p\u003e","\u003cp\u003eSubmitted and accepted manuscripts, both poetry and prose. These are under copyright by the original copyright holder and will not be reproduced without expressed written permission by the copyright holder. Special Collections and Archives staff will not serve as the intermidiaries between researchers and copyright holders. That responsibility lies with the researcher.\u003c/p\u003e","\u003cp\u003eThis series contains letters of agreement between contributers and \u003ctitle\u003eShenandoah\u003c/title\u003e, and they include social security numbers. To protect this information, researchers are restricted from accessing this series for 75 years plus one day from the year of creation. For example, agreements signed in 1988 will be accessible January 1, 2064.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["This collection record material of the Washington and Lee University's literary magazine  Shenandoah . The records include correspondence created by and sent to editors of the publication, financial records, its constitution, reprint permissions, galley proofs, manuscripts, copyright assignments, and subject files. ","The bulk of the collection is from the tenure of editor James Boatwright. The subject matter of the correspondence varies but is primarily from contributors. Correspondents include Langston Hughes, James Baldwin, J. R. R. Tolkien, E. E. Cummings, Eudora Welty, Joyce Carol Oates, James McCourt, George Plimpton, Tom Wolfe, and Flannery O'Connor. The correspondence creating during both Boatwright and Dabney Stuart's tenure may also include letters written or received by  Shenandoah  staff including Helen Schuyler, Sue Stewart, and Lynn Williams.","Researchers are expected to review the access retrictions associated with this collection prior to a virtual inquiry and/or in-person visit.","Includes one letter written to Thomas Carter and one written to Raymond Smith","Includes correspondence to Editor Hood","Also includes correspondence to Smith and Hood.","The 1957 letter is to Mr. Caskie.","The 1958 document is a typescript letter to Merrill from Arthur R. Borden, Jr., Chairman of the Board of  Shenandoah  and then Merrill's handwritten reply to Borden below.","1955 letter was written to Hood","Includes a letter from Harold Pinter dated September 26, 1966","Of particular note is an undated letter from an individual named Willy who describes the Mel Greenberg affair.","This series includes both correspondence and submitted manuscripts that contributors included with their correspondence.","Submitted and accepted manuscripts, both poetry and prose. These are under copyright by the original copyright holder and will not be reproduced without expressed written permission by the copyright holder. Special Collections and Archives staff will not serve as the intermidiaries between researchers and copyright holders. That responsibility lies with the researcher.","This series contains letters of agreement between contributers and  Shenandoah , and they include social security numbers. To protect this information, researchers are restricted from accessing this series for 75 years plus one day from the year of creation. For example, agreements signed in 1988 will be accessible January 1, 2064."],"userestrict_html_tesm":["\u003cp\u003eThe materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source."],"names_ssim":["Washington and Lee University, University Library Special Collections and Archives","Washington and Lee University"],"corpname_ssim":["Washington and Lee University, University Library Special Collections and Archives","Washington and Lee University"],"language_ssim":["English \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1141,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-20T23:45:42.947Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vilxw_repositories_5_resources_641","ead_ssi":"vilxw_repositories_5_resources_641","_root_":"vilxw_repositories_5_resources_641","_nest_parent_":"vilxw_repositories_5_resources_641","ead_source_url_ssi":"data/oai/WLU/repositories_5_resources_641.xml","title_filing_ssi":"Shenandoah  records","title_ssm":["Shenandoah records"],"title_tesim":["Shenandoah records"],"unitdate_ssm":["1952-2013"],"unitdate_inclusive_ssm":["1952-2013"],"level_ssm":["collection"],"level_ssim":["Record Group","Collection"],"unitid_ssm":["WLU.RG.29","/repositories/5/resources/641"],"text":["WLU.RG.29","/repositories/5/resources/641","Shenandoah records","Poetry","American prose literature","This collection is open for research use but must be accessed in person in the Special Collections and Archives reading room. The majority of the collection falls under various copyright and intellectual property rights laws. To ensure compliance with literary estates and federal law, we will not digitize items from this collection without the expressed written permission by the appropriate entities. Special Collections and Archives staff will not serve as the intermediary between researchers and literary estates or living contributors. That responsibility falls solely to the researcher. ","This site can help determine copyright holders: https://norman.hrc.utexas.edu/watch/.","Researchers are restricted from viewing letters of agreement because they include personal privacy information. These documents are restricted for 75 years plus one day from year of creation.","While Washington and Lee University may own the physical documents contained within this collection, the content of the correspondence from contributors and their submitted manuscripts fall under copyright. The manuscripts in this collection, both prose and poetry, were published in the journal. ","Several individuals whose letters and/or manuscripts are included in this colleague have estates which manage their intellectual property rights. The Special Collections and Archives staff will not reproduce material by these individuals which would result in copyright violation. Access will only be allowed in the Special Collections and Archives reading room.","Signed by Tolkien, this poem is under copyright which is managed by the Tolkien Estate. Access is available in person. No reproduction without expressed written permission of the Tolkien Estate. The researcher is responsible for obtaining appropriate permissions.","Restricted until January 1, 2064","Restricted until January 1, 2065","Restricted until January 1, 2065","Restricted until January 1, 2065","Restricted until January 1, 2066","Restricted until January 1, 2067","Restricted until January 1, 2067","Restricted until January 1, 2068","Restricted until January 1, 2069","Restricted until January 1, 2070","Restricted until January 1, 2087","Restricted until January 1, 2088","Restricted until January 1, 2089","This collection has been arranged in six series. Series 1 contains the correspondence of past editors with the majority created during the tenure of James Boatwright. The files are arranged by surname. In his correspondence files, Boatwright sometimes included letters by, to, and about specific contributors into one file. Series 2 includes both prose and poetry that was submitted and accepted for publication. They are arranged by the volume/number they were published in. Series 3 contains galley proofs. Series 4 includes permission requests for reprints and requests for copyright assignments. Series 5 contains subject files that do not fit within other series. Series 6 contains letters of agreement. This series is restricted because the agreements include contributor social security numbers.","From https://shenandoahliterary.org/about/","Shenandoah  was founded in 1950 by a group of Washington and Lee University faculty members and undergraduates, Tom Wolfe among them. For a brief time it was primarily an undergraduate magazine, but under the leadership of student editor Tom Carter,  Shenandoah  became a quarterly, publishing a cast of international writers including e e cummings, Dylan Thomas, W. H. Auden, James Merrill, Ezra Pound, William Faulkner, and Flannery O'Connor. From the 1960s to the 1980s, Washington and Lee faculty member James Boatwright expanded the journal and published occasional theme issues, including a thirty-fifth anniversary anthology. After Boatwright's death in 1988, Dabney Stuart took over as editor. In 1995, R. T. Smith was selected as the magazine's first full-time editor. In 2011, Shenandoah moved online, and is now a web magazine that publishes semiannually. In August 2018, after the retirement of R. T. Smith, Beth Staples took over as editor. Shenandoah is now part of W\u0026L's English Department and, under Beth's direction, is supported by a class of undergraduate interns studying editing and publishing.","Former editors include Tom Wolfe, Tom Carter, James Boatwright, Dabney Stuart, and R. T. Smith. ","Spring 1950-Summer 1950: J. J. Donovan, D. C. G. Kerr, Thomas K. Wolfe, Jr.","Winter 1950-Spring 1951: W. H. Adams, Thomas K. Wolfe, Jr., J. A. F. Hall, Jr.","Summer 1951-Autumn 1953: Thomas Carter","Winter 1953-Summer 1954: Raymond D. Smith, Jr.","Winter 1954-Summer 1956: Edward M. Hood","Winter 1956-Summer 1958: M. Maxwell Caskie, III","Autumn 1958: Marshall W. Fishwick","Winter 1959: Paxton Davis","Spring 1959: James G. Leyburn","Autumn 1959: Marvin B. Perry, Jr.","Winter 1960: Lynwood D. Zinn","Spring 1960: Randolph M. Bulgin","Autumn 1960: William W. Pusey, III","Winter 1961: Bond Johnson, III","Spring 1961: Edward B. Hamer","Autumn 1961: Marshall W. Fishwick","Winter 1962: Douglas Day","Spring 1962: Cecil D. Eby, Jr.","Summer 1962: B. S. Stephenson","Autumn 1962-1988: James Boatwright","1988-1995: Dabney Stuart","1995-2018: R. T. Smith","2018- : Beth Staples","Shenandoah  ceased publishing print journals and went fully online starting with Volume 61.\n View materials in this collection online.","Thomas H. Carter Papers (WLU-Coll-0004)","Dabney Stuart Papers (WLU-Coll-0364)","This collection record material of the Washington and Lee University's literary magazine  Shenandoah . The records include correspondence created by and sent to editors of the publication, financial records, its constitution, reprint permissions, galley proofs, manuscripts, copyright assignments, and subject files. ","The bulk of the collection is from the tenure of editor James Boatwright. The subject matter of the correspondence varies but is primarily from contributors. Correspondents include Langston Hughes, James Baldwin, J. R. R. Tolkien, E. E. Cummings, Eudora Welty, Joyce Carol Oates, James McCourt, George Plimpton, Tom Wolfe, and Flannery O'Connor. The correspondence creating during both Boatwright and Dabney Stuart's tenure may also include letters written or received by  Shenandoah  staff including Helen Schuyler, Sue Stewart, and Lynn Williams.","Researchers are expected to review the access retrictions associated with this collection prior to a virtual inquiry and/or in-person visit.","Includes one letter written to Thomas Carter and one written to Raymond Smith","Includes correspondence to Editor Hood","Also includes correspondence to Smith and Hood.","The 1957 letter is to Mr. Caskie.","The 1958 document is a typescript letter to Merrill from Arthur R. Borden, Jr., Chairman of the Board of  Shenandoah  and then Merrill's handwritten reply to Borden below.","1955 letter was written to Hood","Includes a letter from Harold Pinter dated September 26, 1966","Of particular note is an undated letter from an individual named Willy who describes the Mel Greenberg affair.","This series includes both correspondence and submitted manuscripts that contributors included with their correspondence.","Submitted and accepted manuscripts, both poetry and prose. These are under copyright by the original copyright holder and will not be reproduced without expressed written permission by the copyright holder. Special Collections and Archives staff will not serve as the intermidiaries between researchers and copyright holders. That responsibility lies with the researcher.","This series contains letters of agreement between contributers and  Shenandoah , and they include social security numbers. To protect this information, researchers are restricted from accessing this series for 75 years plus one day from the year of creation. For example, agreements signed in 1988 will be accessible January 1, 2064.","The materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.","Washington and Lee University, University Library Special Collections and Archives","Washington and Lee University","English \n.    "],"unitid_tesim":["WLU.RG.29","/repositories/5/resources/641"],"normalized_title_ssm":["Shenandoah records"],"collection_title_tesim":["Shenandoah records"],"collection_ssim":["Shenandoah records"],"repository_ssm":["Washington and Lee University, Leyburn Library"],"repository_ssim":["Washington and Lee University, Leyburn Library"],"creator_ssm":["Washington and Lee University"],"creator_ssim":["Washington and Lee University"],"creator_corpname_ssim":["Washington and Lee University"],"creators_ssim":["Washington and Lee University"],"access_terms_ssm":["The materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source."],"access_subjects_ssim":["Poetry","American prose literature"],"access_subjects_ssm":["Poetry","American prose literature"],"has_online_content_ssim":["false"],"extent_ssm":["17.0 Linear Feet 34 document cases"],"extent_tesim":["17.0 Linear Feet 34 document cases"],"date_range_isim":[1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for research use but must be accessed in person in the Special Collections and Archives reading room. The majority of the collection falls under various copyright and intellectual property rights laws. To ensure compliance with literary estates and federal law, we will not digitize items from this collection without the expressed written permission by the appropriate entities. Special Collections and Archives staff will not serve as the intermediary between researchers and literary estates or living contributors. That responsibility falls solely to the researcher. \u003c/p\u003e\n","\u003cp\u003eThis site can help determine copyright holders: https://norman.hrc.utexas.edu/watch/.\u003c/p\u003e","\u003cp\u003eResearchers are restricted from viewing letters of agreement because they include personal privacy information. These documents are restricted for 75 years plus one day from year of creation.\u003c/p\u003e","\u003cp\u003eWhile Washington and Lee University may own the physical documents contained within this collection, the content of the correspondence from contributors and their submitted manuscripts fall under copyright. The manuscripts in this collection, both prose and poetry, were published in the journal. \u003c/p\u003e\n","\u003cp\u003eSeveral individuals whose letters and/or manuscripts are included in this colleague have estates which manage their intellectual property rights. The Special Collections and Archives staff will not reproduce material by these individuals which would result in copyright violation. Access will only be allowed in the Special Collections and Archives reading room.\u003c/p\u003e","\u003cp\u003eSigned by Tolkien, this poem is under copyright which is managed by the Tolkien Estate. Access is available in person. No reproduction without expressed written permission of the Tolkien Estate. The researcher is responsible for obtaining appropriate permissions.\u003c/p\u003e","\u003cp\u003eRestricted until January 1, 2064\u003c/p\u003e","\u003cp\u003eRestricted until January 1, 2065\u003c/p\u003e","\u003cp\u003eRestricted until January 1, 2065\u003c/p\u003e","\u003cp\u003eRestricted until January 1, 2065\u003c/p\u003e","\u003cp\u003eRestricted until January 1, 2066\u003c/p\u003e","\u003cp\u003eRestricted until January 1, 2067\u003c/p\u003e","\u003cp\u003eRestricted until January 1, 2067\u003c/p\u003e","\u003cp\u003eRestricted until January 1, 2068\u003c/p\u003e","\u003cp\u003eRestricted until January 1, 2069\u003c/p\u003e","\u003cp\u003eRestricted until January 1, 2070\u003c/p\u003e","\u003cp\u003eRestricted until January 1, 2087\u003c/p\u003e","\u003cp\u003eRestricted until January 1, 2088\u003c/p\u003e","\u003cp\u003eRestricted until January 1, 2089\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access","Restrictions - Letters of Agreement","Restrictions - Reproductions","Conditions Governing Access","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions"],"accessrestrict_tesim":["This collection is open for research use but must be accessed in person in the Special Collections and Archives reading room. The majority of the collection falls under various copyright and intellectual property rights laws. To ensure compliance with literary estates and federal law, we will not digitize items from this collection without the expressed written permission by the appropriate entities. Special Collections and Archives staff will not serve as the intermediary between researchers and literary estates or living contributors. That responsibility falls solely to the researcher. ","This site can help determine copyright holders: https://norman.hrc.utexas.edu/watch/.","Researchers are restricted from viewing letters of agreement because they include personal privacy information. These documents are restricted for 75 years plus one day from year of creation.","While Washington and Lee University may own the physical documents contained within this collection, the content of the correspondence from contributors and their submitted manuscripts fall under copyright. The manuscripts in this collection, both prose and poetry, were published in the journal. ","Several individuals whose letters and/or manuscripts are included in this colleague have estates which manage their intellectual property rights. The Special Collections and Archives staff will not reproduce material by these individuals which would result in copyright violation. Access will only be allowed in the Special Collections and Archives reading room.","Signed by Tolkien, this poem is under copyright which is managed by the Tolkien Estate. Access is available in person. No reproduction without expressed written permission of the Tolkien Estate. The researcher is responsible for obtaining appropriate permissions.","Restricted until January 1, 2064","Restricted until January 1, 2065","Restricted until January 1, 2065","Restricted until January 1, 2065","Restricted until January 1, 2066","Restricted until January 1, 2067","Restricted until January 1, 2067","Restricted until January 1, 2068","Restricted until January 1, 2069","Restricted until January 1, 2070","Restricted until January 1, 2087","Restricted until January 1, 2088","Restricted until January 1, 2089"],"arrangement_html_tesm":["\u003cp\u003eThis collection has been arranged in six series. Series 1 contains the correspondence of past editors with the majority created during the tenure of James Boatwright. The files are arranged by surname. In his correspondence files, Boatwright sometimes included letters by, to, and about specific contributors into one file. Series 2 includes both prose and poetry that was submitted and accepted for publication. They are arranged by the volume/number they were published in. Series 3 contains galley proofs. Series 4 includes permission requests for reprints and requests for copyright assignments. Series 5 contains subject files that do not fit within other series. Series 6 contains letters of agreement. This series is restricted because the agreements include contributor social security numbers.\u003c/p\u003e"],"arrangement_heading_ssm":["Collection Arrangement"],"arrangement_tesim":["This collection has been arranged in six series. Series 1 contains the correspondence of past editors with the majority created during the tenure of James Boatwright. The files are arranged by surname. In his correspondence files, Boatwright sometimes included letters by, to, and about specific contributors into one file. Series 2 includes both prose and poetry that was submitted and accepted for publication. They are arranged by the volume/number they were published in. Series 3 contains galley proofs. Series 4 includes permission requests for reprints and requests for copyright assignments. Series 5 contains subject files that do not fit within other series. Series 6 contains letters of agreement. This series is restricted because the agreements include contributor social security numbers."],"bioghist_html_tesm":["\u003cp\u003eFrom https://shenandoahliterary.org/about/\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003eShenandoah\u003c/title\u003e was founded in 1950 by a group of Washington and Lee University faculty members and undergraduates, Tom Wolfe among them. For a brief time it was primarily an undergraduate magazine, but under the leadership of student editor Tom Carter, \u003ctitle\u003eShenandoah\u003c/title\u003e became a quarterly, publishing a cast of international writers including e e cummings, Dylan Thomas, W. H. Auden, James Merrill, Ezra Pound, William Faulkner, and Flannery O'Connor. From the 1960s to the 1980s, Washington and Lee faculty member James Boatwright expanded the journal and published occasional theme issues, including a thirty-fifth anniversary anthology. After Boatwright's death in 1988, Dabney Stuart took over as editor. In 1995, R. T. Smith was selected as the magazine's first full-time editor. In 2011, Shenandoah moved online, and is now a web magazine that publishes semiannually. In August 2018, after the retirement of R. T. Smith, Beth Staples took over as editor. Shenandoah is now part of W\u0026amp;L's English Department and, under Beth's direction, is supported by a class of undergraduate interns studying editing and publishing.\u003c/p\u003e\n","\u003cp\u003eFormer editors include Tom Wolfe, Tom Carter, James Boatwright, Dabney Stuart, and R. T. Smith. \u003c/p\u003e","\u003cp\u003eSpring 1950-Summer 1950: J. J. Donovan, D. C. G. Kerr, Thomas K. Wolfe, Jr.\u003c/p\u003e","\u003cp\u003eWinter 1950-Spring 1951: W. H. Adams, Thomas K. Wolfe, Jr., J. A. F. Hall, Jr.\u003c/p\u003e","\u003cp\u003eSummer 1951-Autumn 1953: Thomas Carter\u003c/p\u003e","\u003cp\u003eWinter 1953-Summer 1954: Raymond D. Smith, Jr.\u003c/p\u003e","\u003cp\u003eWinter 1954-Summer 1956: Edward M. Hood\u003c/p\u003e","\u003cp\u003eWinter 1956-Summer 1958: M. Maxwell Caskie, III\u003c/p\u003e","\u003cp\u003eAutumn 1958: Marshall W. Fishwick\u003c/p\u003e","\u003cp\u003eWinter 1959: Paxton Davis\u003c/p\u003e","\u003cp\u003eSpring 1959: James G. Leyburn\u003c/p\u003e","\u003cp\u003eAutumn 1959: Marvin B. Perry, Jr.\u003c/p\u003e","\u003cp\u003eWinter 1960: Lynwood D. Zinn\u003c/p\u003e","\u003cp\u003eSpring 1960: Randolph M. Bulgin\u003c/p\u003e","\u003cp\u003eAutumn 1960: William W. Pusey, III\u003c/p\u003e","\u003cp\u003eWinter 1961: Bond Johnson, III\u003c/p\u003e","\u003cp\u003eSpring 1961: Edward B. Hamer\u003c/p\u003e","\u003cp\u003eAutumn 1961: Marshall W. Fishwick\u003c/p\u003e","\u003cp\u003eWinter 1962: Douglas Day\u003c/p\u003e","\u003cp\u003eSpring 1962: Cecil D. Eby, Jr.\u003c/p\u003e","\u003cp\u003eSummer 1962: B. S. Stephenson\u003c/p\u003e","\u003cp\u003eAutumn 1962-1988: James Boatwright\u003c/p\u003e","\u003cp\u003e1988-1995: Dabney Stuart\u003c/p\u003e","\u003cp\u003e1995-2018: R. T. Smith\u003c/p\u003e","\u003cp\u003e2018- : Beth Staples\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Note","Chronology of Editors"],"bioghist_tesim":["From https://shenandoahliterary.org/about/","Shenandoah  was founded in 1950 by a group of Washington and Lee University faculty members and undergraduates, Tom Wolfe among them. For a brief time it was primarily an undergraduate magazine, but under the leadership of student editor Tom Carter,  Shenandoah  became a quarterly, publishing a cast of international writers including e e cummings, Dylan Thomas, W. H. Auden, James Merrill, Ezra Pound, William Faulkner, and Flannery O'Connor. From the 1960s to the 1980s, Washington and Lee faculty member James Boatwright expanded the journal and published occasional theme issues, including a thirty-fifth anniversary anthology. After Boatwright's death in 1988, Dabney Stuart took over as editor. In 1995, R. T. Smith was selected as the magazine's first full-time editor. In 2011, Shenandoah moved online, and is now a web magazine that publishes semiannually. In August 2018, after the retirement of R. T. Smith, Beth Staples took over as editor. Shenandoah is now part of W\u0026L's English Department and, under Beth's direction, is supported by a class of undergraduate interns studying editing and publishing.","Former editors include Tom Wolfe, Tom Carter, James Boatwright, Dabney Stuart, and R. T. Smith. ","Spring 1950-Summer 1950: J. J. Donovan, D. C. G. Kerr, Thomas K. Wolfe, Jr.","Winter 1950-Spring 1951: W. H. Adams, Thomas K. Wolfe, Jr., J. A. F. Hall, Jr.","Summer 1951-Autumn 1953: Thomas Carter","Winter 1953-Summer 1954: Raymond D. Smith, Jr.","Winter 1954-Summer 1956: Edward M. Hood","Winter 1956-Summer 1958: M. Maxwell Caskie, III","Autumn 1958: Marshall W. Fishwick","Winter 1959: Paxton Davis","Spring 1959: James G. Leyburn","Autumn 1959: Marvin B. Perry, Jr.","Winter 1960: Lynwood D. Zinn","Spring 1960: Randolph M. Bulgin","Autumn 1960: William W. Pusey, III","Winter 1961: Bond Johnson, III","Spring 1961: Edward B. Hamer","Autumn 1961: Marshall W. Fishwick","Winter 1962: Douglas Day","Spring 1962: Cecil D. Eby, Jr.","Summer 1962: B. S. Stephenson","Autumn 1962-1988: James Boatwright","1988-1995: Dabney Stuart","1995-2018: R. T. Smith","2018- : Beth Staples"],"originalsloc_html_tesm":["\u003cp\u003e\u003cemph render=\"italic\"\u003eShenandoah\u003c/emph\u003e ceased publishing print journals and went fully online starting with Volume 61.\n\u003ca href=\"http://shenandoahliterary.org/\"\u003eView materials in this collection online.\u003c/a\u003e\u003c/p\u003e"],"originalsloc_heading_ssm":["Online Access for Digital Issues"],"originalsloc_tesim":["Shenandoah  ceased publishing print journals and went fully online starting with Volume 61.\n View materials in this collection online."],"prefercite_html_tesm":["\u003cp\u003e[Identification of item], Record Group 29: Shenandoah Records, Special Collections and Archives, James G. Leyburn Library, Washington and Lee University, Lexington, VA\u003c/p\u003e"],"prefercite_tesim":["[Identification of item], Record Group 29: Shenandoah Records, Special Collections and Archives, James G. Leyburn Library, Washington and Lee University, Lexington, VA"],"relatedmaterial_html_tesm":["\u003cp\u003eThomas H. Carter Papers (WLU-Coll-0004)\u003c/p\u003e\n","\u003cp\u003eDabney Stuart Papers (WLU-Coll-0364)\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Thomas H. Carter Papers (WLU-Coll-0004)","Dabney Stuart Papers (WLU-Coll-0364)"],"scopecontent_html_tesm":["\u003cp\u003eThis collection record material of the Washington and Lee University's literary magazine \u003cemph render=\"italic\"\u003eShenandoah\u003c/emph\u003e. The records include correspondence created by and sent to editors of the publication, financial records, its constitution, reprint permissions, galley proofs, manuscripts, copyright assignments, and subject files. \u003c/p\u003e\n","\u003cp\u003eThe bulk of the collection is from the tenure of editor James Boatwright. The subject matter of the correspondence varies but is primarily from contributors. Correspondents include Langston Hughes, James Baldwin, J. R. R. Tolkien, E. E. Cummings, Eudora Welty, Joyce Carol Oates, James McCourt, George Plimpton, Tom Wolfe, and Flannery O'Connor. The correspondence creating during both Boatwright and Dabney Stuart's tenure may also include letters written or received by \u003cemph render=\"italic\"\u003eShenandoah\u003c/emph\u003e staff including Helen Schuyler, Sue Stewart, and Lynn Williams.\u003c/p\u003e\n","\u003cp\u003eResearchers are expected to review the access retrictions associated with this collection prior to a virtual inquiry and/or in-person visit.\u003c/p\u003e","\u003cp\u003eIncludes one letter written to Thomas Carter and one written to Raymond Smith\u003c/p\u003e","\u003cp\u003eIncludes correspondence to Editor Hood\u003c/p\u003e","\u003cp\u003eAlso includes correspondence to Smith and Hood.\u003c/p\u003e","\u003cp\u003eThe 1957 letter is to Mr. Caskie.\u003c/p\u003e","\u003cp\u003eThe 1958 document is a typescript letter to Merrill from Arthur R. Borden, Jr., Chairman of the Board of \u003citalic\u003eShenandoah\u003c/italic\u003e and then Merrill's handwritten reply to Borden below.\u003c/p\u003e","\u003cp\u003e1955 letter was written to Hood\u003c/p\u003e","\u003cp\u003eIncludes a letter from Harold Pinter dated September 26, 1966\u003c/p\u003e","\u003cp\u003eOf particular note is an undated letter from an individual named Willy who describes the Mel Greenberg affair.\u003c/p\u003e","\u003cp\u003eThis series includes both correspondence and submitted manuscripts that contributors included with their correspondence.\u003c/p\u003e","\u003cp\u003eSubmitted and accepted manuscripts, both poetry and prose. These are under copyright by the original copyright holder and will not be reproduced without expressed written permission by the copyright holder. Special Collections and Archives staff will not serve as the intermidiaries between researchers and copyright holders. That responsibility lies with the researcher.\u003c/p\u003e","\u003cp\u003eThis series contains letters of agreement between contributers and \u003ctitle\u003eShenandoah\u003c/title\u003e, and they include social security numbers. To protect this information, researchers are restricted from accessing this series for 75 years plus one day from the year of creation. For example, agreements signed in 1988 will be accessible January 1, 2064.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["This collection record material of the Washington and Lee University's literary magazine  Shenandoah . The records include correspondence created by and sent to editors of the publication, financial records, its constitution, reprint permissions, galley proofs, manuscripts, copyright assignments, and subject files. ","The bulk of the collection is from the tenure of editor James Boatwright. The subject matter of the correspondence varies but is primarily from contributors. Correspondents include Langston Hughes, James Baldwin, J. R. R. Tolkien, E. E. Cummings, Eudora Welty, Joyce Carol Oates, James McCourt, George Plimpton, Tom Wolfe, and Flannery O'Connor. The correspondence creating during both Boatwright and Dabney Stuart's tenure may also include letters written or received by  Shenandoah  staff including Helen Schuyler, Sue Stewart, and Lynn Williams.","Researchers are expected to review the access retrictions associated with this collection prior to a virtual inquiry and/or in-person visit.","Includes one letter written to Thomas Carter and one written to Raymond Smith","Includes correspondence to Editor Hood","Also includes correspondence to Smith and Hood.","The 1957 letter is to Mr. Caskie.","The 1958 document is a typescript letter to Merrill from Arthur R. Borden, Jr., Chairman of the Board of  Shenandoah  and then Merrill's handwritten reply to Borden below.","1955 letter was written to Hood","Includes a letter from Harold Pinter dated September 26, 1966","Of particular note is an undated letter from an individual named Willy who describes the Mel Greenberg affair.","This series includes both correspondence and submitted manuscripts that contributors included with their correspondence.","Submitted and accepted manuscripts, both poetry and prose. These are under copyright by the original copyright holder and will not be reproduced without expressed written permission by the copyright holder. Special Collections and Archives staff will not serve as the intermidiaries between researchers and copyright holders. That responsibility lies with the researcher.","This series contains letters of agreement between contributers and  Shenandoah , and they include social security numbers. To protect this information, researchers are restricted from accessing this series for 75 years plus one day from the year of creation. For example, agreements signed in 1988 will be accessible January 1, 2064."],"userestrict_html_tesm":["\u003cp\u003eThe materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source."],"names_ssim":["Washington and Lee University, University Library Special Collections and Archives","Washington and Lee University"],"corpname_ssim":["Washington and Lee University, University Library Special Collections and Archives","Washington and Lee University"],"language_ssim":["English \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1141,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-20T23:45:42.947Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vilxw_repositories_5_resources_641"}},{"id":"vilxw_repositories_5_resources_899","type":"collection","attributes":{"title":"Shields Family Papers","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vilxw_repositories_5_resources_899#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis collection contains the papers of the Shields family from 1832-1990 including business documents, family genealogy notes, correspondence, photographs, and William R. Shields poetry.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vilxw_repositories_5_resources_899#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vilxw_repositories_5_resources_899","ead_ssi":"vilxw_repositories_5_resources_899","_root_":"vilxw_repositories_5_resources_899","_nest_parent_":"vilxw_repositories_5_resources_899","ead_source_url_ssi":"data/oai/WLU/repositories_5_resources_899.xml","title_ssm":["Shields Family Papers"],"title_tesim":["Shields Family Papers"],"unitdate_ssm":["1832-1990"],"unitdate_bulk_ssim":["1832-1990"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["WLU.Coll.0622"],"text":["WLU.Coll.0622","Shields Family Papers","Correspondence","Legal documents","Poetry","Genealogy","Photographs","This collection is open to research use.","This collection contains the papers of the Shields family from 1832-1990 including business documents, family genealogy notes, correspondence, photographs, and William R. Shields poetry.","This folder contains the inventory of the rest of the collection.","This folder contains two letters from the American Civil War era, written by the Shields family.","This folder contains letters written by and to members of the Shields family.","This folder contains letters written by and to members of the Shields family.","This folder contains letters written by and to members of the Shields family.","This folder contains letters written by and to the Shields family.","This folder contains letters written by and to the Shields family.","This folder contains various finacial and business documents of the Schields family.","This folder contains the poetry of William R. Shields.","This folder contains the poetry of William R. Shields.","This folder contains newspaper clippings containing the poetry of William R. Shields.","This folder contains undated poetry by William R. Shields","This folder contains a photograph of William R. Shields from his time at the Virginia Military Institute.","This folder contains a notebook with part of the Shields family genealogy written inside it.","This folder contains various papers documenting the genealogy of the Shields family.","This folder contains various obituaries of members of the Shields family.","This folder contains papers about buildings and groups associated with the Shields family.","This folder contains copies of documents from the Civil War era about members of the Shields family.","This folder contains copied materials relating to the American Civil War, specifially the Confederate States of America and information about its army.","This folder contains various copies of Shields family letters and documents about unrelated subjects.","This folder contains various unrelated documents such as newspaper clippings and an envelope that did not related to any other folders.","This folder contains a notebook, which documents aspects of the Mountain View school in Virginia.","This folder contains unidentified pictures of the Shields family including a portrait of a soldier from the first World War.","This folder contains unidentified photographs of members of the Shields family.","This folder contains unidentified photographs of members of the Shields family.","This folder contains images of identified members of the Shields family and people associated with them.","This folder contains photographs of people associated with the Shields family, in addition to physical locations associated with them as well.","The materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections.","Washington and Lee University, University Library Special Collections and Archives","Virginia Military Institute","Confederate States of America. Army","Mountain View School","Swannanoa (Estate)","Shields Family","Bragg, Braxton","Shields, Elizabeth","Shields, William R.","Lee, Robert E. (Robert Edward), 1807-1870","Shields, William T.","Lackey, Grace","Shields, Orville","Cheadle, James J.","Wallice, Elizabeth","Collins, J.T.","Stilson, Frances A.","Stilson, Burton A.","Michie, John","Harmon, Rose","Harmon, Carmella","Collins, Betty","Paxton, Homer","Collins, Elizabeth","Collins, Kate","Porter, Thomas","Porter, Lydia","Materials entirely in English."],"unitid_tesim":["WLU.Coll.0622"],"normalized_title_ssm":["Shields Family Papers"],"collection_title_tesim":["Shields Family Papers"],"collection_ssim":["Shields Family Papers"],"repository_ssm":["Washington and Lee University, Leyburn Library"],"repository_ssim":["Washington and Lee University, Leyburn Library"],"access_terms_ssm":["The materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections."],"access_subjects_ssim":["Correspondence","Legal documents","Poetry","Genealogy","Photographs"],"access_subjects_ssm":["Correspondence","Legal documents","Poetry","Genealogy","Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["1 Box"],"extent_tesim":["1 Box"],"genreform_ssim":["Photographs"],"date_range_isim":[1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open to research use.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open to research use."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains the papers of the Shields family from 1832-1990 including business documents, family genealogy notes, correspondence, photographs, and William R. Shields poetry.\u003c/p\u003e","\u003cp\u003eThis folder contains the inventory of the rest of the collection.\u003c/p\u003e","\u003cp\u003eThis folder contains two letters from the American Civil War era, written by the Shields family.\u003c/p\u003e","\u003cp\u003eThis folder contains letters written by and to members of the Shields family.\u003c/p\u003e","\u003cp\u003eThis folder contains letters written by and to members of the Shields family.\u003c/p\u003e","\u003cp\u003eThis folder contains letters written by and to members of the Shields family.\u003c/p\u003e","\u003cp\u003eThis folder contains letters written by and to the Shields family.\u003c/p\u003e","\u003cp\u003eThis folder contains letters written by and to the Shields family.\u003c/p\u003e","\u003cp\u003eThis folder contains various finacial and business documents of the Schields family.\u003c/p\u003e","\u003cp\u003eThis folder contains the poetry of William R. Shields.\u003c/p\u003e","\u003cp\u003eThis folder contains the poetry of William R. Shields.\u003c/p\u003e","\u003cp\u003eThis folder contains newspaper clippings containing the poetry of William R. Shields.\u003c/p\u003e","\u003cp\u003eThis folder contains undated poetry by William R. Shields\u003c/p\u003e","\u003cp\u003eThis folder contains a photograph of William R. 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Shields poetry.","This folder contains the inventory of the rest of the collection.","This folder contains two letters from the American Civil War era, written by the Shields family.","This folder contains letters written by and to members of the Shields family.","This folder contains letters written by and to members of the Shields family.","This folder contains letters written by and to members of the Shields family.","This folder contains letters written by and to the Shields family.","This folder contains letters written by and to the Shields family.","This folder contains various finacial and business documents of the Schields family.","This folder contains the poetry of William R. Shields.","This folder contains the poetry of William R. Shields.","This folder contains newspaper clippings containing the poetry of William R. Shields.","This folder contains undated poetry by William R. Shields","This folder contains a photograph of William R. Shields from his time at the Virginia Military Institute.","This folder contains a notebook with part of the Shields family genealogy written inside it.","This folder contains various papers documenting the genealogy of the Shields family.","This folder contains various obituaries of members of the Shields family.","This folder contains papers about buildings and groups associated with the Shields family.","This folder contains copies of documents from the Civil War era about members of the Shields family.","This folder contains copied materials relating to the American Civil War, specifially the Confederate States of America and information about its army.","This folder contains various copies of Shields family letters and documents about unrelated subjects.","This folder contains various unrelated documents such as newspaper clippings and an envelope that did not related to any other folders.","This folder contains a notebook, which documents aspects of the Mountain View school in Virginia.","This folder contains unidentified pictures of the Shields family including a portrait of a soldier from the first World War.","This folder contains unidentified photographs of members of the Shields family.","This folder contains unidentified photographs of members of the Shields family.","This folder contains images of identified members of the Shields family and people associated with them.","This folder contains photographs of people associated with the Shields family, in addition to physical locations associated with them as well."],"userestrict_html_tesm":["\u003cp\u003eThe materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  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Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections."],"names_ssim":["Washington and Lee University, University Library Special Collections and Archives","Virginia Military Institute","Confederate States of America. Army","Mountain View School","Swannanoa (Estate)","Shields Family","Bragg, Braxton","Shields, Elizabeth","Shields, William R.","Lee, Robert E. (Robert Edward), 1807-1870","Shields, William T.","Lackey, Grace","Shields, Orville","Cheadle, James J.","Wallice, Elizabeth","Collins, J.T.","Stilson, Frances A.","Stilson, Burton A.","Michie, John","Harmon, Rose","Harmon, Carmella","Collins, Betty","Paxton, Homer","Collins, Elizabeth","Collins, Kate","Porter, Thomas","Porter, Lydia"],"corpname_ssim":["Washington and Lee University, University Library Special Collections and Archives","Virginia Military Institute","Confederate States of America. 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(Robert Edward), 1807-1870","Shields, William T.","Lackey, Grace","Shields, Orville","Cheadle, James J.","Wallice, Elizabeth","Collins, J.T.","Stilson, Frances A.","Stilson, Burton A.","Michie, John","Harmon, Rose","Harmon, Carmella","Collins, Betty","Paxton, Homer","Collins, Elizabeth","Collins, Kate","Porter, Thomas","Porter, Lydia"],"language_ssim":["Materials entirely in English."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":27,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-20T21:54:58.999Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vilxw_repositories_5_resources_899","ead_ssi":"vilxw_repositories_5_resources_899","_root_":"vilxw_repositories_5_resources_899","_nest_parent_":"vilxw_repositories_5_resources_899","ead_source_url_ssi":"data/oai/WLU/repositories_5_resources_899.xml","title_ssm":["Shields Family Papers"],"title_tesim":["Shields Family Papers"],"unitdate_ssm":["1832-1990"],"unitdate_bulk_ssim":["1832-1990"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["WLU.Coll.0622"],"text":["WLU.Coll.0622","Shields Family Papers","Correspondence","Legal documents","Poetry","Genealogy","Photographs","This collection is open to research use.","This collection contains the papers of the Shields family from 1832-1990 including business documents, family genealogy notes, correspondence, photographs, and William R. 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The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections."],"names_ssim":["Washington and Lee University, University Library Special Collections and Archives","Virginia Military Institute","Confederate States of America. Army","Mountain View School","Swannanoa (Estate)","Shields Family","Bragg, Braxton","Shields, Elizabeth","Shields, William R.","Lee, Robert E. (Robert Edward), 1807-1870","Shields, William T.","Lackey, Grace","Shields, Orville","Cheadle, James J.","Wallice, Elizabeth","Collins, J.T.","Stilson, Frances A.","Stilson, Burton A.","Michie, John","Harmon, Rose","Harmon, Carmella","Collins, Betty","Paxton, Homer","Collins, Elizabeth","Collins, Kate","Porter, Thomas","Porter, Lydia"],"corpname_ssim":["Washington and Lee University, University Library Special Collections and Archives","Virginia Military Institute","Confederate States of America. 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(Robert Edward), 1807-1870","Shields, William T.","Lackey, Grace","Shields, Orville","Cheadle, James J.","Wallice, Elizabeth","Collins, J.T.","Stilson, Frances A.","Stilson, Burton A.","Michie, John","Harmon, Rose","Harmon, Carmella","Collins, Betty","Paxton, Homer","Collins, Elizabeth","Collins, Kate","Porter, Thomas","Porter, Lydia"],"language_ssim":["Materials entirely in English."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":27,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-20T21:54:58.999Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vilxw_repositories_5_resources_899"}},{"id":"vilxw_repositories_5_resources_594","type":"collection","attributes":{"title":"The Ward Briggs Collection of James Dickey","creator":{"id":"https://arvasarchive.org/catalog/vilxw_repositories_5_resources_594#creator","type":"document_value","attributes":{"value":"Briggs, Ward Wright, Jr., Dr.","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vilxw_repositories_5_resources_594#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis collection consists of 1st editions of a selection of James Dickey's publications (some signed and/or inscribed); Dickey's contributions to books and pamphlets; journal articles by Dickey; interviews; criticism; anthologies; multimedia; photographs; broadsides (some framed, signed); miscellaneous items on his book and the film \u003ci\u003eDeliverance\u003c/i\u003e; and publications related to Ward Briggs' book \u003ci\u003eThe Complete Poems of James Dickey\u003c/i\u003e (U. South Carolina, 2013).\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vilxw_repositories_5_resources_594#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vilxw_repositories_5_resources_594","ead_ssi":"vilxw_repositories_5_resources_594","_root_":"vilxw_repositories_5_resources_594","_nest_parent_":"vilxw_repositories_5_resources_594","ead_source_url_ssi":"data/oai/WLU/repositories_5_resources_594.xml","title_ssm":["The Ward Briggs Collection of James Dickey"],"title_tesim":["The Ward Briggs Collection of James Dickey"],"unitdate_ssm":["1940-2013"],"unitdate_inclusive_ssm":["1940-2013"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["WLU.Coll.0511","/repositories/5/resources/594"],"text":["WLU.Coll.0511","/repositories/5/resources/594","The Ward Briggs Collection of James Dickey","American literature","Broadsides","Criticism","Poetry","Interviews","Photographs","This collection is open for research use.","This collection consists of 1st editions of a selection of James Dickey's publications (some signed and/or inscribed); Dickey's contributions to books and pamphlets; journal articles by Dickey; interviews; criticism; anthologies; multimedia; photographs; broadsides (some framed, signed); miscellaneous items on his book and the film  Deliverance ; and publications related to Ward Briggs' book  The Complete Poems of James Dickey  (U. South Carolina, 2013).","All books in this box are authored by Dickey. Some (or all?) are first editions.","Anilham ;  To the White Sea ;  Night Hurdling ;  Crux: the Letters of James Dickey.","Includes inscriptions, dedications, signatures by James Dickey.","All books authored by James Dickey. Some are first editions.\nEzra Pound Lecture (by Dickey),  The Water-Bug's Mittens ,  The Starry Place Between the Antlers ,  A Private Brinkmanship ,  The Enemy from Eden ,  Some Sort of Grandeur ,  Head-Deep in Strange Sounds ,  Sorties ,  The Suspect in Poetry ,  Babel to Byzantium ,  Crux ,  Self-Interviews ,  Striking In , Deliverance","Includes inscriptions, dedications, and signatures by James Dickey.","Please see Subject entries for scope of content.","Wayfairer ,  In Pursuit of the Grey Soul ,  Self-Interviews ,  Firing Line ,  Spinning the Crystal Ball ,  Night Hurdling ,  Classes on Modern Poets and the Art of Poetry ,  The Voiced Connections of James Dickey ,  Deliverance ,  To the White Sea","Includes inscriptions, dedications, signatures.","All books are collections of poems by Dickey.\n.\n The Whole Motion: Collected Poems, 1945-1992 ,  Poems, 1957-1967 ,  The Zodiac ,  The Whole Motion: Collected Poems, 1948-1992 ,  The Strength of Fields","Includes inscription, dedications, signatures.","Please see the Subject entries for scope of contents.","Exchanges ,  James Dickey at 70 ,  Drowning with Others ,  The Early Motion ,  Tucky the Hunter ,  Veteran Birth ,  Buckdancer's Choice ,  Metaphor as Pure Adventure ,  Poets of Today VII ,  The Eye-Beaters ,  Blood Victory ,  Madness, Buckhead and Mercy ,  Helmets ,  Falling, May Day Sermon, and Other Poems ,  The Central Motion: Poems 1968-1979 ,  The Eagle's Mile ,  Varmland ,  The Zodiac ,  James Dickey: Poems 1957-1967 ,  Bronwen, the Trawl, and the Shape Shifter ,  The Owl King ,  Two Poems of the Air ,  Looking for the Buckhead Boys  (broadside),  False Youth ,  Four Seasons ,  Apollo Circling ,  The Strength of Fields","This box contains anthologies in which Dickey's work is published, as well as several biographical sources on Dickey. Includes inscriptions, dedications, signatures.","The Great American Writers' Cookbook ,  Ah Men! ,  Translations by American Poets ,  Of Poetry and Poets ,  New Aquist of True Experience ,  Readings for Writing ,  Tell it to the King ,  Travels ,  The Writer as Celebrity ,  Land of Superior Mirages ,  Richard Eberhart: a Celebration ,  On Being a Writer ,  Through the Wheat ,  McCullough's Brief Lives ,  Osiris at the Roller Derby ,  South ,  The Call of the Wild, White Fang and Other Stories ,  From the Green Horseshoe ,  Interviews with Contemporary Writers ,  Short Story , no. 2, Spring 2007,  The Form 1970-1979 ,  Rotten Rejections ,  Singular Voices ,  F. Scott Fitzgerald: Poems 1911-1940 ,  Dictionary of Literary Biography , 1982, 1984, 1986.","This box contains anthologies in which Dickey's work is published. Includes inscriptions, dedications, signatures.","The Call of the Wild ,  The Craft of Poetry ,  John Keats's Porridge ,  Dear Scott ,  Selected Poems of Edwin Arlington Robinson ,  45 Contemporary Poems: the Creative Process ,  Deliverance ,  The Reading Commitment ,  The Wreck of the Deutschland ,  American Christmas ,  The Biblical Etchings of Marvin Hayes ,  Frost: Centennial Essays ,  Pages: the World of Books, Writers, and Writing ,  A New Spirit, a New Commitment, a New America  (Jimmy Carter inauguration),  Close-Ups: the Movie Star Book ,  The Adventures of Tom Sawyer and the Adventures of Huckleberry Finn ,  Contemporary American Authors , vol. 10,  Preferences: 51 American Poets Choose Poems from their Own Work and from the Past ,  The Southern Mystique ,  Conversations with Writers ,  Fountain of Youth ,  Garnet and Black: Carolina's Magazine Network , May 1974.","This box contains books in which Dickey has made a contribution, such as an introduction, a translation, etc.","The New Yorker Book of Poems ,  Soundings, the Writer's Voice ,  The University and the New Intellectual Environment ,  New World Writing 21 ,  James Dickey: a Checklist ,  This is my Best in the Third Quarter of the Century ,  Stolen Apples  (Yevtushenko),  James Dickey: the Expansive Imagination ,  Vandal ,  Best Poems of 1970: Borestone Mountain Poetry Awards ,  Poets on Poetry  (Nemerov),  Selected Poems by Edwin Arlington Robinson ,  A Symposium on Contemporary Poetry ,  All is Brillig (or Ought to Be) ,  Stephen Crane in Transition ,  Meaning: a Common Ground of Linguistics and Literature ,  The Young American Poets ,  The Great Ideas Today, 1968 ,  The Distinctive Voice ,  Best Poems of 1965 ,  Contemporary Poets of the English Language ,  Super Bowl XXVIII at Georgia Dome ,  Creative Responses for Composition","Please see Subject entries for scope and content of box.","Hands of the Saddlemaker ,  Best Poems of 1962 (Borestone Mountain Poetry Awards,  Lombardi  [Vince],  The Writer and his Tradition  [U. Tennessee],  White Plum Thickets ,  A Southern Renascence Man: Views of Robert Penn Warren ,  All the Rights and Privileges Appertaining Thereto ,  James Dickey: a Bibliography ,  Contemporary Sources: Readings from \"Writer's Workshop\" ,  The New York Times Book of Verse ,  Writers at Work  [Paris Review interviews],  Simposio Pablo Neruda: Actas ,  The Red Badge of Courage ,  Craft So Hard to Learn\n ,  Poetry's Catbird Seat ,  South Carolina Business  1983, vol.3,  Toward the Year 2000  [Bell South Corp.],  Conversations with South Carolina Poets ,  Lyrikvannen , no.4, 1980,  Master Poems of the English Language ,  The Seamless Web ,  The Complete Short Stories of Thomas Wolfe ,  Oystering: a Way of Life ,  Ghosts  [Jane Tuckerman],  Dictionary of Literary Biography , vol. 5, 1980,  The Imagination as Glory: the Poetry of James Dickey ,  Three American Poets  [Life Educational Reprint, 1957]","Includes inscriptions, decications, signatures.","Please see Subject entries for scope and content of this box.","Living in the Resurrection ,  Cities of Memory ,  Bears Dancing in the Northern Air ,  Stone Crop ,  Thinking the World Visible ,  My Shining Archipelago ,  James Dickey: Splintered Sunlight ,  James Dickey: a Descriptive Bibliography ,  Dictionary of Literary Biography , vol. 7, 1978,  Washington University Libraries Guide to Modern Literary Manuscripts ,  Images of the Southern Writer  [Mark Morrow, photographer],  Looking for Magical Country ,  Writers  [Nancy Crampton, photographer],  The Arts Journal , Nov. 1981","Includes inscriptions, dedications, signatures.","This box contains literary journals in which Dickey's poems have been published. Includes long runs of  The Kenyon Review  and  The Hudson Review .","For all other titles, please consult the paper guide to the collection, located in Special Collections, or the box itself.","This box contains journals in which Dickey's poems have been published. It includes long runs of  The Sewanee Review ,  Partisan Review , and  Poetry . ","For other journal titles in this box, please consult the paper guide to the collection, located in Special Collections, or the box itself.","This box contains literary journals in Dickey's poems have been published. Includes long runs of  The Paris Review ,  Quarterly Review of Literature ,  Shenandoah ,  The Southern Review , The Virginia Quarterly Review , and the  Yale Review .","This box contains appearances of Dickey's work in  The Atlantic ,  Harper's , and  The New Yorker . Includes book reviews of Dickey's work as well.","Note that Box C6 also contains issues of  The New Yorker .","This box contains magazines in which Dickey's works have been published, or book reviews about his work appeared:  Esquire ,  GQ ,  Time ,  Southern Living ,  Mademoiselle ,  People ,  Saturday Review.","Entries by and about James Dickey in  Playboy Magazine  and  The New Yorker . Note that box C4 also contains  The New Yorker .","This box contains interviews with Dickey published in a variety of magazines, journals, a few newspapers, and books. The book titles are:\n Parting the Curtains: Interviews with Southern Writers ,  The Writer's Mind: Interviews with American Authors , and  Speak So I Shall Know Thee: Interviews with Southern Writers .","This box contains criticism and reviews of Dickey's work. Some items are inscribed and signed.","Fatal Flowers: On Sin, Sex, and Suicide in the Deep South ,  The Way We Read James Dickey ,  James Dickey and the Politics of Canon ,  James Dickey and the Gentle Ecstacy of Earth ,  Struggling for Wings: the Art of James Dickey ,  Speaking with Strangers ,  The Kick: a Memoir ,  Adventures of a Suburban Boy  ,  American Poetry: Wildness and Domesticity ,  Privileged Moments ,  Confessions of a Female Chauvenist\n ,  James Dickey: the Critic as Poet ,  The Leonard L Milberg Collection of American Poetry ,  Cathedrals of Kudzu ,  James Dickey  [Calhoun and Hill, eds.],  Separate Country ,  Understanding James Dickey .","This box contains mostly books about Dickey's life and work, including some bibliographies. Several books are signed.","Summer of Deliverance ,  The Hi-Ways , [Dickey's 1940 High School Yearbook],  Harvard Guide to Contemporary American Writing ,  The American Literary Anthology ,  James Dickey: the Poet as Pitchman ,  The Sixties  [magazine, Robert Bly, ed.], J ames Dickey: the Life and Lies of a Poet ,  James Dickey: a Bibliography, 1947-1974 ,  The Achievement of James Dickey ,  Do I Owe You Something? ,  Truman Capote  [G. Plimpton],  Contemporary Authors , vol. 2, 1986,  A Century of Arts and Letters ,  Buckhead: a Place for All Time ,  New York Days ,  Bulletin of Bibliography , 1981.","This box contains unpublished typescripts of screenplays and other works by Dickey, as well as some biographical and critical works about Dickey.","SCREENPLAYS:\n Deliverance ;  Gene Bullard ;  The Sentence  ;  The Claim ;  The Call of the Wild ;  Flying Blind ;  Anilham","POETRY:\n Two Poems on the Survival of the Male Body","SHORT STORY:\n The Eye of the Fire","FILM TREATMENT:\n Away from the Sun","BIOGRAPHY and CRITICISM:\n Dictionary of Literary Biography Documentary Series: James Dickey, an Illustrated Chronicle ;  Dueling Banjos: The Deliverance of Drew ;  Critical Essays on James Dickey  [Kirschten]","Includes some signed pieces.","Entrance to the Honeycomb ;  Death and the Day's Light ;  Strong Horses Circling ;  The Casting ;  Crux ;  Philosophy Notebooks ;  Tom Dickey Juvenilia ;  Celebration  [Film by W. Hale]; and various journals.","This box contains books and journals that feature Dickey's work.","Best Poems of 1961  [Borestone Mountain Poetry Awards];  Motion: American Sports Poems ;  How to Use the Power of the Printed Word ;  A Game of Passion  [NFL];  Splash! ;  The James Dickey Reader ;  Best Poems of 1964  [Borestone Mountain Poetry Awards];  The New Consciousness ;  Men in Sports ;  Beach Glass ;  100 Postwar Poems ;  Visions of America by the Poets of Our Time ;  Sounds and Silences: Poetry for Now ;  The World on Wheels ;  Southern Christmas: Literary Classics of the Holidays ;  The Wesleyan Tradition: Four Decades of American Poetry ;  Men Without Masks ;  Things Appalachian ;  A Southern Album  [Glusker, ed.];  Southern Writing in the Sixties/Poetry ;  On Doctoring ;  The Water of Light ;  Decade: a Collection of Poems from the First Ten Years of the Wesleyan Poetry Program ;  American Poetry, 1965\n ;  Dog Music: Poetry About Dogs\n ;  The American Literary Anthology/1 ;  Some Haystacks Don't Even Have a Needle ;  Encounters: an Anthology from the First Ten Years of Encounter Magazine ;  Gathered Waters ;  Where Is Vietnam: American Poets Respond .","This box contains books and journals mostly, but not always, featuring work by Dickey.","Christmas at The New Yorker ;  The Poetry of the Negro, 1746-1970 ;  The Norton Anthology of Modern Poetry, 1973 ;  Randall Jarrell, 1914-1965 ;  Georgia Voices ;  Modern Poems: an Introduction to Poetry ;  Divided Light: Father and Son Poems ;  James Dickey: the Selected Poems ;  The Appalachian Trail Reader ;  American Sports Poems ;  The James Dickey Reader ;  Brother Songs: a Male Anthology of Poetry ;  More Than a Game  [NFL];  Other Things and the Aardvark ;  America in Poetry ;  The Best Parts Are Underlined: Great Rape Scences from Literature ;  A Controversy of Poets ;  Contemporary American Poetry  [H. Nemerov];  On William Stafford ;  The Twentieth Century Treasury of Sports ;  Georgia Voices ;  Best Poems of 1966  [Borestone Mountain Poetry Awards];  Yellow Silk II: International Erotic Stories and Poems ;  Pictures That Storm Inside My Head: Poems for the Inner You ;  The Poetry Anthology, 1912-1977.","This box contains a variety of materials related to the 1972 motion picture  Deliverance . It holds lobby cards, action shots of the actors, a VHS of the movie, movie reviews, posters, and other miscellaneous items.","Includes the score of  Duelling Banjos , the main song of the movie.","This box contains large runs of both the  James Dickey Newsletter  and its successor, the  James Dickey Review . It also includes VHS, DVD, and CD materials.","James Dickey Newsletter ;  James Dickey Review ;  Listening to America with Bill Moyers  [VHS];  Call of the Wild  [VHS];  Lord Let Me Die But Not Die Out  [VHS];  James Dickey and Robert Penn Warren: Two Poets, Two Friends  [VHS];  James Dickey Tribute  [VHS];  Guilty as Charged  [VHS];  Writer's Workshop  [VHS];  Whispers on the Wind  [VHS];  James Dickey Obituary  [VHS];  To the White Sea  [audiotape];  Verb Audio Literary Magazine  [CD];  Birds, Beasts, and Flowers  [CD];  Apollo 11: As It Happened  [CD].","This box contains mostly book reviews in many  New York Times Book Reviews  and  Life  magazines, but also includes a few oversized books. Some materials are signed. NOTE: This box is oversized and is not shelved with the bulk of the collection.","Life Magazine ;  New York Times Book Review ;  The Incredible Year '68  [Life Magazine];  A Festschrift for Lloyd J. Reynolds ;  Intervisions: Poems and Photographs ;  God's Images: the Bible, a New Version .","This box contains mostly LP vinyl sound recordings, but also books, a film and a few posters. Some items are signed. NOTE: This box is oversized and is not shelved with the bulk of the collection.","LP RECORDS:  The Poems of James Dickey (1957-1967) ;  God's Images For the First Manned Moon Orbit, on \"Apollo Circling\" ;  Duelling Banjos ;  James Dickey Reading His Poetry ;  The Inaugural Album  [Jimmy Carter, 1977. Includes book];  A Talk with James Dickey .","BOOKS:  Jericho: the South Beheld ;  Georgia Atlas and Gazetteer .","FILM:  James Dickey: \"Lord Let Me Die\"  [Encyclopedia Britannica Film, 1970].","This box contains books and newspapers in which a portrait photograph of Dickey is featured.","10,000 Eyes  [magazine photographers];  A Portrait of Southern Writers  [Curt Richter];  Rollie McKenna: A Life in Photography ;  Southern Writers  [David Spielman];  The Writer's Image  [Jill Krementz];  Artists at Large  [Rollie McKenna].","This box contains issues of featured writers in the James Dickey Poetry Series. It also includes some writings by Dickey's children, and some miscellaneous items, such as a t-shirt related to the movie  Deliverance  and items from Dickey's desk at the University of South Carolina.","James Dickey Contemporary Poetry Series ; Caverns of Fire ;  James Dickey: a Celebration ;  Dickey Conference  at U of South Carolina;  Newsweek ;  Oxford American ;   Jimmy Carter ;  To Write a Poem Like Dickey  [Hank Malone]; Cahulawassee t-shirt [Deliverance]; Dickey's desk items at U of South Carolina.","This box contains the first copy of Briggs'  Complete Poems of James Dickey , as well as proofs and some promotional materials related to the book.","Complete Poems of James Dickey ;  The Dailey Gamecock  [USC student newspaper];  Free Times  [Columbia, S.C. newspaper]; proofs of Briggs' book; promotional materials for Briggs' book.","This category identifies framed fine press editions of  broadsides of some of Dickey's most loved poems, as well as other framed materials. All framed work hangs on racks in the Special Collections' vault.","Bronwen,the Traw and the Shape Shifter , 1986; Movie poster for  Deliverance ;  Buck Dancer's Choice , 1979;  The Eagle's Mile , 1981;  Knock,  1977;  Summons , 1988;  For a Time and Place , 1983;  Deliverance  still with small card signed by major actors;  In the Child's Night , 1981; Photograph of James Dickey playing guitar;  Hunger, Time and the Moon  [from  Strength of Fields , 1977];  The Shark at the Window , 1977;  Mexican Valley , 1978.","This box contains materials related to the death of James Dickey.\nFolder 0 is the Control Folder.","NOTE: Folders 9-12 are not displaying in public interface.\nFOLDER 9: Carolinian\nFOLDER 10: Current Biography\nFOLDER 11: American Poet\nFOLDER 12: Oxford American","Folder 0-12 Obituaries, varied sources Obituaries, varied sources Obituaries, varied sources Memorial Service Photographs of Dickey's office at USC Newsweek Time People","This box contains issues of the USC student newspapers,  The Gamecock  and  Garnet and Black , as well as issues of the Columbia, S.C. newspaper,  The State , and issues of  New York Times Book Review  and  The Point .","This oversized box contains the life mask of James Dickey. It also includes a photograph of Ward Briggs used for display purposes. NOTE: this oversized box is not shelved with the collection.\n---\nIn the mid-70s, North Carolina sculptor William Dunlap made this aluminum life mask of James Dickey. Dickey appeared, wearing a replica of the mask on his face, on the February 1976 cover of  Esquire  magazine. The first chapter of his second novel,  Alnilam , was excerpted in the same issue. Dickey claimed that chemicals from the cast used to make the mask had seeped into his eyes and rendered him temporarily blind. His \"blindness\" was later heavily disputed, but Dickey said the experience inspired  Alnilam , which is about a blind man searching for his son.","This box contains additional materials related to James Dickey, donated by Ward Briggs in March 2017. There is no specific focus. Check the subject headings to learn about the box's content.","Includes:  Belgrade Literary Magazine ;  La Violencia Esta en Nostros ;  Vergilius ;  Poems from the Hills, 1970 ;  Washington and Lee Alumnus , June 1970;  For Aaron Copland, 14 Nov 1978 ;  Le Montagne , 30 Nov 1971;  Firsts: the Book Collector's Magazine ;  Falling  [the Sandlapper Singers];  Barat Review ;  Deliverance  [in clamshell box edition]; miscellaneous materials.","The materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections.","Washington and Lee University, University Library Special Collections and Archives","Dickey","Briggs, Ward Wright, Jr., Dr.","Dickey, James (James Lafayette) (19230202-19970119)","Dickey, James","These materials are in English, except for translations of Dickey's novels."],"unitid_tesim":["WLU.Coll.0511","/repositories/5/resources/594"],"normalized_title_ssm":["The Ward Briggs Collection of James Dickey"],"collection_title_tesim":["The Ward Briggs Collection of James Dickey"],"collection_ssim":["The Ward Briggs Collection of James Dickey"],"repository_ssm":["Washington and Lee University, Leyburn Library"],"repository_ssim":["Washington and Lee University, Leyburn Library"],"creator_ssm":["Briggs, Ward Wright, Jr., Dr."],"creator_ssim":["Briggs, Ward Wright, Jr., Dr."],"creator_persname_ssim":["Briggs, Ward Wright, Jr., Dr."],"creators_ssim":["Briggs, Ward Wright, Jr., Dr."],"access_terms_ssm":["The materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections."],"acqinfo_ssim":["Received from Ward Briggs, Washington and Lee University class of 1967, between 2014 and 2017."],"access_subjects_ssim":["American literature","Broadsides","Criticism","Poetry","Interviews","Photographs"],"access_subjects_ssm":["American literature","Broadsides","Criticism","Poetry","Interviews","Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["52 Linear Feet"],"extent_tesim":["52 Linear Feet"],"genreform_ssim":["Photographs"],"date_range_isim":[1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for research use.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open for research use."],"prefercite_html_tesm":["\u003cp\u003ePreferred citation: [Identification of item], The Ward Briggs Collection of James Dickey, WLU Coll. 0511, Special Collections and Archives, James G. Leyburn Library, Washington and Lee University, Lexington, VA\u003cp\u003eIn some cases the citation format may vary. Please contact Special Collections' staff to verify the appropriate format.\u003c/p\u003e\u003c/p\u003e"],"prefercite_tesim":["Preferred citation: [Identification of item], The Ward Briggs Collection of James Dickey, WLU Coll. 0511, Special Collections and Archives, James G. Leyburn Library, Washington and Lee University, Lexington, VA In some cases the citation format may vary. Please contact Special Collections' staff to verify the appropriate format."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of 1st editions of a selection of James Dickey's publications (some signed and/or inscribed); Dickey's contributions to books and pamphlets; journal articles by Dickey; interviews; criticism; anthologies; multimedia; photographs; broadsides (some framed, signed); miscellaneous items on his book and the film \u003ci\u003eDeliverance\u003c/i\u003e; and publications related to Ward Briggs' book \u003ci\u003eThe Complete Poems of James Dickey\u003c/i\u003e (U. South Carolina, 2013).\u003c/p\u003e","\u003cp\u003eAll books in this box are authored by Dickey. Some (or all?) are first editions.\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003eAnilham\u003c/title\u003e; \u003ctitle\u003eTo the White Sea\u003c/title\u003e; \u003ctitle\u003eNight Hurdling\u003c/title\u003e; \u003ctitle\u003eCrux: the Letters of James Dickey.\u003c/title\u003e\u003c/p\u003e\n","\u003cp\u003eIncludes inscriptions, dedications, signatures by James Dickey.\u003c/p\u003e","\u003cp\u003eAll books authored by James Dickey. Some are first editions.\nEzra Pound Lecture (by Dickey), \u003ctitle\u003eThe Water-Bug's Mittens\u003c/title\u003e, \u003ctitle\u003eThe Starry Place Between the Antlers\u003c/title\u003e,\u003ctitle\u003e A Private Brinkmanship\u003c/title\u003e, \u003ctitle\u003eThe Enemy from Eden\u003c/title\u003e, \u003ctitle\u003eSome Sort of Grandeur\u003c/title\u003e, \u003ctitle\u003eHead-Deep in Strange Sounds\u003c/title\u003e, \u003ctitle\u003eSorties\u003c/title\u003e, \u003ctitle\u003eThe Suspect in Poetry\u003c/title\u003e, \u003ctitle\u003eBabel to Byzantium\u003c/title\u003e, \u003ctitle\u003eCrux\u003c/title\u003e, \u003ctitle\u003eSelf-Interviews\u003c/title\u003e, \u003ctitle\u003eStriking In\u003c/title\u003e,\u003ctitle\u003eDeliverance\u003c/title\u003e\u003c/p\u003e\n","\u003cp\u003eIncludes inscriptions, dedications, and signatures by James Dickey.\u003c/p\u003e","\u003cp\u003ePlease see Subject entries for scope of content.\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003eWayfairer\u003c/title\u003e, \u003ctitle\u003eIn Pursuit of the Grey Soul\u003c/title\u003e, \u003ctitle\u003eSelf-Interviews\u003c/title\u003e, \u003ctitle\u003eFiring Line\u003c/title\u003e, \u003ctitle\u003eSpinning the Crystal Ball\u003c/title\u003e, \u003ctitle\u003eNight Hurdling\u003c/title\u003e, \u003ctitle\u003eClasses on Modern Poets and the Art of Poetry\u003c/title\u003e, \u003ctitle\u003eThe Voiced Connections of James Dickey\u003c/title\u003e, \u003ctitle\u003eDeliverance\u003c/title\u003e, \u003ctitle\u003eTo the White Sea\u003c/title\u003e\u003c/p\u003e\n","\u003cp\u003eIncludes inscriptions, dedications, signatures.\u003c/p\u003e","\u003cp\u003eAll books are collections of poems by Dickey.\n.\n\u003ctitle\u003eThe Whole Motion: Collected Poems, 1945-1992\u003c/title\u003e, \u003ctitle\u003ePoems, 1957-1967\u003c/title\u003e, \u003ctitle\u003eThe Zodiac\u003c/title\u003e, \u003ctitle\u003eThe Whole Motion: Collected Poems, 1948-1992\u003c/title\u003e, \u003ctitle\u003eThe Strength of Fields\u003c/title\u003e\u003c/p\u003e\n","\u003cp\u003eIncludes inscription, dedications, signatures.\u003c/p\u003e","\u003cp\u003ePlease see the Subject entries for scope of contents.\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003eExchanges\u003c/title\u003e, \u003ctitle\u003eJames Dickey at 70\u003c/title\u003e, \u003ctitle\u003eDrowning with Others\u003c/title\u003e, \u003ctitle\u003eThe Early Motion\u003c/title\u003e, \u003ctitle\u003eTucky the Hunter\u003c/title\u003e, \u003ctitle\u003eVeteran Birth\u003c/title\u003e, \u003ctitle\u003eBuckdancer's Choice\u003c/title\u003e, \u003ctitle\u003eMetaphor as Pure Adventure\u003c/title\u003e, \u003ctitle\u003ePoets of Today VII\u003c/title\u003e, \u003ctitle\u003eThe Eye-Beaters\u003c/title\u003e, \u003ctitle\u003eBlood Victory\u003c/title\u003e, \u003ctitle\u003eMadness, Buckhead and Mercy\u003c/title\u003e, \u003ctitle\u003eHelmets\u003c/title\u003e, \u003ctitle\u003eFalling, May Day Sermon, and Other Poems\u003c/title\u003e, \u003ctitle\u003eThe Central Motion: Poems 1968-1979\u003c/title\u003e, \u003ctitle\u003eThe Eagle's Mile\u003c/title\u003e, \u003ctitle\u003eVarmland\u003c/title\u003e, \u003ctitle\u003eThe Zodiac\u003c/title\u003e, \u003ctitle\u003eJames Dickey: Poems 1957-1967\u003c/title\u003e, \u003ctitle\u003eBronwen, the Trawl, and the Shape Shifter\u003c/title\u003e, \u003ctitle\u003eThe Owl King\u003c/title\u003e, \u003ctitle\u003eTwo Poems of the Air\u003c/title\u003e, \u003ctitle\u003eLooking for the Buckhead Boys\u003c/title\u003e (broadside), \u003ctitle\u003eFalse Youth\u003c/title\u003e, \u003ctitle\u003eFour Seasons\u003c/title\u003e, \u003ctitle\u003eApollo Circling\u003c/title\u003e, \u003ctitle\u003eThe Strength of Fields\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eThis box contains anthologies in which Dickey's work is published, as well as several biographical sources on Dickey. Includes inscriptions, dedications, signatures.\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003eThe Great American Writers' Cookbook\u003c/title\u003e, \u003ctitle\u003eAh Men!\u003c/title\u003e, \u003ctitle\u003eTranslations by American Poets\u003c/title\u003e, \u003ctitle\u003eOf Poetry and Poets\u003c/title\u003e, \u003ctitle\u003eNew Aquist of True Experience\u003c/title\u003e, \u003ctitle\u003eReadings for Writing\u003c/title\u003e, \u003ctitle\u003eTell it to the King\u003c/title\u003e, \u003ctitle\u003eTravels\u003c/title\u003e, \u003ctitle\u003eThe Writer as Celebrity\u003c/title\u003e, \u003ctitle\u003eLand of Superior Mirages\u003c/title\u003e, \u003ctitle\u003eRichard Eberhart: a Celebration\u003c/title\u003e, \u003ctitle\u003eOn Being a Writer\u003c/title\u003e, \u003ctitle\u003eThrough the Wheat\u003c/title\u003e, \u003ctitle\u003eMcCullough's Brief Lives\u003c/title\u003e, \u003ctitle\u003eOsiris at the Roller Derby\u003c/title\u003e, \u003ctitle\u003eSouth\u003c/title\u003e, \u003ctitle\u003eThe Call of the Wild, White Fang and Other Stories\u003c/title\u003e, \u003ctitle\u003eFrom the Green Horseshoe\u003c/title\u003e, \u003ctitle\u003eInterviews with Contemporary Writers\u003c/title\u003e, \u003ctitle\u003eShort Story\u003c/title\u003e, no. 2, Spring 2007, \u003ctitle\u003eThe Form 1970-1979\u003c/title\u003e, \u003ctitle\u003eRotten Rejections\u003c/title\u003e, \u003ctitle\u003eSingular Voices\u003c/title\u003e, \u003ctitle\u003eF. Scott Fitzgerald: Poems 1911-1940\u003c/title\u003e, \u003ctitle\u003eDictionary of Literary Biography\u003c/title\u003e, 1982, 1984, 1986.\u003c/p\u003e","\u003cp\u003eThis box contains anthologies in which Dickey's work is published. Includes inscriptions, dedications, signatures.\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003eThe Call of the Wild\u003c/title\u003e,\u003ctitle\u003e The Craft of Poetry\u003c/title\u003e, \u003ctitle\u003eJohn Keats's Porridge\u003c/title\u003e, \u003ctitle\u003eDear Scott\u003c/title\u003e, \u003ctitle\u003eSelected Poems of Edwin Arlington Robinson\u003c/title\u003e, \u003ctitle\u003e45 Contemporary Poems: the Creative Process\u003c/title\u003e, \u003ctitle\u003eDeliverance\u003c/title\u003e, \u003ctitle\u003eThe Reading Commitment\u003c/title\u003e, \u003ctitle\u003eThe Wreck of the Deutschland\u003c/title\u003e, \u003ctitle\u003eAmerican Christmas\u003c/title\u003e, \u003ctitle\u003eThe Biblical Etchings of Marvin Hayes\u003c/title\u003e, \u003ctitle\u003eFrost: Centennial Essays\u003c/title\u003e, \u003ctitle\u003ePages: the World of Books, Writers, and Writing\u003c/title\u003e, \u003ctitle\u003eA New Spirit, a New Commitment, a New America\u003c/title\u003e (Jimmy Carter inauguration), \u003ctitle\u003eClose-Ups: the Movie Star Book\u003c/title\u003e, \u003ctitle\u003eThe Adventures of Tom Sawyer and the Adventures of Huckleberry Finn\u003c/title\u003e, \u003ctitle\u003eContemporary American Authors\u003c/title\u003e, vol. 10, \u003ctitle\u003ePreferences: 51 American Poets Choose Poems from their Own Work and from the Past\u003c/title\u003e, \u003ctitle\u003eThe Southern Mystique\u003c/title\u003e, \u003ctitle\u003eConversations with Writers\u003c/title\u003e, \u003ctitle\u003eFountain of Youth\u003c/title\u003e, \u003ctitle\u003eGarnet and Black: Carolina's Magazine Network\u003c/title\u003e, May 1974.\u003c/p\u003e","\u003cp\u003eThis box contains books in which Dickey has made a contribution, such as an introduction, a translation, etc.\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003eThe New Yorker Book of Poems\u003c/title\u003e, \u003ctitle\u003eSoundings, the Writer's Voice\u003c/title\u003e, \u003ctitle\u003eThe University and the New Intellectual Environment\u003c/title\u003e, \u003ctitle\u003eNew World Writing 21\u003c/title\u003e, \u003ctitle\u003eJames Dickey: a Checklist\u003c/title\u003e, \u003ctitle\u003eThis is my Best in the Third Quarter of the Century\u003c/title\u003e, \u003ctitle\u003eStolen Apples\u003c/title\u003e (Yevtushenko), \u003ctitle\u003eJames Dickey: the Expansive Imagination\u003c/title\u003e, \u003ctitle\u003eVandal\u003c/title\u003e, \u003ctitle\u003eBest Poems of 1970: Borestone Mountain Poetry Awards\u003c/title\u003e, \u003ctitle\u003ePoets on Poetry\u003c/title\u003e (Nemerov), \u003ctitle\u003eSelected Poems by Edwin Arlington Robinson\u003c/title\u003e, \u003ctitle\u003eA Symposium on Contemporary Poetry\u003c/title\u003e, \u003ctitle\u003eAll is Brillig (or Ought to Be)\u003c/title\u003e, \u003ctitle\u003eStephen Crane in Transition\u003c/title\u003e, \u003ctitle\u003eMeaning: a Common Ground of Linguistics and Literature\u003c/title\u003e, \u003ctitle\u003eThe Young American Poets\u003c/title\u003e, \u003ctitle\u003eThe Great Ideas Today, 1968\u003c/title\u003e, \u003ctitle\u003eThe Distinctive Voice\u003c/title\u003e, \u003ctitle\u003eBest Poems of 1965\u003c/title\u003e, \u003ctitle\u003eContemporary Poets of the English Language\u003c/title\u003e, \u003ctitle\u003eSuper Bowl XXVIII at Georgia Dome\u003c/title\u003e, \u003ctitle\u003eCreative Responses for Composition\u003c/title\u003e\u003c/p\u003e","\u003cp\u003ePlease see Subject entries for scope and content of box.\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003eHands of the Saddlemaker\u003c/title\u003e, \u003ctitle\u003eBest Poems of 1962\u003c/title\u003e(Borestone Mountain Poetry Awards, \u003ctitle\u003eLombardi\u003c/title\u003e [Vince], \u003ctitle\u003eThe Writer and his Tradition\u003c/title\u003e [U. Tennessee], \u003ctitle\u003eWhite Plum Thickets\u003c/title\u003e, \u003ctitle\u003eA Southern Renascence Man: Views of Robert Penn Warren\u003c/title\u003e,\u003ctitle\u003e All the Rights and Privileges Appertaining Thereto\u003c/title\u003e, \u003ctitle\u003eJames Dickey: a Bibliography\u003c/title\u003e, \u003ctitle\u003eContemporary Sources: Readings from \"Writer's Workshop\"\u003c/title\u003e, \u003ctitle\u003eThe New York Times Book of Verse\u003c/title\u003e, \u003ctitle\u003eWriters at Work\u003c/title\u003e [Paris Review interviews], \u003ctitle\u003eSimposio Pablo Neruda: Actas\u003c/title\u003e, \u003ctitle\u003eThe Red Badge of Courage\u003c/title\u003e, \u003ctitle\u003eCraft So Hard to Learn\n\u003c/title\u003e, \u003ctitle\u003ePoetry's Catbird Seat\u003c/title\u003e, \u003ctitle\u003eSouth Carolina Business \u003c/title\u003e1983, vol.3, \u003ctitle\u003eToward the Year 2000\u003c/title\u003e [Bell South Corp.], \u003ctitle\u003eConversations with South Carolina Poets\u003c/title\u003e, \u003ctitle\u003eLyrikvannen\u003c/title\u003e, no.4, 1980, \u003ctitle\u003eMaster Poems of the English Language\u003c/title\u003e, \u003ctitle\u003eThe Seamless Web\u003c/title\u003e, \u003ctitle\u003eThe Complete Short Stories of Thomas Wolfe\u003c/title\u003e, \u003ctitle\u003eOystering: a Way of Life\u003c/title\u003e, \u003ctitle\u003eGhosts\u003c/title\u003e [Jane Tuckerman], \u003ctitle\u003eDictionary of Literary Biography\u003c/title\u003e, vol. 5, 1980, \u003ctitle\u003eThe Imagination as Glory: the Poetry of James Dickey\u003c/title\u003e, \u003ctitle\u003eThree American Poets\u003c/title\u003e [Life Educational Reprint, 1957]\u003c/p\u003e","\u003cp\u003eIncludes inscriptions, decications, signatures.\u003c/p\u003e","\u003cp\u003ePlease see Subject entries for scope and content of this box.\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003eLiving in the Resurrection\u003c/title\u003e, \u003ctitle\u003eCities of Memory\u003c/title\u003e,\u003ctitle\u003e Bears Dancing in the Northern Air\u003c/title\u003e, \u003ctitle\u003eStone Crop\u003c/title\u003e, \u003ctitle\u003eThinking the World Visible\u003c/title\u003e, \u003ctitle\u003eMy Shining Archipelago\u003c/title\u003e, \u003ctitle\u003eJames Dickey: Splintered Sunlight\u003c/title\u003e, \u003ctitle\u003eJames Dickey: a Descriptive Bibliography\u003c/title\u003e, \u003ctitle\u003eDictionary of Literary Biography\u003c/title\u003e, vol. 7, 1978, \u003ctitle\u003eWashington University Libraries Guide to Modern Literary Manuscripts\u003c/title\u003e, \u003ctitle\u003eImages of the Southern Writer\u003c/title\u003e [Mark Morrow, photographer], \u003ctitle\u003eLooking for Magical Country\u003c/title\u003e, \u003ctitle\u003eWriters\u003c/title\u003e [Nancy Crampton, photographer], \u003ctitle\u003eThe Arts Journal\u003c/title\u003e, Nov. 1981\u003c/p\u003e\n","\u003cp\u003eIncludes inscriptions, dedications, signatures.\u003c/p\u003e","\u003cp\u003eThis box contains literary journals in which Dickey's poems have been published. Includes long runs of \u003ctitle\u003eThe Kenyon Review\u003c/title\u003e and \u003ctitle\u003eThe Hudson Review\u003c/title\u003e.\u003c/p\u003e\n","\u003cp\u003eFor all other titles, please consult the paper guide to the collection, located in Special Collections, or the box itself.\u003c/p\u003e","\u003cp\u003eThis box contains journals in which Dickey's poems have been published. It includes long runs of \u003ctitle\u003eThe Sewanee Review\u003c/title\u003e, \u003ctitle\u003ePartisan Review\u003c/title\u003e, and \u003ctitle\u003ePoetry\u003c/title\u003e. \u003c/p\u003e\n","\u003cp\u003eFor other journal titles in this box, please consult the paper guide to the collection, located in Special Collections, or the box itself.\u003c/p\u003e","\u003cp\u003eThis box contains literary journals in Dickey's poems have been published. Includes long runs of \u003ctitle\u003eThe Paris Review\u003c/title\u003e, \u003ctitle\u003eQuarterly Review of Literature\u003c/title\u003e, \u003ctitle\u003eShenandoah\u003c/title\u003e, \u003ctitle\u003eThe Southern Review\u003c/title\u003e,\u003ctitle\u003eThe Virginia Quarterly Review\u003c/title\u003e, and the \u003ctitle\u003eYale Review\u003c/title\u003e.\u003c/p\u003e","\u003cp\u003eThis box contains appearances of Dickey's work in \u003ctitle\u003eThe Atlantic\u003c/title\u003e, \u003ctitle\u003eHarper's\u003c/title\u003e, and \u003ctitle\u003eThe New Yorker\u003c/title\u003e. Includes book reviews of Dickey's work as well.\u003c/p\u003e\n","\u003cp\u003eNote that Box C6 also contains issues of \u003ctitle\u003eThe New Yorker\u003c/title\u003e.\u003c/p\u003e","\u003cp\u003eThis box contains magazines in which Dickey's works have been published, or book reviews about his work appeared: \u003ctitle\u003eEsquire\u003c/title\u003e,\u003ctitle\u003e GQ\u003c/title\u003e, \u003ctitle\u003eTime\u003c/title\u003e, \u003ctitle\u003eSouthern Living\u003c/title\u003e, \u003ctitle\u003eMademoiselle\u003c/title\u003e, \u003ctitle\u003ePeople\u003c/title\u003e, \u003ctitle\u003eSaturday Review.\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eEntries by and about James Dickey in \u003ctitle\u003ePlayboy Magazine\u003c/title\u003e and \u003ctitle\u003eThe New Yorker\u003c/title\u003e. Note that box C4 also contains \u003ctitle\u003eThe New Yorker\u003c/title\u003e.\u003c/p\u003e","\u003cp\u003eThis box contains interviews with Dickey published in a variety of magazines, journals, a few newspapers, and books. The book titles are:\n\u003ctitle\u003eParting the Curtains: Interviews with Southern Writers\u003c/title\u003e, \u003ctitle\u003eThe Writer's Mind: Interviews with American Authors\u003c/title\u003e, and \u003ctitle\u003eSpeak So I Shall Know Thee: Interviews with Southern Writers\u003c/title\u003e.\u003c/p\u003e","\u003cp\u003eThis box contains criticism and reviews of Dickey's work. Some items are inscribed and signed.\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003eFatal Flowers: On Sin, Sex, and Suicide in the Deep South\u003c/title\u003e, \u003ctitle\u003eThe Way We Read James Dickey\u003c/title\u003e, \u003ctitle\u003eJames Dickey and the Politics of Canon\u003c/title\u003e, \u003ctitle\u003eJames Dickey and the Gentle Ecstacy of Earth\u003c/title\u003e, \u003ctitle\u003eStruggling for Wings: the Art of James Dickey\u003c/title\u003e, \u003ctitle\u003eSpeaking with Strangers\u003c/title\u003e, \u003ctitle\u003eThe Kick: a Memoir\u003c/title\u003e, \u003ctitle\u003eAdventures of a Suburban Boy \u003c/title\u003e, \u003ctitle\u003eAmerican Poetry: Wildness and Domesticity\u003c/title\u003e, \u003ctitle\u003ePrivileged Moments\u003c/title\u003e, \u003ctitle\u003eConfessions of a Female Chauvenist\n\u003c/title\u003e, \u003ctitle\u003eJames Dickey: the Critic as Poet\u003c/title\u003e, \u003ctitle\u003eThe Leonard L Milberg Collection of American Poetry\u003c/title\u003e, \u003ctitle\u003eCathedrals of Kudzu\u003c/title\u003e, \u003ctitle\u003eJames Dickey\u003c/title\u003e [Calhoun and Hill, eds.], \u003ctitle\u003eSeparate Country\u003c/title\u003e, \u003ctitle\u003eUnderstanding James Dickey\u003c/title\u003e.\u003c/p\u003e","\u003cp\u003eThis box contains mostly books about Dickey's life and work, including some bibliographies. Several books are signed.\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003eSummer of Deliverance\u003c/title\u003e, \u003ctitle\u003eThe Hi-Ways\u003c/title\u003e, [Dickey's 1940 High School Yearbook], \u003ctitle\u003eHarvard Guide to Contemporary American Writing\u003c/title\u003e, \u003ctitle\u003eThe American Literary Anthology\u003c/title\u003e, \u003ctitle\u003eJames Dickey: the Poet as Pitchman\u003c/title\u003e, \u003ctitle\u003eThe Sixties\u003c/title\u003e [magazine, Robert Bly, ed.], J\u003ctitle\u003eames Dickey: the Life and Lies of a Poet\u003c/title\u003e, \u003ctitle\u003eJames Dickey: a Bibliography, 1947-1974\u003c/title\u003e, \u003ctitle\u003eThe Achievement of James Dickey\u003c/title\u003e, \u003ctitle\u003eDo I Owe You Something?\u003c/title\u003e, \u003ctitle\u003eTruman Capote \u003c/title\u003e[G. Plimpton], \u003ctitle\u003eContemporary Authors\u003c/title\u003e, vol. 2, 1986, \u003ctitle\u003eA Century of Arts and Letters\u003c/title\u003e, \u003ctitle\u003eBuckhead: a Place for All Time\u003c/title\u003e, \u003ctitle\u003eNew York Days\u003c/title\u003e, \u003ctitle\u003eBulletin of Bibliography\u003c/title\u003e, 1981.\u003c/p\u003e","\u003cp\u003eThis box contains unpublished typescripts of screenplays and other works by Dickey, as well as some biographical and critical works about Dickey.\u003c/p\u003e\n","\u003cp\u003eSCREENPLAYS:\n\u003ctitle\u003eDeliverance\u003c/title\u003e; \u003ctitle\u003eGene Bullard\u003c/title\u003e; \u003ctitle\u003eThe Sentence \u003c/title\u003e; \u003ctitle\u003eThe Claim\u003c/title\u003e; \u003ctitle\u003eThe Call of the Wild\u003c/title\u003e; \u003ctitle\u003eFlying Blind\u003c/title\u003e; \u003ctitle\u003eAnilham\u003c/title\u003e\u003c/p\u003e\n","\u003cp\u003ePOETRY:\n\u003ctitle\u003eTwo Poems on the Survival of the Male Body\u003c/title\u003e\u003c/p\u003e\n","\u003cp\u003eSHORT STORY:\n\u003ctitle\u003eThe Eye of the Fire\u003c/title\u003e\u003c/p\u003e\n","\u003cp\u003eFILM TREATMENT:\n\u003ctitle\u003eAway from the Sun\u003c/title\u003e\u003c/p\u003e\n","\u003cp\u003eBIOGRAPHY and CRITICISM:\n\u003ctitle\u003eDictionary of Literary Biography Documentary Series: James Dickey, an Illustrated Chronicle\u003c/title\u003e; \u003ctitle\u003eDueling Banjos: The Deliverance of Drew\u003c/title\u003e; \u003ctitle\u003eCritical Essays on James Dickey\u003c/title\u003e [Kirschten]\u003c/p\u003e","\u003cp\u003eIncludes some signed pieces.\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003eEntrance to the Honeycomb\u003c/title\u003e;\u003ctitle\u003e Death and the Day's Light\u003c/title\u003e; \u003ctitle\u003eStrong Horses Circling\u003c/title\u003e; \u003ctitle\u003eThe Casting\u003c/title\u003e; \u003ctitle\u003eCrux\u003c/title\u003e; \u003ctitle\u003ePhilosophy Notebooks\u003c/title\u003e; \u003ctitle\u003eTom Dickey Juvenilia\u003c/title\u003e; \u003ctitle\u003eCelebration\u003c/title\u003e [Film by W. Hale]; and various journals.\u003c/p\u003e","\u003cp\u003eThis box contains books and journals that feature Dickey's work.\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003eBest Poems of 1961\u003c/title\u003e [Borestone Mountain Poetry Awards]; \u003ctitle\u003eMotion: American Sports Poems\u003c/title\u003e; \u003ctitle\u003eHow to Use the Power of the Printed Word\u003c/title\u003e; \u003ctitle\u003eA Game of Passion\u003c/title\u003e [NFL]; \u003ctitle\u003eSplash!\u003c/title\u003e; \u003ctitle\u003eThe James Dickey Reader\u003c/title\u003e; \u003ctitle\u003eBest Poems of 1964\u003c/title\u003e [Borestone Mountain Poetry Awards]; \u003ctitle\u003eThe New Consciousness\u003c/title\u003e; \u003ctitle\u003eMen in Sports\u003c/title\u003e; \u003ctitle\u003eBeach Glass\u003c/title\u003e; \u003ctitle\u003e100 Postwar Poems\u003c/title\u003e; \u003ctitle\u003eVisions of America by the Poets of Our Time\u003c/title\u003e; \u003ctitle\u003eSounds and Silences: Poetry for Now\u003c/title\u003e; \u003ctitle\u003eThe World on Wheels\u003c/title\u003e; \u003ctitle\u003eSouthern Christmas: Literary Classics of the Holidays\u003c/title\u003e; \u003ctitle\u003eThe Wesleyan Tradition: Four Decades of American Poetry\u003c/title\u003e; \u003ctitle\u003eMen Without Masks\u003c/title\u003e; \u003ctitle\u003eThings Appalachian\u003c/title\u003e; \u003ctitle\u003eA Southern Album\u003c/title\u003e [Glusker, ed.]; \u003ctitle\u003eSouthern Writing in the Sixties/Poetry\u003c/title\u003e; \u003ctitle\u003eOn Doctoring\u003c/title\u003e; \u003ctitle\u003eThe Water of Light\u003c/title\u003e; \u003ctitle\u003eDecade: a Collection of Poems from the First Ten Years of the Wesleyan Poetry Program\u003c/title\u003e; \u003ctitle\u003eAmerican Poetry, 1965\n\u003c/title\u003e; \u003ctitle\u003eDog Music: Poetry About Dogs\n\u003c/title\u003e; \u003ctitle\u003eThe American Literary Anthology/1\u003c/title\u003e; \u003ctitle\u003eSome Haystacks Don't Even Have a Needle\u003c/title\u003e; \u003ctitle\u003eEncounters: an Anthology from the First Ten Years of Encounter Magazine\u003c/title\u003e; \u003ctitle\u003eGathered Waters\u003c/title\u003e; \u003ctitle\u003eWhere Is Vietnam: American Poets Respond\u003c/title\u003e.\u003c/p\u003e","\u003cp\u003eThis box contains books and journals mostly, but not always, featuring work by Dickey.\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003eChristmas at The New Yorker\u003c/title\u003e; \u003ctitle\u003eThe Poetry of the Negro, 1746-1970\u003c/title\u003e; \u003ctitle\u003eThe Norton Anthology of Modern Poetry, 1973\u003c/title\u003e; \u003ctitle\u003eRandall Jarrell, 1914-1965\u003c/title\u003e; \u003ctitle\u003eGeorgia Voices\u003c/title\u003e; \u003ctitle\u003eModern Poems: an Introduction to Poetry\u003c/title\u003e; \u003ctitle\u003eDivided Light: Father and Son Poems\u003c/title\u003e; \u003ctitle\u003eJames Dickey: the Selected Poems\u003c/title\u003e; \u003ctitle\u003eThe Appalachian Trail Reader\u003c/title\u003e; \u003ctitle\u003eAmerican Sports Poems\u003c/title\u003e; \u003ctitle\u003eThe James Dickey Reader\u003c/title\u003e; \u003ctitle\u003eBrother Songs: a Male Anthology of Poetry\u003c/title\u003e; \u003ctitle\u003eMore Than a Game\u003c/title\u003e [NFL]; \u003ctitle\u003eOther Things and the Aardvark\u003c/title\u003e; \u003ctitle\u003eAmerica in Poetry\u003c/title\u003e; \u003ctitle\u003eThe Best Parts Are Underlined: Great Rape Scences from Literature\u003c/title\u003e; \u003ctitle\u003eA Controversy of Poets\u003c/title\u003e; \u003ctitle\u003eContemporary American Poetry\u003c/title\u003e [H. Nemerov]; \u003ctitle\u003eOn William Stafford\u003c/title\u003e; \u003ctitle\u003eThe Twentieth Century Treasury of Sports\u003c/title\u003e; \u003ctitle\u003eGeorgia Voices\u003c/title\u003e; \u003ctitle\u003eBest Poems of 1966\u003c/title\u003e [Borestone Mountain Poetry Awards]; \u003ctitle\u003eYellow Silk II: International Erotic Stories and Poems\u003c/title\u003e; \u003ctitle\u003ePictures That Storm Inside My Head: Poems for the Inner You\u003c/title\u003e; \u003ctitle\u003eThe Poetry Anthology, 1912-1977.\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eThis box contains a variety of materials related to the 1972 motion picture \u003ctitle\u003eDeliverance\u003c/title\u003e. It holds lobby cards, action shots of the actors, a VHS of the movie, movie reviews, posters, and other miscellaneous items.\u003c/p\u003e\n","\u003cp\u003eIncludes the score of \u003ctitle\u003eDuelling Banjos\u003c/title\u003e, the main song of the movie.\u003c/p\u003e","\u003cp\u003eThis box contains large runs of both the \u003ctitle\u003eJames Dickey Newsletter\u003c/title\u003e and its successor, the \u003ctitle\u003eJames Dickey Review\u003c/title\u003e. It also includes VHS, DVD, and CD materials.\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003eJames Dickey Newsletter\u003c/title\u003e; \u003ctitle\u003eJames Dickey Review\u003c/title\u003e; \u003ctitle\u003eListening to America with Bill Moyers \u003c/title\u003e[VHS]; \u003ctitle\u003eCall of the Wild\u003c/title\u003e [VHS]; \u003ctitle\u003eLord Let Me Die But Not Die Out\u003c/title\u003e [VHS]; \u003ctitle\u003eJames Dickey and Robert Penn Warren: Two Poets, Two Friends\u003c/title\u003e [VHS]; \u003ctitle\u003eJames Dickey Tribute\u003c/title\u003e [VHS];\u003ctitle\u003e Guilty as Charged\u003c/title\u003e [VHS]; \u003ctitle\u003eWriter's Workshop\u003c/title\u003e [VHS]; \u003ctitle\u003eWhispers on the Wind\u003c/title\u003e [VHS]; \u003ctitle\u003eJames Dickey Obituary\u003c/title\u003e [VHS]; \u003ctitle\u003eTo the White Sea\u003c/title\u003e [audiotape]; \u003ctitle\u003eVerb Audio Literary Magazine\u003c/title\u003e [CD]; \u003ctitle\u003eBirds, Beasts, and Flowers \u003c/title\u003e[CD]; \u003ctitle\u003eApollo 11: As It Happened\u003c/title\u003e [CD].\u003c/p\u003e","\u003cp\u003eThis box contains mostly book reviews in many \u003ctitle\u003eNew York Times Book Reviews\u003c/title\u003e and \u003ctitle\u003eLife\u003c/title\u003e magazines, but also includes a few oversized books. Some materials are signed. NOTE: This box is oversized and is not shelved with the bulk of the collection.\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003eLife Magazine\u003c/title\u003e; \u003ctitle\u003eNew York Times Book Review\u003c/title\u003e; \u003ctitle\u003eThe Incredible Year '68\u003c/title\u003e [Life Magazine]; \u003ctitle\u003eA Festschrift for Lloyd J. Reynolds\u003c/title\u003e; \u003ctitle\u003eIntervisions: Poems and Photographs\u003c/title\u003e; \u003ctitle\u003eGod's Images: the Bible, a New Version\u003c/title\u003e.\u003c/p\u003e","\u003cp\u003eThis box contains mostly LP vinyl sound recordings, but also books, a film and a few posters. Some items are signed. NOTE: This box is oversized and is not shelved with the bulk of the collection.\u003c/p\u003e\n","\u003cp\u003eLP RECORDS: \u003ctitle\u003eThe Poems of James Dickey (1957-1967)\u003c/title\u003e; \u003ctitle\u003eGod's Images For the First Manned Moon Orbit, on \"Apollo Circling\"\u003c/title\u003e; \u003ctitle\u003eDuelling Banjos\u003c/title\u003e; \u003ctitle\u003eJames Dickey Reading His Poetry\u003c/title\u003e; \u003ctitle\u003eThe Inaugural Album\u003c/title\u003e [Jimmy Carter, 1977. Includes book]; \u003ctitle\u003eA Talk with James Dickey\u003c/title\u003e.\u003c/p\u003e\n","\u003cp\u003eBOOKS: \u003ctitle\u003eJericho: the South Beheld\u003c/title\u003e; \u003ctitle\u003eGeorgia Atlas and Gazetteer\u003c/title\u003e.\u003c/p\u003e\n","\u003cp\u003eFILM: \u003ctitle\u003eJames Dickey: \"Lord Let Me Die\"\u003c/title\u003e [Encyclopedia Britannica Film, 1970].\u003c/p\u003e","\u003cp\u003eThis box contains books and newspapers in which a portrait photograph of Dickey is featured.\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003e10,000 Eyes\u003c/title\u003e [magazine photographers]; \u003ctitle\u003eA Portrait of Southern Writers\u003c/title\u003e [Curt Richter]; \u003ctitle\u003eRollie McKenna: A Life in Photography\u003c/title\u003e; \u003ctitle\u003eSouthern Writers\u003c/title\u003e [David Spielman]; \u003ctitle\u003eThe Writer's Image\u003c/title\u003e [Jill Krementz]; \u003ctitle\u003eArtists at Large\u003c/title\u003e [Rollie McKenna].\u003c/p\u003e","\u003cp\u003eThis box contains issues of featured writers in the James Dickey Poetry Series. It also includes some writings by Dickey's children, and some miscellaneous items, such as a t-shirt related to the movie \u003ctitle\u003eDeliverance\u003c/title\u003e and items from Dickey's desk at the University of South Carolina.\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003e\n\u003ctitle\u003eJames Dickey Contemporary Poetry Series\u003c/title\u003e; Caverns of Fire\u003c/title\u003e; \u003ctitle\u003eJames Dickey: a Celebration\u003c/title\u003e; \u003ctitle\u003eDickey Conference\u003c/title\u003e at U of South Carolina; \u003ctitle\u003eNewsweek\u003c/title\u003e; \u003ctitle\u003eOxford American\u003c/title\u003e;  \u003ctitle\u003eJimmy Carter\u003c/title\u003e; \u003ctitle\u003eTo Write a Poem Like Dickey\u003c/title\u003e [Hank Malone]; Cahulawassee t-shirt [Deliverance]; Dickey's desk items at U of South Carolina.\u003c/p\u003e","\u003cp\u003eThis box contains the first copy of Briggs' \u003ctitle\u003eComplete Poems of James Dickey\u003c/title\u003e, as well as proofs and some promotional materials related to the book.\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003eComplete Poems of James Dickey\u003c/title\u003e; \u003ctitle\u003eThe Dailey Gamecock\u003c/title\u003e [USC student newspaper]; \u003ctitle\u003eFree Times\u003c/title\u003e [Columbia, S.C. newspaper]; proofs of Briggs' book; promotional materials for Briggs' book.\u003c/p\u003e","\u003cp\u003eThis category identifies framed fine press editions of  broadsides of some of Dickey's most loved poems, as well as other framed materials. All framed work hangs on racks in the Special Collections' vault.\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003eBronwen,the Traw and the Shape Shifter\u003c/title\u003e, 1986; Movie poster for \u003ctitle\u003eDeliverance\u003c/title\u003e; \u003ctitle\u003eBuck Dancer's Choice\u003c/title\u003e, 1979; \u003ctitle\u003eThe Eagle's Mile\u003c/title\u003e, 1981; \u003ctitle\u003eKnock,\u003c/title\u003e 1977; \u003ctitle\u003eSummons\u003c/title\u003e, 1988; \u003ctitle\u003eFor a Time and Place\u003c/title\u003e, 1983; \u003ctitle\u003eDeliverance\u003c/title\u003e still with small card signed by major actors; \u003ctitle\u003eIn the Child's Night\u003c/title\u003e, 1981; Photograph of James Dickey playing guitar; \u003ctitle\u003eHunger, Time and the Moon\u003c/title\u003e [from \u003ctitle\u003eStrength of Fields\u003c/title\u003e, 1977]; \u003ctitle\u003eThe Shark at the Window\u003c/title\u003e, 1977; \u003ctitle\u003eMexican Valley\u003c/title\u003e, 1978.\u003c/p\u003e","\u003cp\u003eThis box contains materials related to the death of James Dickey.\nFolder 0 is the Control Folder.\u003c/p\u003e\n","\u003cp\u003eNOTE: Folders 9-12 are not displaying in public interface.\nFOLDER 9: Carolinian\nFOLDER 10: Current Biography\nFOLDER 11: American Poet\nFOLDER 12: Oxford American\u003c/p\u003e\n","\u003clist numeration=\"upperroman\" type=\"ordered\"\u003e\u003chead\u003eFolder 0-12\u003c/head\u003e\n\u003citem\u003eObituaries, varied sources\u003c/item\u003e\u003citem\u003eObituaries, varied sources\u003c/item\u003e\u003citem\u003eObituaries, varied sources\u003c/item\u003e\u003citem\u003eMemorial Service\u003c/item\u003e\u003citem\u003ePhotographs of Dickey's office at USC\u003c/item\u003e\u003citem\u003eNewsweek\u003c/item\u003e\u003citem\u003eTime\u003c/item\u003e\u003citem\u003ePeople\u003c/item\u003e\u003c/list\u003e","\u003cp\u003eThis box contains issues of the USC student newspapers, \u003ctitle\u003eThe Gamecock\u003c/title\u003e and \u003ctitle\u003eGarnet and Black\u003c/title\u003e, as well as issues of the Columbia, S.C. newspaper, \u003ctitle\u003eThe State\u003c/title\u003e, and issues of \u003ctitle\u003eNew York Times Book Review\u003c/title\u003e and \u003ctitle\u003eThe Point\u003c/title\u003e.\u003c/p\u003e","\u003cp\u003eThis oversized box contains the life mask of James Dickey. It also includes a photograph of Ward Briggs used for display purposes. NOTE: this oversized box is not shelved with the collection.\n---\nIn the mid-70s, North Carolina sculptor William Dunlap made this aluminum life mask of James Dickey. Dickey appeared, wearing a replica of the mask on his face, on the February 1976 cover of \u003ctitle\u003eEsquire\u003c/title\u003e magazine. The first chapter of his second novel, \u003ctitle\u003eAlnilam\u003c/title\u003e, was excerpted in the same issue. Dickey claimed that chemicals from the cast used to make the mask had seeped into his eyes and rendered him temporarily blind. His \"blindness\" was later heavily disputed, but Dickey said the experience inspired \u003ctitle\u003eAlnilam\u003c/title\u003e, which is about a blind man searching for his son.\u003c/p\u003e","\u003cp\u003eThis box contains additional materials related to James Dickey, donated by Ward Briggs in March 2017. There is no specific focus. Check the subject headings to learn about the box's content.\u003c/p\u003e\n","\u003cp\u003eIncludes: \u003ctitle\u003eBelgrade Literary Magazine\u003c/title\u003e; \u003ctitle\u003eLa Violencia Esta en Nostros\u003c/title\u003e; \u003ctitle\u003eVergilius\u003c/title\u003e; \u003ctitle\u003ePoems from the Hills, 1970\u003c/title\u003e; \u003ctitle\u003eWashington and Lee Alumnus\u003c/title\u003e, June 1970; \u003ctitle\u003eFor Aaron Copland, 14 Nov 1978\u003c/title\u003e; \u003ctitle\u003eLe Montagne\u003c/title\u003e, 30 Nov 1971; \u003ctitle\u003eFirsts: the Book Collector's Magazine\u003c/title\u003e; \u003ctitle\u003eFalling\u003c/title\u003e [the Sandlapper Singers]; \u003ctitle\u003eBarat Review\u003c/title\u003e; \u003ctitle\u003eDeliverance\u003c/title\u003e [in clamshell box edition]; miscellaneous materials.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["This collection consists of 1st editions of a selection of James Dickey's publications (some signed and/or inscribed); Dickey's contributions to books and pamphlets; journal articles by Dickey; interviews; criticism; anthologies; multimedia; photographs; broadsides (some framed, signed); miscellaneous items on his book and the film  Deliverance ; and publications related to Ward Briggs' book  The Complete Poems of James Dickey  (U. South Carolina, 2013).","All books in this box are authored by Dickey. Some (or all?) are first editions.","Anilham ;  To the White Sea ;  Night Hurdling ;  Crux: the Letters of James Dickey.","Includes inscriptions, dedications, signatures by James Dickey.","All books authored by James Dickey. Some are first editions.\nEzra Pound Lecture (by Dickey),  The Water-Bug's Mittens ,  The Starry Place Between the Antlers ,  A Private Brinkmanship ,  The Enemy from Eden ,  Some Sort of Grandeur ,  Head-Deep in Strange Sounds ,  Sorties ,  The Suspect in Poetry ,  Babel to Byzantium ,  Crux ,  Self-Interviews ,  Striking In , Deliverance","Includes inscriptions, dedications, and signatures by James Dickey.","Please see Subject entries for scope of content.","Wayfairer ,  In Pursuit of the Grey Soul ,  Self-Interviews ,  Firing Line ,  Spinning the Crystal Ball ,  Night Hurdling ,  Classes on Modern Poets and the Art of Poetry ,  The Voiced Connections of James Dickey ,  Deliverance ,  To the White Sea","Includes inscriptions, dedications, signatures.","All books are collections of poems by Dickey.\n.\n The Whole Motion: Collected Poems, 1945-1992 ,  Poems, 1957-1967 ,  The Zodiac ,  The Whole Motion: Collected Poems, 1948-1992 ,  The Strength of Fields","Includes inscription, dedications, signatures.","Please see the Subject entries for scope of contents.","Exchanges ,  James Dickey at 70 ,  Drowning with Others ,  The Early Motion ,  Tucky the Hunter ,  Veteran Birth ,  Buckdancer's Choice ,  Metaphor as Pure Adventure ,  Poets of Today VII ,  The Eye-Beaters ,  Blood Victory ,  Madness, Buckhead and Mercy ,  Helmets ,  Falling, May Day Sermon, and Other Poems ,  The Central Motion: Poems 1968-1979 ,  The Eagle's Mile ,  Varmland ,  The Zodiac ,  James Dickey: Poems 1957-1967 ,  Bronwen, the Trawl, and the Shape Shifter ,  The Owl King ,  Two Poems of the Air ,  Looking for the Buckhead Boys  (broadside),  False Youth ,  Four Seasons ,  Apollo Circling ,  The Strength of Fields","This box contains anthologies in which Dickey's work is published, as well as several biographical sources on Dickey. Includes inscriptions, dedications, signatures.","The Great American Writers' Cookbook ,  Ah Men! ,  Translations by American Poets ,  Of Poetry and Poets ,  New Aquist of True Experience ,  Readings for Writing ,  Tell it to the King ,  Travels ,  The Writer as Celebrity ,  Land of Superior Mirages ,  Richard Eberhart: a Celebration ,  On Being a Writer ,  Through the Wheat ,  McCullough's Brief Lives ,  Osiris at the Roller Derby ,  South ,  The Call of the Wild, White Fang and Other Stories ,  From the Green Horseshoe ,  Interviews with Contemporary Writers ,  Short Story , no. 2, Spring 2007,  The Form 1970-1979 ,  Rotten Rejections ,  Singular Voices ,  F. Scott Fitzgerald: Poems 1911-1940 ,  Dictionary of Literary Biography , 1982, 1984, 1986.","This box contains anthologies in which Dickey's work is published. Includes inscriptions, dedications, signatures.","The Call of the Wild ,  The Craft of Poetry ,  John Keats's Porridge ,  Dear Scott ,  Selected Poems of Edwin Arlington Robinson ,  45 Contemporary Poems: the Creative Process ,  Deliverance ,  The Reading Commitment ,  The Wreck of the Deutschland ,  American Christmas ,  The Biblical Etchings of Marvin Hayes ,  Frost: Centennial Essays ,  Pages: the World of Books, Writers, and Writing ,  A New Spirit, a New Commitment, a New America  (Jimmy Carter inauguration),  Close-Ups: the Movie Star Book ,  The Adventures of Tom Sawyer and the Adventures of Huckleberry Finn ,  Contemporary American Authors , vol. 10,  Preferences: 51 American Poets Choose Poems from their Own Work and from the Past ,  The Southern Mystique ,  Conversations with Writers ,  Fountain of Youth ,  Garnet and Black: Carolina's Magazine Network , May 1974.","This box contains books in which Dickey has made a contribution, such as an introduction, a translation, etc.","The New Yorker Book of Poems ,  Soundings, the Writer's Voice ,  The University and the New Intellectual Environment ,  New World Writing 21 ,  James Dickey: a Checklist ,  This is my Best in the Third Quarter of the Century ,  Stolen Apples  (Yevtushenko),  James Dickey: the Expansive Imagination ,  Vandal ,  Best Poems of 1970: Borestone Mountain Poetry Awards ,  Poets on Poetry  (Nemerov),  Selected Poems by Edwin Arlington Robinson ,  A Symposium on Contemporary Poetry ,  All is Brillig (or Ought to Be) ,  Stephen Crane in Transition ,  Meaning: a Common Ground of Linguistics and Literature ,  The Young American Poets ,  The Great Ideas Today, 1968 ,  The Distinctive Voice ,  Best Poems of 1965 ,  Contemporary Poets of the English Language ,  Super Bowl XXVIII at Georgia Dome ,  Creative Responses for Composition","Please see Subject entries for scope and content of box.","Hands of the Saddlemaker ,  Best Poems of 1962 (Borestone Mountain Poetry Awards,  Lombardi  [Vince],  The Writer and his Tradition  [U. Tennessee],  White Plum Thickets ,  A Southern Renascence Man: Views of Robert Penn Warren ,  All the Rights and Privileges Appertaining Thereto ,  James Dickey: a Bibliography ,  Contemporary Sources: Readings from \"Writer's Workshop\" ,  The New York Times Book of Verse ,  Writers at Work  [Paris Review interviews],  Simposio Pablo Neruda: Actas ,  The Red Badge of Courage ,  Craft So Hard to Learn\n ,  Poetry's Catbird Seat ,  South Carolina Business  1983, vol.3,  Toward the Year 2000  [Bell South Corp.],  Conversations with South Carolina Poets ,  Lyrikvannen , no.4, 1980,  Master Poems of the English Language ,  The Seamless Web ,  The Complete Short Stories of Thomas Wolfe ,  Oystering: a Way of Life ,  Ghosts  [Jane Tuckerman],  Dictionary of Literary Biography , vol. 5, 1980,  The Imagination as Glory: the Poetry of James Dickey ,  Three American Poets  [Life Educational Reprint, 1957]","Includes inscriptions, decications, signatures.","Please see Subject entries for scope and content of this box.","Living in the Resurrection ,  Cities of Memory ,  Bears Dancing in the Northern Air ,  Stone Crop ,  Thinking the World Visible ,  My Shining Archipelago ,  James Dickey: Splintered Sunlight ,  James Dickey: a Descriptive Bibliography ,  Dictionary of Literary Biography , vol. 7, 1978,  Washington University Libraries Guide to Modern Literary Manuscripts ,  Images of the Southern Writer  [Mark Morrow, photographer],  Looking for Magical Country ,  Writers  [Nancy Crampton, photographer],  The Arts Journal , Nov. 1981","Includes inscriptions, dedications, signatures.","This box contains literary journals in which Dickey's poems have been published. Includes long runs of  The Kenyon Review  and  The Hudson Review .","For all other titles, please consult the paper guide to the collection, located in Special Collections, or the box itself.","This box contains journals in which Dickey's poems have been published. It includes long runs of  The Sewanee Review ,  Partisan Review , and  Poetry . ","For other journal titles in this box, please consult the paper guide to the collection, located in Special Collections, or the box itself.","This box contains literary journals in Dickey's poems have been published. Includes long runs of  The Paris Review ,  Quarterly Review of Literature ,  Shenandoah ,  The Southern Review , The Virginia Quarterly Review , and the  Yale Review .","This box contains appearances of Dickey's work in  The Atlantic ,  Harper's , and  The New Yorker . Includes book reviews of Dickey's work as well.","Note that Box C6 also contains issues of  The New Yorker .","This box contains magazines in which Dickey's works have been published, or book reviews about his work appeared:  Esquire ,  GQ ,  Time ,  Southern Living ,  Mademoiselle ,  People ,  Saturday Review.","Entries by and about James Dickey in  Playboy Magazine  and  The New Yorker . Note that box C4 also contains  The New Yorker .","This box contains interviews with Dickey published in a variety of magazines, journals, a few newspapers, and books. The book titles are:\n Parting the Curtains: Interviews with Southern Writers ,  The Writer's Mind: Interviews with American Authors , and  Speak So I Shall Know Thee: Interviews with Southern Writers .","This box contains criticism and reviews of Dickey's work. Some items are inscribed and signed.","Fatal Flowers: On Sin, Sex, and Suicide in the Deep South ,  The Way We Read James Dickey ,  James Dickey and the Politics of Canon ,  James Dickey and the Gentle Ecstacy of Earth ,  Struggling for Wings: the Art of James Dickey ,  Speaking with Strangers ,  The Kick: a Memoir ,  Adventures of a Suburban Boy  ,  American Poetry: Wildness and Domesticity ,  Privileged Moments ,  Confessions of a Female Chauvenist\n ,  James Dickey: the Critic as Poet ,  The Leonard L Milberg Collection of American Poetry ,  Cathedrals of Kudzu ,  James Dickey  [Calhoun and Hill, eds.],  Separate Country ,  Understanding James Dickey .","This box contains mostly books about Dickey's life and work, including some bibliographies. Several books are signed.","Summer of Deliverance ,  The Hi-Ways , [Dickey's 1940 High School Yearbook],  Harvard Guide to Contemporary American Writing ,  The American Literary Anthology ,  James Dickey: the Poet as Pitchman ,  The Sixties  [magazine, Robert Bly, ed.], J ames Dickey: the Life and Lies of a Poet ,  James Dickey: a Bibliography, 1947-1974 ,  The Achievement of James Dickey ,  Do I Owe You Something? ,  Truman Capote  [G. Plimpton],  Contemporary Authors , vol. 2, 1986,  A Century of Arts and Letters ,  Buckhead: a Place for All Time ,  New York Days ,  Bulletin of Bibliography , 1981.","This box contains unpublished typescripts of screenplays and other works by Dickey, as well as some biographical and critical works about Dickey.","SCREENPLAYS:\n Deliverance ;  Gene Bullard ;  The Sentence  ;  The Claim ;  The Call of the Wild ;  Flying Blind ;  Anilham","POETRY:\n Two Poems on the Survival of the Male Body","SHORT STORY:\n The Eye of the Fire","FILM TREATMENT:\n Away from the Sun","BIOGRAPHY and CRITICISM:\n Dictionary of Literary Biography Documentary Series: James Dickey, an Illustrated Chronicle ;  Dueling Banjos: The Deliverance of Drew ;  Critical Essays on James Dickey  [Kirschten]","Includes some signed pieces.","Entrance to the Honeycomb ;  Death and the Day's Light ;  Strong Horses Circling ;  The Casting ;  Crux ;  Philosophy Notebooks ;  Tom Dickey Juvenilia ;  Celebration  [Film by W. Hale]; and various journals.","This box contains books and journals that feature Dickey's work.","Best Poems of 1961  [Borestone Mountain Poetry Awards];  Motion: American Sports Poems ;  How to Use the Power of the Printed Word ;  A Game of Passion  [NFL];  Splash! ;  The James Dickey Reader ;  Best Poems of 1964  [Borestone Mountain Poetry Awards];  The New Consciousness ;  Men in Sports ;  Beach Glass ;  100 Postwar Poems ;  Visions of America by the Poets of Our Time ;  Sounds and Silences: Poetry for Now ;  The World on Wheels ;  Southern Christmas: Literary Classics of the Holidays ;  The Wesleyan Tradition: Four Decades of American Poetry ;  Men Without Masks ;  Things Appalachian ;  A Southern Album  [Glusker, ed.];  Southern Writing in the Sixties/Poetry ;  On Doctoring ;  The Water of Light ;  Decade: a Collection of Poems from the First Ten Years of the Wesleyan Poetry Program ;  American Poetry, 1965\n ;  Dog Music: Poetry About Dogs\n ;  The American Literary Anthology/1 ;  Some Haystacks Don't Even Have a Needle ;  Encounters: an Anthology from the First Ten Years of Encounter Magazine ;  Gathered Waters ;  Where Is Vietnam: American Poets Respond .","This box contains books and journals mostly, but not always, featuring work by Dickey.","Christmas at The New Yorker ;  The Poetry of the Negro, 1746-1970 ;  The Norton Anthology of Modern Poetry, 1973 ;  Randall Jarrell, 1914-1965 ;  Georgia Voices ;  Modern Poems: an Introduction to Poetry ;  Divided Light: Father and Son Poems ;  James Dickey: the Selected Poems ;  The Appalachian Trail Reader ;  American Sports Poems ;  The James Dickey Reader ;  Brother Songs: a Male Anthology of Poetry ;  More Than a Game  [NFL];  Other Things and the Aardvark ;  America in Poetry ;  The Best Parts Are Underlined: Great Rape Scences from Literature ;  A Controversy of Poets ;  Contemporary American Poetry  [H. Nemerov];  On William Stafford ;  The Twentieth Century Treasury of Sports ;  Georgia Voices ;  Best Poems of 1966  [Borestone Mountain Poetry Awards];  Yellow Silk II: International Erotic Stories and Poems ;  Pictures That Storm Inside My Head: Poems for the Inner You ;  The Poetry Anthology, 1912-1977.","This box contains a variety of materials related to the 1972 motion picture  Deliverance . It holds lobby cards, action shots of the actors, a VHS of the movie, movie reviews, posters, and other miscellaneous items.","Includes the score of  Duelling Banjos , the main song of the movie.","This box contains large runs of both the  James Dickey Newsletter  and its successor, the  James Dickey Review . It also includes VHS, DVD, and CD materials.","James Dickey Newsletter ;  James Dickey Review ;  Listening to America with Bill Moyers  [VHS];  Call of the Wild  [VHS];  Lord Let Me Die But Not Die Out  [VHS];  James Dickey and Robert Penn Warren: Two Poets, Two Friends  [VHS];  James Dickey Tribute  [VHS];  Guilty as Charged  [VHS];  Writer's Workshop  [VHS];  Whispers on the Wind  [VHS];  James Dickey Obituary  [VHS];  To the White Sea  [audiotape];  Verb Audio Literary Magazine  [CD];  Birds, Beasts, and Flowers  [CD];  Apollo 11: As It Happened  [CD].","This box contains mostly book reviews in many  New York Times Book Reviews  and  Life  magazines, but also includes a few oversized books. Some materials are signed. NOTE: This box is oversized and is not shelved with the bulk of the collection.","Life Magazine ;  New York Times Book Review ;  The Incredible Year '68  [Life Magazine];  A Festschrift for Lloyd J. Reynolds ;  Intervisions: Poems and Photographs ;  God's Images: the Bible, a New Version .","This box contains mostly LP vinyl sound recordings, but also books, a film and a few posters. Some items are signed. NOTE: This box is oversized and is not shelved with the bulk of the collection.","LP RECORDS:  The Poems of James Dickey (1957-1967) ;  God's Images For the First Manned Moon Orbit, on \"Apollo Circling\" ;  Duelling Banjos ;  James Dickey Reading His Poetry ;  The Inaugural Album  [Jimmy Carter, 1977. Includes book];  A Talk with James Dickey .","BOOKS:  Jericho: the South Beheld ;  Georgia Atlas and Gazetteer .","FILM:  James Dickey: \"Lord Let Me Die\"  [Encyclopedia Britannica Film, 1970].","This box contains books and newspapers in which a portrait photograph of Dickey is featured.","10,000 Eyes  [magazine photographers];  A Portrait of Southern Writers  [Curt Richter];  Rollie McKenna: A Life in Photography ;  Southern Writers  [David Spielman];  The Writer's Image  [Jill Krementz];  Artists at Large  [Rollie McKenna].","This box contains issues of featured writers in the James Dickey Poetry Series. It also includes some writings by Dickey's children, and some miscellaneous items, such as a t-shirt related to the movie  Deliverance  and items from Dickey's desk at the University of South Carolina.","James Dickey Contemporary Poetry Series ; Caverns of Fire ;  James Dickey: a Celebration ;  Dickey Conference  at U of South Carolina;  Newsweek ;  Oxford American ;   Jimmy Carter ;  To Write a Poem Like Dickey  [Hank Malone]; Cahulawassee t-shirt [Deliverance]; Dickey's desk items at U of South Carolina.","This box contains the first copy of Briggs'  Complete Poems of James Dickey , as well as proofs and some promotional materials related to the book.","Complete Poems of James Dickey ;  The Dailey Gamecock  [USC student newspaper];  Free Times  [Columbia, S.C. newspaper]; proofs of Briggs' book; promotional materials for Briggs' book.","This category identifies framed fine press editions of  broadsides of some of Dickey's most loved poems, as well as other framed materials. All framed work hangs on racks in the Special Collections' vault.","Bronwen,the Traw and the Shape Shifter , 1986; Movie poster for  Deliverance ;  Buck Dancer's Choice , 1979;  The Eagle's Mile , 1981;  Knock,  1977;  Summons , 1988;  For a Time and Place , 1983;  Deliverance  still with small card signed by major actors;  In the Child's Night , 1981; Photograph of James Dickey playing guitar;  Hunger, Time and the Moon  [from  Strength of Fields , 1977];  The Shark at the Window , 1977;  Mexican Valley , 1978.","This box contains materials related to the death of James Dickey.\nFolder 0 is the Control Folder.","NOTE: Folders 9-12 are not displaying in public interface.\nFOLDER 9: Carolinian\nFOLDER 10: Current Biography\nFOLDER 11: American Poet\nFOLDER 12: Oxford American","Folder 0-12 Obituaries, varied sources Obituaries, varied sources Obituaries, varied sources Memorial Service Photographs of Dickey's office at USC Newsweek Time People","This box contains issues of the USC student newspapers,  The Gamecock  and  Garnet and Black , as well as issues of the Columbia, S.C. newspaper,  The State , and issues of  New York Times Book Review  and  The Point .","This oversized box contains the life mask of James Dickey. It also includes a photograph of Ward Briggs used for display purposes. NOTE: this oversized box is not shelved with the collection.\n---\nIn the mid-70s, North Carolina sculptor William Dunlap made this aluminum life mask of James Dickey. Dickey appeared, wearing a replica of the mask on his face, on the February 1976 cover of  Esquire  magazine. The first chapter of his second novel,  Alnilam , was excerpted in the same issue. Dickey claimed that chemicals from the cast used to make the mask had seeped into his eyes and rendered him temporarily blind. His \"blindness\" was later heavily disputed, but Dickey said the experience inspired  Alnilam , which is about a blind man searching for his son.","This box contains additional materials related to James Dickey, donated by Ward Briggs in March 2017. There is no specific focus. Check the subject headings to learn about the box's content.","Includes:  Belgrade Literary Magazine ;  La Violencia Esta en Nostros ;  Vergilius ;  Poems from the Hills, 1970 ;  Washington and Lee Alumnus , June 1970;  For Aaron Copland, 14 Nov 1978 ;  Le Montagne , 30 Nov 1971;  Firsts: the Book Collector's Magazine ;  Falling  [the Sandlapper Singers];  Barat Review ;  Deliverance  [in clamshell box edition]; miscellaneous materials."],"userestrict_html_tesm":["\u003cp\u003eThe materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections."],"names_ssim":["Washington and Lee University, University Library Special Collections and Archives","Dickey","Briggs, Ward Wright, Jr., Dr.","Dickey, James (James Lafayette) (19230202-19970119)","Dickey, James"],"corpname_ssim":["Washington and Lee University, University Library Special Collections and Archives"],"famname_ssim":["Dickey"],"names_coll_ssim":["Dickey, James (James Lafayette) (19230202-19970119)"],"persname_ssim":["Briggs, Ward Wright, Jr., Dr.","Dickey, James (James Lafayette) (19230202-19970119)","Dickey, James"],"language_ssim":["These materials are in English, except for translations of Dickey's novels."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":37,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-20T21:42:21.790Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vilxw_repositories_5_resources_594","ead_ssi":"vilxw_repositories_5_resources_594","_root_":"vilxw_repositories_5_resources_594","_nest_parent_":"vilxw_repositories_5_resources_594","ead_source_url_ssi":"data/oai/WLU/repositories_5_resources_594.xml","title_ssm":["The Ward Briggs Collection of James Dickey"],"title_tesim":["The Ward Briggs Collection of James Dickey"],"unitdate_ssm":["1940-2013"],"unitdate_inclusive_ssm":["1940-2013"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["WLU.Coll.0511","/repositories/5/resources/594"],"text":["WLU.Coll.0511","/repositories/5/resources/594","The Ward Briggs Collection of James Dickey","American literature","Broadsides","Criticism","Poetry","Interviews","Photographs","This collection is open for research use.","This collection consists of 1st editions of a selection of James Dickey's publications (some signed and/or inscribed); Dickey's contributions to books and pamphlets; journal articles by Dickey; interviews; criticism; anthologies; multimedia; photographs; broadsides (some framed, signed); miscellaneous items on his book and the film  Deliverance ; and publications related to Ward Briggs' book  The Complete Poems of James Dickey  (U. South Carolina, 2013).","All books in this box are authored by Dickey. Some (or all?) are first editions.","Anilham ;  To the White Sea ;  Night Hurdling ;  Crux: the Letters of James Dickey.","Includes inscriptions, dedications, signatures by James Dickey.","All books authored by James Dickey. Some are first editions.\nEzra Pound Lecture (by Dickey),  The Water-Bug's Mittens ,  The Starry Place Between the Antlers ,  A Private Brinkmanship ,  The Enemy from Eden ,  Some Sort of Grandeur ,  Head-Deep in Strange Sounds ,  Sorties ,  The Suspect in Poetry ,  Babel to Byzantium ,  Crux ,  Self-Interviews ,  Striking In , Deliverance","Includes inscriptions, dedications, and signatures by James Dickey.","Please see Subject entries for scope of content.","Wayfairer ,  In Pursuit of the Grey Soul ,  Self-Interviews ,  Firing Line ,  Spinning the Crystal Ball ,  Night Hurdling ,  Classes on Modern Poets and the Art of Poetry ,  The Voiced Connections of James Dickey ,  Deliverance ,  To the White Sea","Includes inscriptions, dedications, signatures.","All books are collections of poems by Dickey.\n.\n The Whole Motion: Collected Poems, 1945-1992 ,  Poems, 1957-1967 ,  The Zodiac ,  The Whole Motion: Collected Poems, 1948-1992 ,  The Strength of Fields","Includes inscription, dedications, signatures.","Please see the Subject entries for scope of contents.","Exchanges ,  James Dickey at 70 ,  Drowning with Others ,  The Early Motion ,  Tucky the Hunter ,  Veteran Birth ,  Buckdancer's Choice ,  Metaphor as Pure Adventure ,  Poets of Today VII ,  The Eye-Beaters ,  Blood Victory ,  Madness, Buckhead and Mercy ,  Helmets ,  Falling, May Day Sermon, and Other Poems ,  The Central Motion: Poems 1968-1979 ,  The Eagle's Mile ,  Varmland ,  The Zodiac ,  James Dickey: Poems 1957-1967 ,  Bronwen, the Trawl, and the Shape Shifter ,  The Owl King ,  Two Poems of the Air ,  Looking for the Buckhead Boys  (broadside),  False Youth ,  Four Seasons ,  Apollo Circling ,  The Strength of Fields","This box contains anthologies in which Dickey's work is published, as well as several biographical sources on Dickey. Includes inscriptions, dedications, signatures.","The Great American Writers' Cookbook ,  Ah Men! ,  Translations by American Poets ,  Of Poetry and Poets ,  New Aquist of True Experience ,  Readings for Writing ,  Tell it to the King ,  Travels ,  The Writer as Celebrity ,  Land of Superior Mirages ,  Richard Eberhart: a Celebration ,  On Being a Writer ,  Through the Wheat ,  McCullough's Brief Lives ,  Osiris at the Roller Derby ,  South ,  The Call of the Wild, White Fang and Other Stories ,  From the Green Horseshoe ,  Interviews with Contemporary Writers ,  Short Story , no. 2, Spring 2007,  The Form 1970-1979 ,  Rotten Rejections ,  Singular Voices ,  F. Scott Fitzgerald: Poems 1911-1940 ,  Dictionary of Literary Biography , 1982, 1984, 1986.","This box contains anthologies in which Dickey's work is published. Includes inscriptions, dedications, signatures.","The Call of the Wild ,  The Craft of Poetry ,  John Keats's Porridge ,  Dear Scott ,  Selected Poems of Edwin Arlington Robinson ,  45 Contemporary Poems: the Creative Process ,  Deliverance ,  The Reading Commitment ,  The Wreck of the Deutschland ,  American Christmas ,  The Biblical Etchings of Marvin Hayes ,  Frost: Centennial Essays ,  Pages: the World of Books, Writers, and Writing ,  A New Spirit, a New Commitment, a New America  (Jimmy Carter inauguration),  Close-Ups: the Movie Star Book ,  The Adventures of Tom Sawyer and the Adventures of Huckleberry Finn ,  Contemporary American Authors , vol. 10,  Preferences: 51 American Poets Choose Poems from their Own Work and from the Past ,  The Southern Mystique ,  Conversations with Writers ,  Fountain of Youth ,  Garnet and Black: Carolina's Magazine Network , May 1974.","This box contains books in which Dickey has made a contribution, such as an introduction, a translation, etc.","The New Yorker Book of Poems ,  Soundings, the Writer's Voice ,  The University and the New Intellectual Environment ,  New World Writing 21 ,  James Dickey: a Checklist ,  This is my Best in the Third Quarter of the Century ,  Stolen Apples  (Yevtushenko),  James Dickey: the Expansive Imagination ,  Vandal ,  Best Poems of 1970: Borestone Mountain Poetry Awards ,  Poets on Poetry  (Nemerov),  Selected Poems by Edwin Arlington Robinson ,  A Symposium on Contemporary Poetry ,  All is Brillig (or Ought to Be) ,  Stephen Crane in Transition ,  Meaning: a Common Ground of Linguistics and Literature ,  The Young American Poets ,  The Great Ideas Today, 1968 ,  The Distinctive Voice ,  Best Poems of 1965 ,  Contemporary Poets of the English Language ,  Super Bowl XXVIII at Georgia Dome ,  Creative Responses for Composition","Please see Subject entries for scope and content of box.","Hands of the Saddlemaker ,  Best Poems of 1962 (Borestone Mountain Poetry Awards,  Lombardi  [Vince],  The Writer and his Tradition  [U. Tennessee],  White Plum Thickets ,  A Southern Renascence Man: Views of Robert Penn Warren ,  All the Rights and Privileges Appertaining Thereto ,  James Dickey: a Bibliography ,  Contemporary Sources: Readings from \"Writer's Workshop\" ,  The New York Times Book of Verse ,  Writers at Work  [Paris Review interviews],  Simposio Pablo Neruda: Actas ,  The Red Badge of Courage ,  Craft So Hard to Learn\n ,  Poetry's Catbird Seat ,  South Carolina Business  1983, vol.3,  Toward the Year 2000  [Bell South Corp.],  Conversations with South Carolina Poets ,  Lyrikvannen , no.4, 1980,  Master Poems of the English Language ,  The Seamless Web ,  The Complete Short Stories of Thomas Wolfe ,  Oystering: a Way of Life ,  Ghosts  [Jane Tuckerman],  Dictionary of Literary Biography , vol. 5, 1980,  The Imagination as Glory: the Poetry of James Dickey ,  Three American Poets  [Life Educational Reprint, 1957]","Includes inscriptions, decications, signatures.","Please see Subject entries for scope and content of this box.","Living in the Resurrection ,  Cities of Memory ,  Bears Dancing in the Northern Air ,  Stone Crop ,  Thinking the World Visible ,  My Shining Archipelago ,  James Dickey: Splintered Sunlight ,  James Dickey: a Descriptive Bibliography ,  Dictionary of Literary Biography , vol. 7, 1978,  Washington University Libraries Guide to Modern Literary Manuscripts ,  Images of the Southern Writer  [Mark Morrow, photographer],  Looking for Magical Country ,  Writers  [Nancy Crampton, photographer],  The Arts Journal , Nov. 1981","Includes inscriptions, dedications, signatures.","This box contains literary journals in which Dickey's poems have been published. Includes long runs of  The Kenyon Review  and  The Hudson Review .","For all other titles, please consult the paper guide to the collection, located in Special Collections, or the box itself.","This box contains journals in which Dickey's poems have been published. It includes long runs of  The Sewanee Review ,  Partisan Review , and  Poetry . ","For other journal titles in this box, please consult the paper guide to the collection, located in Special Collections, or the box itself.","This box contains literary journals in Dickey's poems have been published. Includes long runs of  The Paris Review ,  Quarterly Review of Literature ,  Shenandoah ,  The Southern Review , The Virginia Quarterly Review , and the  Yale Review .","This box contains appearances of Dickey's work in  The Atlantic ,  Harper's , and  The New Yorker . Includes book reviews of Dickey's work as well.","Note that Box C6 also contains issues of  The New Yorker .","This box contains magazines in which Dickey's works have been published, or book reviews about his work appeared:  Esquire ,  GQ ,  Time ,  Southern Living ,  Mademoiselle ,  People ,  Saturday Review.","Entries by and about James Dickey in  Playboy Magazine  and  The New Yorker . Note that box C4 also contains  The New Yorker .","This box contains interviews with Dickey published in a variety of magazines, journals, a few newspapers, and books. The book titles are:\n Parting the Curtains: Interviews with Southern Writers ,  The Writer's Mind: Interviews with American Authors , and  Speak So I Shall Know Thee: Interviews with Southern Writers .","This box contains criticism and reviews of Dickey's work. Some items are inscribed and signed.","Fatal Flowers: On Sin, Sex, and Suicide in the Deep South ,  The Way We Read James Dickey ,  James Dickey and the Politics of Canon ,  James Dickey and the Gentle Ecstacy of Earth ,  Struggling for Wings: the Art of James Dickey ,  Speaking with Strangers ,  The Kick: a Memoir ,  Adventures of a Suburban Boy  ,  American Poetry: Wildness and Domesticity ,  Privileged Moments ,  Confessions of a Female Chauvenist\n ,  James Dickey: the Critic as Poet ,  The Leonard L Milberg Collection of American Poetry ,  Cathedrals of Kudzu ,  James Dickey  [Calhoun and Hill, eds.],  Separate Country ,  Understanding James Dickey .","This box contains mostly books about Dickey's life and work, including some bibliographies. Several books are signed.","Summer of Deliverance ,  The Hi-Ways , [Dickey's 1940 High School Yearbook],  Harvard Guide to Contemporary American Writing ,  The American Literary Anthology ,  James Dickey: the Poet as Pitchman ,  The Sixties  [magazine, Robert Bly, ed.], J ames Dickey: the Life and Lies of a Poet ,  James Dickey: a Bibliography, 1947-1974 ,  The Achievement of James Dickey ,  Do I Owe You Something? ,  Truman Capote  [G. Plimpton],  Contemporary Authors , vol. 2, 1986,  A Century of Arts and Letters ,  Buckhead: a Place for All Time ,  New York Days ,  Bulletin of Bibliography , 1981.","This box contains unpublished typescripts of screenplays and other works by Dickey, as well as some biographical and critical works about Dickey.","SCREENPLAYS:\n Deliverance ;  Gene Bullard ;  The Sentence  ;  The Claim ;  The Call of the Wild ;  Flying Blind ;  Anilham","POETRY:\n Two Poems on the Survival of the Male Body","SHORT STORY:\n The Eye of the Fire","FILM TREATMENT:\n Away from the Sun","BIOGRAPHY and CRITICISM:\n Dictionary of Literary Biography Documentary Series: James Dickey, an Illustrated Chronicle ;  Dueling Banjos: The Deliverance of Drew ;  Critical Essays on James Dickey  [Kirschten]","Includes some signed pieces.","Entrance to the Honeycomb ;  Death and the Day's Light ;  Strong Horses Circling ;  The Casting ;  Crux ;  Philosophy Notebooks ;  Tom Dickey Juvenilia ;  Celebration  [Film by W. Hale]; and various journals.","This box contains books and journals that feature Dickey's work.","Best Poems of 1961  [Borestone Mountain Poetry Awards];  Motion: American Sports Poems ;  How to Use the Power of the Printed Word ;  A Game of Passion  [NFL];  Splash! ;  The James Dickey Reader ;  Best Poems of 1964  [Borestone Mountain Poetry Awards];  The New Consciousness ;  Men in Sports ;  Beach Glass ;  100 Postwar Poems ;  Visions of America by the Poets of Our Time ;  Sounds and Silences: Poetry for Now ;  The World on Wheels ;  Southern Christmas: Literary Classics of the Holidays ;  The Wesleyan Tradition: Four Decades of American Poetry ;  Men Without Masks ;  Things Appalachian ;  A Southern Album  [Glusker, ed.];  Southern Writing in the Sixties/Poetry ;  On Doctoring ;  The Water of Light ;  Decade: a Collection of Poems from the First Ten Years of the Wesleyan Poetry Program ;  American Poetry, 1965\n ;  Dog Music: Poetry About Dogs\n ;  The American Literary Anthology/1 ;  Some Haystacks Don't Even Have a Needle ;  Encounters: an Anthology from the First Ten Years of Encounter Magazine ;  Gathered Waters ;  Where Is Vietnam: American Poets Respond .","This box contains books and journals mostly, but not always, featuring work by Dickey.","Christmas at The New Yorker ;  The Poetry of the Negro, 1746-1970 ;  The Norton Anthology of Modern Poetry, 1973 ;  Randall Jarrell, 1914-1965 ;  Georgia Voices ;  Modern Poems: an Introduction to Poetry ;  Divided Light: Father and Son Poems ;  James Dickey: the Selected Poems ;  The Appalachian Trail Reader ;  American Sports Poems ;  The James Dickey Reader ;  Brother Songs: a Male Anthology of Poetry ;  More Than a Game  [NFL];  Other Things and the Aardvark ;  America in Poetry ;  The Best Parts Are Underlined: Great Rape Scences from Literature ;  A Controversy of Poets ;  Contemporary American Poetry  [H. Nemerov];  On William Stafford ;  The Twentieth Century Treasury of Sports ;  Georgia Voices ;  Best Poems of 1966  [Borestone Mountain Poetry Awards];  Yellow Silk II: International Erotic Stories and Poems ;  Pictures That Storm Inside My Head: Poems for the Inner You ;  The Poetry Anthology, 1912-1977.","This box contains a variety of materials related to the 1972 motion picture  Deliverance . It holds lobby cards, action shots of the actors, a VHS of the movie, movie reviews, posters, and other miscellaneous items.","Includes the score of  Duelling Banjos , the main song of the movie.","This box contains large runs of both the  James Dickey Newsletter  and its successor, the  James Dickey Review . It also includes VHS, DVD, and CD materials.","James Dickey Newsletter ;  James Dickey Review ;  Listening to America with Bill Moyers  [VHS];  Call of the Wild  [VHS];  Lord Let Me Die But Not Die Out  [VHS];  James Dickey and Robert Penn Warren: Two Poets, Two Friends  [VHS];  James Dickey Tribute  [VHS];  Guilty as Charged  [VHS];  Writer's Workshop  [VHS];  Whispers on the Wind  [VHS];  James Dickey Obituary  [VHS];  To the White Sea  [audiotape];  Verb Audio Literary Magazine  [CD];  Birds, Beasts, and Flowers  [CD];  Apollo 11: As It Happened  [CD].","This box contains mostly book reviews in many  New York Times Book Reviews  and  Life  magazines, but also includes a few oversized books. Some materials are signed. NOTE: This box is oversized and is not shelved with the bulk of the collection.","Life Magazine ;  New York Times Book Review ;  The Incredible Year '68  [Life Magazine];  A Festschrift for Lloyd J. Reynolds ;  Intervisions: Poems and Photographs ;  God's Images: the Bible, a New Version .","This box contains mostly LP vinyl sound recordings, but also books, a film and a few posters. Some items are signed. NOTE: This box is oversized and is not shelved with the bulk of the collection.","LP RECORDS:  The Poems of James Dickey (1957-1967) ;  God's Images For the First Manned Moon Orbit, on \"Apollo Circling\" ;  Duelling Banjos ;  James Dickey Reading His Poetry ;  The Inaugural Album  [Jimmy Carter, 1977. Includes book];  A Talk with James Dickey .","BOOKS:  Jericho: the South Beheld ;  Georgia Atlas and Gazetteer .","FILM:  James Dickey: \"Lord Let Me Die\"  [Encyclopedia Britannica Film, 1970].","This box contains books and newspapers in which a portrait photograph of Dickey is featured.","10,000 Eyes  [magazine photographers];  A Portrait of Southern Writers  [Curt Richter];  Rollie McKenna: A Life in Photography ;  Southern Writers  [David Spielman];  The Writer's Image  [Jill Krementz];  Artists at Large  [Rollie McKenna].","This box contains issues of featured writers in the James Dickey Poetry Series. It also includes some writings by Dickey's children, and some miscellaneous items, such as a t-shirt related to the movie  Deliverance  and items from Dickey's desk at the University of South Carolina.","James Dickey Contemporary Poetry Series ; Caverns of Fire ;  James Dickey: a Celebration ;  Dickey Conference  at U of South Carolina;  Newsweek ;  Oxford American ;   Jimmy Carter ;  To Write a Poem Like Dickey  [Hank Malone]; Cahulawassee t-shirt [Deliverance]; Dickey's desk items at U of South Carolina.","This box contains the first copy of Briggs'  Complete Poems of James Dickey , as well as proofs and some promotional materials related to the book.","Complete Poems of James Dickey ;  The Dailey Gamecock  [USC student newspaper];  Free Times  [Columbia, S.C. newspaper]; proofs of Briggs' book; promotional materials for Briggs' book.","This category identifies framed fine press editions of  broadsides of some of Dickey's most loved poems, as well as other framed materials. All framed work hangs on racks in the Special Collections' vault.","Bronwen,the Traw and the Shape Shifter , 1986; Movie poster for  Deliverance ;  Buck Dancer's Choice , 1979;  The Eagle's Mile , 1981;  Knock,  1977;  Summons , 1988;  For a Time and Place , 1983;  Deliverance  still with small card signed by major actors;  In the Child's Night , 1981; Photograph of James Dickey playing guitar;  Hunger, Time and the Moon  [from  Strength of Fields , 1977];  The Shark at the Window , 1977;  Mexican Valley , 1978.","This box contains materials related to the death of James Dickey.\nFolder 0 is the Control Folder.","NOTE: Folders 9-12 are not displaying in public interface.\nFOLDER 9: Carolinian\nFOLDER 10: Current Biography\nFOLDER 11: American Poet\nFOLDER 12: Oxford American","Folder 0-12 Obituaries, varied sources Obituaries, varied sources Obituaries, varied sources Memorial Service Photographs of Dickey's office at USC Newsweek Time People","This box contains issues of the USC student newspapers,  The Gamecock  and  Garnet and Black , as well as issues of the Columbia, S.C. newspaper,  The State , and issues of  New York Times Book Review  and  The Point .","This oversized box contains the life mask of James Dickey. It also includes a photograph of Ward Briggs used for display purposes. NOTE: this oversized box is not shelved with the collection.\n---\nIn the mid-70s, North Carolina sculptor William Dunlap made this aluminum life mask of James Dickey. Dickey appeared, wearing a replica of the mask on his face, on the February 1976 cover of  Esquire  magazine. The first chapter of his second novel,  Alnilam , was excerpted in the same issue. Dickey claimed that chemicals from the cast used to make the mask had seeped into his eyes and rendered him temporarily blind. His \"blindness\" was later heavily disputed, but Dickey said the experience inspired  Alnilam , which is about a blind man searching for his son.","This box contains additional materials related to James Dickey, donated by Ward Briggs in March 2017. There is no specific focus. Check the subject headings to learn about the box's content.","Includes:  Belgrade Literary Magazine ;  La Violencia Esta en Nostros ;  Vergilius ;  Poems from the Hills, 1970 ;  Washington and Lee Alumnus , June 1970;  For Aaron Copland, 14 Nov 1978 ;  Le Montagne , 30 Nov 1971;  Firsts: the Book Collector's Magazine ;  Falling  [the Sandlapper Singers];  Barat Review ;  Deliverance  [in clamshell box edition]; miscellaneous materials.","The materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections.","Washington and Lee University, University Library Special Collections and Archives","Dickey","Briggs, Ward Wright, Jr., Dr.","Dickey, James (James Lafayette) (19230202-19970119)","Dickey, James","These materials are in English, except for translations of Dickey's novels."],"unitid_tesim":["WLU.Coll.0511","/repositories/5/resources/594"],"normalized_title_ssm":["The Ward Briggs Collection of James Dickey"],"collection_title_tesim":["The Ward Briggs Collection of James Dickey"],"collection_ssim":["The Ward Briggs Collection of James Dickey"],"repository_ssm":["Washington and Lee University, Leyburn Library"],"repository_ssim":["Washington and Lee University, Leyburn Library"],"creator_ssm":["Briggs, Ward Wright, Jr., Dr."],"creator_ssim":["Briggs, Ward Wright, Jr., Dr."],"creator_persname_ssim":["Briggs, Ward Wright, Jr., Dr."],"creators_ssim":["Briggs, Ward Wright, Jr., Dr."],"access_terms_ssm":["The materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections."],"acqinfo_ssim":["Received from Ward Briggs, Washington and Lee University class of 1967, between 2014 and 2017."],"access_subjects_ssim":["American literature","Broadsides","Criticism","Poetry","Interviews","Photographs"],"access_subjects_ssm":["American literature","Broadsides","Criticism","Poetry","Interviews","Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["52 Linear Feet"],"extent_tesim":["52 Linear Feet"],"genreform_ssim":["Photographs"],"date_range_isim":[1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for research use.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open for research use."],"prefercite_html_tesm":["\u003cp\u003ePreferred citation: [Identification of item], The Ward Briggs Collection of James Dickey, WLU Coll. 0511, Special Collections and Archives, James G. Leyburn Library, Washington and Lee University, Lexington, VA\u003cp\u003eIn some cases the citation format may vary. Please contact Special Collections' staff to verify the appropriate format.\u003c/p\u003e\u003c/p\u003e"],"prefercite_tesim":["Preferred citation: [Identification of item], The Ward Briggs Collection of James Dickey, WLU Coll. 0511, Special Collections and Archives, James G. Leyburn Library, Washington and Lee University, Lexington, VA In some cases the citation format may vary. Please contact Special Collections' staff to verify the appropriate format."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of 1st editions of a selection of James Dickey's publications (some signed and/or inscribed); Dickey's contributions to books and pamphlets; journal articles by Dickey; interviews; criticism; anthologies; multimedia; photographs; broadsides (some framed, signed); miscellaneous items on his book and the film \u003ci\u003eDeliverance\u003c/i\u003e; and publications related to Ward Briggs' book \u003ci\u003eThe Complete Poems of James Dickey\u003c/i\u003e (U. South Carolina, 2013).\u003c/p\u003e","\u003cp\u003eAll books in this box are authored by Dickey. Some (or all?) are first editions.\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003eAnilham\u003c/title\u003e; \u003ctitle\u003eTo the White Sea\u003c/title\u003e; \u003ctitle\u003eNight Hurdling\u003c/title\u003e; \u003ctitle\u003eCrux: the Letters of James Dickey.\u003c/title\u003e\u003c/p\u003e\n","\u003cp\u003eIncludes inscriptions, dedications, signatures by James Dickey.\u003c/p\u003e","\u003cp\u003eAll books authored by James Dickey. Some are first editions.\nEzra Pound Lecture (by Dickey), \u003ctitle\u003eThe Water-Bug's Mittens\u003c/title\u003e, \u003ctitle\u003eThe Starry Place Between the Antlers\u003c/title\u003e,\u003ctitle\u003e A Private Brinkmanship\u003c/title\u003e, \u003ctitle\u003eThe Enemy from Eden\u003c/title\u003e, \u003ctitle\u003eSome Sort of Grandeur\u003c/title\u003e, \u003ctitle\u003eHead-Deep in Strange Sounds\u003c/title\u003e, \u003ctitle\u003eSorties\u003c/title\u003e, \u003ctitle\u003eThe Suspect in Poetry\u003c/title\u003e, \u003ctitle\u003eBabel to Byzantium\u003c/title\u003e, \u003ctitle\u003eCrux\u003c/title\u003e, \u003ctitle\u003eSelf-Interviews\u003c/title\u003e, \u003ctitle\u003eStriking In\u003c/title\u003e,\u003ctitle\u003eDeliverance\u003c/title\u003e\u003c/p\u003e\n","\u003cp\u003eIncludes inscriptions, dedications, and signatures by James Dickey.\u003c/p\u003e","\u003cp\u003ePlease see Subject entries for scope of content.\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003eWayfairer\u003c/title\u003e, \u003ctitle\u003eIn Pursuit of the Grey Soul\u003c/title\u003e, \u003ctitle\u003eSelf-Interviews\u003c/title\u003e, \u003ctitle\u003eFiring Line\u003c/title\u003e, \u003ctitle\u003eSpinning the Crystal Ball\u003c/title\u003e, \u003ctitle\u003eNight Hurdling\u003c/title\u003e, \u003ctitle\u003eClasses on Modern Poets and the Art of Poetry\u003c/title\u003e, \u003ctitle\u003eThe Voiced Connections of James Dickey\u003c/title\u003e, \u003ctitle\u003eDeliverance\u003c/title\u003e, \u003ctitle\u003eTo the White Sea\u003c/title\u003e\u003c/p\u003e\n","\u003cp\u003eIncludes inscriptions, dedications, signatures.\u003c/p\u003e","\u003cp\u003eAll books are collections of poems by Dickey.\n.\n\u003ctitle\u003eThe Whole Motion: Collected Poems, 1945-1992\u003c/title\u003e, \u003ctitle\u003ePoems, 1957-1967\u003c/title\u003e, \u003ctitle\u003eThe Zodiac\u003c/title\u003e, \u003ctitle\u003eThe Whole Motion: Collected Poems, 1948-1992\u003c/title\u003e, \u003ctitle\u003eThe Strength of Fields\u003c/title\u003e\u003c/p\u003e\n","\u003cp\u003eIncludes inscription, dedications, signatures.\u003c/p\u003e","\u003cp\u003ePlease see the Subject entries for scope of contents.\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003eExchanges\u003c/title\u003e, \u003ctitle\u003eJames Dickey at 70\u003c/title\u003e, \u003ctitle\u003eDrowning with Others\u003c/title\u003e, \u003ctitle\u003eThe Early Motion\u003c/title\u003e, \u003ctitle\u003eTucky the Hunter\u003c/title\u003e, \u003ctitle\u003eVeteran Birth\u003c/title\u003e, \u003ctitle\u003eBuckdancer's Choice\u003c/title\u003e, \u003ctitle\u003eMetaphor as Pure Adventure\u003c/title\u003e, \u003ctitle\u003ePoets of Today VII\u003c/title\u003e, \u003ctitle\u003eThe Eye-Beaters\u003c/title\u003e, \u003ctitle\u003eBlood Victory\u003c/title\u003e, \u003ctitle\u003eMadness, Buckhead and Mercy\u003c/title\u003e, \u003ctitle\u003eHelmets\u003c/title\u003e, \u003ctitle\u003eFalling, May Day Sermon, and Other Poems\u003c/title\u003e, \u003ctitle\u003eThe Central Motion: Poems 1968-1979\u003c/title\u003e, \u003ctitle\u003eThe Eagle's Mile\u003c/title\u003e, \u003ctitle\u003eVarmland\u003c/title\u003e, \u003ctitle\u003eThe Zodiac\u003c/title\u003e, \u003ctitle\u003eJames Dickey: Poems 1957-1967\u003c/title\u003e, \u003ctitle\u003eBronwen, the Trawl, and the Shape Shifter\u003c/title\u003e, \u003ctitle\u003eThe Owl King\u003c/title\u003e, \u003ctitle\u003eTwo Poems of the Air\u003c/title\u003e, \u003ctitle\u003eLooking for the Buckhead Boys\u003c/title\u003e (broadside), \u003ctitle\u003eFalse Youth\u003c/title\u003e, \u003ctitle\u003eFour Seasons\u003c/title\u003e, \u003ctitle\u003eApollo Circling\u003c/title\u003e, \u003ctitle\u003eThe Strength of Fields\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eThis box contains anthologies in which Dickey's work is published, as well as several biographical sources on Dickey. Includes inscriptions, dedications, signatures.\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003eThe Great American Writers' Cookbook\u003c/title\u003e, \u003ctitle\u003eAh Men!\u003c/title\u003e, \u003ctitle\u003eTranslations by American Poets\u003c/title\u003e, \u003ctitle\u003eOf Poetry and Poets\u003c/title\u003e, \u003ctitle\u003eNew Aquist of True Experience\u003c/title\u003e, \u003ctitle\u003eReadings for Writing\u003c/title\u003e, \u003ctitle\u003eTell it to the King\u003c/title\u003e, \u003ctitle\u003eTravels\u003c/title\u003e, \u003ctitle\u003eThe Writer as Celebrity\u003c/title\u003e, \u003ctitle\u003eLand of Superior Mirages\u003c/title\u003e, \u003ctitle\u003eRichard Eberhart: a Celebration\u003c/title\u003e, \u003ctitle\u003eOn Being a Writer\u003c/title\u003e, \u003ctitle\u003eThrough the Wheat\u003c/title\u003e, \u003ctitle\u003eMcCullough's Brief Lives\u003c/title\u003e, \u003ctitle\u003eOsiris at the Roller Derby\u003c/title\u003e, \u003ctitle\u003eSouth\u003c/title\u003e, \u003ctitle\u003eThe Call of the Wild, White Fang and Other Stories\u003c/title\u003e, \u003ctitle\u003eFrom the Green Horseshoe\u003c/title\u003e, \u003ctitle\u003eInterviews with Contemporary Writers\u003c/title\u003e, \u003ctitle\u003eShort Story\u003c/title\u003e, no. 2, Spring 2007, \u003ctitle\u003eThe Form 1970-1979\u003c/title\u003e, \u003ctitle\u003eRotten Rejections\u003c/title\u003e, \u003ctitle\u003eSingular Voices\u003c/title\u003e, \u003ctitle\u003eF. Scott Fitzgerald: Poems 1911-1940\u003c/title\u003e, \u003ctitle\u003eDictionary of Literary Biography\u003c/title\u003e, 1982, 1984, 1986.\u003c/p\u003e","\u003cp\u003eThis box contains anthologies in which Dickey's work is published. Includes inscriptions, dedications, signatures.\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003eThe Call of the Wild\u003c/title\u003e,\u003ctitle\u003e The Craft of Poetry\u003c/title\u003e, \u003ctitle\u003eJohn Keats's Porridge\u003c/title\u003e, \u003ctitle\u003eDear Scott\u003c/title\u003e, \u003ctitle\u003eSelected Poems of Edwin Arlington Robinson\u003c/title\u003e, \u003ctitle\u003e45 Contemporary Poems: the Creative Process\u003c/title\u003e, \u003ctitle\u003eDeliverance\u003c/title\u003e, \u003ctitle\u003eThe Reading Commitment\u003c/title\u003e, \u003ctitle\u003eThe Wreck of the Deutschland\u003c/title\u003e, \u003ctitle\u003eAmerican Christmas\u003c/title\u003e, \u003ctitle\u003eThe Biblical Etchings of Marvin Hayes\u003c/title\u003e, \u003ctitle\u003eFrost: Centennial Essays\u003c/title\u003e, \u003ctitle\u003ePages: the World of Books, Writers, and Writing\u003c/title\u003e, \u003ctitle\u003eA New Spirit, a New Commitment, a New America\u003c/title\u003e (Jimmy Carter inauguration), \u003ctitle\u003eClose-Ups: the Movie Star Book\u003c/title\u003e, \u003ctitle\u003eThe Adventures of Tom Sawyer and the Adventures of Huckleberry Finn\u003c/title\u003e, \u003ctitle\u003eContemporary American Authors\u003c/title\u003e, vol. 10, \u003ctitle\u003ePreferences: 51 American Poets Choose Poems from their Own Work and from the Past\u003c/title\u003e, \u003ctitle\u003eThe Southern Mystique\u003c/title\u003e, \u003ctitle\u003eConversations with Writers\u003c/title\u003e, \u003ctitle\u003eFountain of Youth\u003c/title\u003e, \u003ctitle\u003eGarnet and Black: Carolina's Magazine Network\u003c/title\u003e, May 1974.\u003c/p\u003e","\u003cp\u003eThis box contains books in which Dickey has made a contribution, such as an introduction, a translation, etc.\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003eThe New Yorker Book of Poems\u003c/title\u003e, \u003ctitle\u003eSoundings, the Writer's Voice\u003c/title\u003e, \u003ctitle\u003eThe University and the New Intellectual Environment\u003c/title\u003e, \u003ctitle\u003eNew World Writing 21\u003c/title\u003e, \u003ctitle\u003eJames Dickey: a Checklist\u003c/title\u003e, \u003ctitle\u003eThis is my Best in the Third Quarter of the Century\u003c/title\u003e, \u003ctitle\u003eStolen Apples\u003c/title\u003e (Yevtushenko), \u003ctitle\u003eJames Dickey: the Expansive Imagination\u003c/title\u003e, \u003ctitle\u003eVandal\u003c/title\u003e, \u003ctitle\u003eBest Poems of 1970: Borestone Mountain Poetry Awards\u003c/title\u003e, \u003ctitle\u003ePoets on Poetry\u003c/title\u003e (Nemerov), \u003ctitle\u003eSelected Poems by Edwin Arlington Robinson\u003c/title\u003e, \u003ctitle\u003eA Symposium on Contemporary Poetry\u003c/title\u003e, \u003ctitle\u003eAll is Brillig (or Ought to Be)\u003c/title\u003e, \u003ctitle\u003eStephen Crane in Transition\u003c/title\u003e, \u003ctitle\u003eMeaning: a Common Ground of Linguistics and Literature\u003c/title\u003e, \u003ctitle\u003eThe Young American Poets\u003c/title\u003e, \u003ctitle\u003eThe Great Ideas Today, 1968\u003c/title\u003e, \u003ctitle\u003eThe Distinctive Voice\u003c/title\u003e, \u003ctitle\u003eBest Poems of 1965\u003c/title\u003e, \u003ctitle\u003eContemporary Poets of the English Language\u003c/title\u003e, \u003ctitle\u003eSuper Bowl XXVIII at Georgia Dome\u003c/title\u003e, \u003ctitle\u003eCreative Responses for Composition\u003c/title\u003e\u003c/p\u003e","\u003cp\u003ePlease see Subject entries for scope and content of box.\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003eHands of the Saddlemaker\u003c/title\u003e, \u003ctitle\u003eBest Poems of 1962\u003c/title\u003e(Borestone Mountain Poetry Awards, \u003ctitle\u003eLombardi\u003c/title\u003e [Vince], \u003ctitle\u003eThe Writer and his Tradition\u003c/title\u003e [U. Tennessee], \u003ctitle\u003eWhite Plum Thickets\u003c/title\u003e, \u003ctitle\u003eA Southern Renascence Man: Views of Robert Penn Warren\u003c/title\u003e,\u003ctitle\u003e All the Rights and Privileges Appertaining Thereto\u003c/title\u003e, \u003ctitle\u003eJames Dickey: a Bibliography\u003c/title\u003e, \u003ctitle\u003eContemporary Sources: Readings from \"Writer's Workshop\"\u003c/title\u003e, \u003ctitle\u003eThe New York Times Book of Verse\u003c/title\u003e, \u003ctitle\u003eWriters at Work\u003c/title\u003e [Paris Review interviews], \u003ctitle\u003eSimposio Pablo Neruda: Actas\u003c/title\u003e, \u003ctitle\u003eThe Red Badge of Courage\u003c/title\u003e, \u003ctitle\u003eCraft So Hard to Learn\n\u003c/title\u003e, \u003ctitle\u003ePoetry's Catbird Seat\u003c/title\u003e, \u003ctitle\u003eSouth Carolina Business \u003c/title\u003e1983, vol.3, \u003ctitle\u003eToward the Year 2000\u003c/title\u003e [Bell South Corp.], \u003ctitle\u003eConversations with South Carolina Poets\u003c/title\u003e, \u003ctitle\u003eLyrikvannen\u003c/title\u003e, no.4, 1980, \u003ctitle\u003eMaster Poems of the English Language\u003c/title\u003e, \u003ctitle\u003eThe Seamless Web\u003c/title\u003e, \u003ctitle\u003eThe Complete Short Stories of Thomas Wolfe\u003c/title\u003e, \u003ctitle\u003eOystering: a Way of Life\u003c/title\u003e, \u003ctitle\u003eGhosts\u003c/title\u003e [Jane Tuckerman], \u003ctitle\u003eDictionary of Literary Biography\u003c/title\u003e, vol. 5, 1980, \u003ctitle\u003eThe Imagination as Glory: the Poetry of James Dickey\u003c/title\u003e, \u003ctitle\u003eThree American Poets\u003c/title\u003e [Life Educational Reprint, 1957]\u003c/p\u003e","\u003cp\u003eIncludes inscriptions, decications, signatures.\u003c/p\u003e","\u003cp\u003ePlease see Subject entries for scope and content of this box.\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003eLiving in the Resurrection\u003c/title\u003e, \u003ctitle\u003eCities of Memory\u003c/title\u003e,\u003ctitle\u003e Bears Dancing in the Northern Air\u003c/title\u003e, \u003ctitle\u003eStone Crop\u003c/title\u003e, \u003ctitle\u003eThinking the World Visible\u003c/title\u003e, \u003ctitle\u003eMy Shining Archipelago\u003c/title\u003e, \u003ctitle\u003eJames Dickey: Splintered Sunlight\u003c/title\u003e, \u003ctitle\u003eJames Dickey: a Descriptive Bibliography\u003c/title\u003e, \u003ctitle\u003eDictionary of Literary Biography\u003c/title\u003e, vol. 7, 1978, \u003ctitle\u003eWashington University Libraries Guide to Modern Literary Manuscripts\u003c/title\u003e, \u003ctitle\u003eImages of the Southern Writer\u003c/title\u003e [Mark Morrow, photographer], \u003ctitle\u003eLooking for Magical Country\u003c/title\u003e, \u003ctitle\u003eWriters\u003c/title\u003e [Nancy Crampton, photographer], \u003ctitle\u003eThe Arts Journal\u003c/title\u003e, Nov. 1981\u003c/p\u003e\n","\u003cp\u003eIncludes inscriptions, dedications, signatures.\u003c/p\u003e","\u003cp\u003eThis box contains literary journals in which Dickey's poems have been published. Includes long runs of \u003ctitle\u003eThe Kenyon Review\u003c/title\u003e and \u003ctitle\u003eThe Hudson Review\u003c/title\u003e.\u003c/p\u003e\n","\u003cp\u003eFor all other titles, please consult the paper guide to the collection, located in Special Collections, or the box itself.\u003c/p\u003e","\u003cp\u003eThis box contains journals in which Dickey's poems have been published. It includes long runs of \u003ctitle\u003eThe Sewanee Review\u003c/title\u003e, \u003ctitle\u003ePartisan Review\u003c/title\u003e, and \u003ctitle\u003ePoetry\u003c/title\u003e. \u003c/p\u003e\n","\u003cp\u003eFor other journal titles in this box, please consult the paper guide to the collection, located in Special Collections, or the box itself.\u003c/p\u003e","\u003cp\u003eThis box contains literary journals in Dickey's poems have been published. Includes long runs of \u003ctitle\u003eThe Paris Review\u003c/title\u003e, \u003ctitle\u003eQuarterly Review of Literature\u003c/title\u003e, \u003ctitle\u003eShenandoah\u003c/title\u003e, \u003ctitle\u003eThe Southern Review\u003c/title\u003e,\u003ctitle\u003eThe Virginia Quarterly Review\u003c/title\u003e, and the \u003ctitle\u003eYale Review\u003c/title\u003e.\u003c/p\u003e","\u003cp\u003eThis box contains appearances of Dickey's work in \u003ctitle\u003eThe Atlantic\u003c/title\u003e, \u003ctitle\u003eHarper's\u003c/title\u003e, and \u003ctitle\u003eThe New Yorker\u003c/title\u003e. Includes book reviews of Dickey's work as well.\u003c/p\u003e\n","\u003cp\u003eNote that Box C6 also contains issues of \u003ctitle\u003eThe New Yorker\u003c/title\u003e.\u003c/p\u003e","\u003cp\u003eThis box contains magazines in which Dickey's works have been published, or book reviews about his work appeared: \u003ctitle\u003eEsquire\u003c/title\u003e,\u003ctitle\u003e GQ\u003c/title\u003e, \u003ctitle\u003eTime\u003c/title\u003e, \u003ctitle\u003eSouthern Living\u003c/title\u003e, \u003ctitle\u003eMademoiselle\u003c/title\u003e, \u003ctitle\u003ePeople\u003c/title\u003e, \u003ctitle\u003eSaturday Review.\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eEntries by and about James Dickey in \u003ctitle\u003ePlayboy Magazine\u003c/title\u003e and \u003ctitle\u003eThe New Yorker\u003c/title\u003e. Note that box C4 also contains \u003ctitle\u003eThe New Yorker\u003c/title\u003e.\u003c/p\u003e","\u003cp\u003eThis box contains interviews with Dickey published in a variety of magazines, journals, a few newspapers, and books. The book titles are:\n\u003ctitle\u003eParting the Curtains: Interviews with Southern Writers\u003c/title\u003e, \u003ctitle\u003eThe Writer's Mind: Interviews with American Authors\u003c/title\u003e, and \u003ctitle\u003eSpeak So I Shall Know Thee: Interviews with Southern Writers\u003c/title\u003e.\u003c/p\u003e","\u003cp\u003eThis box contains criticism and reviews of Dickey's work. Some items are inscribed and signed.\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003eFatal Flowers: On Sin, Sex, and Suicide in the Deep South\u003c/title\u003e, \u003ctitle\u003eThe Way We Read James Dickey\u003c/title\u003e, \u003ctitle\u003eJames Dickey and the Politics of Canon\u003c/title\u003e, \u003ctitle\u003eJames Dickey and the Gentle Ecstacy of Earth\u003c/title\u003e, \u003ctitle\u003eStruggling for Wings: the Art of James Dickey\u003c/title\u003e, \u003ctitle\u003eSpeaking with Strangers\u003c/title\u003e, \u003ctitle\u003eThe Kick: a Memoir\u003c/title\u003e, \u003ctitle\u003eAdventures of a Suburban Boy \u003c/title\u003e, \u003ctitle\u003eAmerican Poetry: Wildness and Domesticity\u003c/title\u003e, \u003ctitle\u003ePrivileged Moments\u003c/title\u003e, \u003ctitle\u003eConfessions of a Female Chauvenist\n\u003c/title\u003e, \u003ctitle\u003eJames Dickey: the Critic as Poet\u003c/title\u003e, \u003ctitle\u003eThe Leonard L Milberg Collection of American Poetry\u003c/title\u003e, \u003ctitle\u003eCathedrals of Kudzu\u003c/title\u003e, \u003ctitle\u003eJames Dickey\u003c/title\u003e [Calhoun and Hill, eds.], \u003ctitle\u003eSeparate Country\u003c/title\u003e, \u003ctitle\u003eUnderstanding James Dickey\u003c/title\u003e.\u003c/p\u003e","\u003cp\u003eThis box contains mostly books about Dickey's life and work, including some bibliographies. Several books are signed.\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003eSummer of Deliverance\u003c/title\u003e, \u003ctitle\u003eThe Hi-Ways\u003c/title\u003e, [Dickey's 1940 High School Yearbook], \u003ctitle\u003eHarvard Guide to Contemporary American Writing\u003c/title\u003e, \u003ctitle\u003eThe American Literary Anthology\u003c/title\u003e, \u003ctitle\u003eJames Dickey: the Poet as Pitchman\u003c/title\u003e, \u003ctitle\u003eThe Sixties\u003c/title\u003e [magazine, Robert Bly, ed.], J\u003ctitle\u003eames Dickey: the Life and Lies of a Poet\u003c/title\u003e, \u003ctitle\u003eJames Dickey: a Bibliography, 1947-1974\u003c/title\u003e, \u003ctitle\u003eThe Achievement of James Dickey\u003c/title\u003e, \u003ctitle\u003eDo I Owe You Something?\u003c/title\u003e, \u003ctitle\u003eTruman Capote \u003c/title\u003e[G. Plimpton], \u003ctitle\u003eContemporary Authors\u003c/title\u003e, vol. 2, 1986, \u003ctitle\u003eA Century of Arts and Letters\u003c/title\u003e, \u003ctitle\u003eBuckhead: a Place for All Time\u003c/title\u003e, \u003ctitle\u003eNew York Days\u003c/title\u003e, \u003ctitle\u003eBulletin of Bibliography\u003c/title\u003e, 1981.\u003c/p\u003e","\u003cp\u003eThis box contains unpublished typescripts of screenplays and other works by Dickey, as well as some biographical and critical works about Dickey.\u003c/p\u003e\n","\u003cp\u003eSCREENPLAYS:\n\u003ctitle\u003eDeliverance\u003c/title\u003e; \u003ctitle\u003eGene Bullard\u003c/title\u003e; \u003ctitle\u003eThe Sentence \u003c/title\u003e; \u003ctitle\u003eThe Claim\u003c/title\u003e; \u003ctitle\u003eThe Call of the Wild\u003c/title\u003e; \u003ctitle\u003eFlying Blind\u003c/title\u003e; \u003ctitle\u003eAnilham\u003c/title\u003e\u003c/p\u003e\n","\u003cp\u003ePOETRY:\n\u003ctitle\u003eTwo Poems on the Survival of the Male Body\u003c/title\u003e\u003c/p\u003e\n","\u003cp\u003eSHORT STORY:\n\u003ctitle\u003eThe Eye of the Fire\u003c/title\u003e\u003c/p\u003e\n","\u003cp\u003eFILM TREATMENT:\n\u003ctitle\u003eAway from the Sun\u003c/title\u003e\u003c/p\u003e\n","\u003cp\u003eBIOGRAPHY and CRITICISM:\n\u003ctitle\u003eDictionary of Literary Biography Documentary Series: James Dickey, an Illustrated Chronicle\u003c/title\u003e; \u003ctitle\u003eDueling Banjos: The Deliverance of Drew\u003c/title\u003e; \u003ctitle\u003eCritical Essays on James Dickey\u003c/title\u003e [Kirschten]\u003c/p\u003e","\u003cp\u003eIncludes some signed pieces.\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003eEntrance to the Honeycomb\u003c/title\u003e;\u003ctitle\u003e Death and the Day's Light\u003c/title\u003e; \u003ctitle\u003eStrong Horses Circling\u003c/title\u003e; \u003ctitle\u003eThe Casting\u003c/title\u003e; \u003ctitle\u003eCrux\u003c/title\u003e; \u003ctitle\u003ePhilosophy Notebooks\u003c/title\u003e; \u003ctitle\u003eTom Dickey Juvenilia\u003c/title\u003e; \u003ctitle\u003eCelebration\u003c/title\u003e [Film by W. Hale]; and various journals.\u003c/p\u003e","\u003cp\u003eThis box contains books and journals that feature Dickey's work.\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003eBest Poems of 1961\u003c/title\u003e [Borestone Mountain Poetry Awards]; \u003ctitle\u003eMotion: American Sports Poems\u003c/title\u003e; \u003ctitle\u003eHow to Use the Power of the Printed Word\u003c/title\u003e; \u003ctitle\u003eA Game of Passion\u003c/title\u003e [NFL]; \u003ctitle\u003eSplash!\u003c/title\u003e; \u003ctitle\u003eThe James Dickey Reader\u003c/title\u003e; \u003ctitle\u003eBest Poems of 1964\u003c/title\u003e [Borestone Mountain Poetry Awards]; \u003ctitle\u003eThe New Consciousness\u003c/title\u003e; \u003ctitle\u003eMen in Sports\u003c/title\u003e; \u003ctitle\u003eBeach Glass\u003c/title\u003e; \u003ctitle\u003e100 Postwar Poems\u003c/title\u003e; \u003ctitle\u003eVisions of America by the Poets of Our Time\u003c/title\u003e; \u003ctitle\u003eSounds and Silences: Poetry for Now\u003c/title\u003e; \u003ctitle\u003eThe World on Wheels\u003c/title\u003e; \u003ctitle\u003eSouthern Christmas: Literary Classics of the Holidays\u003c/title\u003e; \u003ctitle\u003eThe Wesleyan Tradition: Four Decades of American Poetry\u003c/title\u003e; \u003ctitle\u003eMen Without Masks\u003c/title\u003e; \u003ctitle\u003eThings Appalachian\u003c/title\u003e; \u003ctitle\u003eA Southern Album\u003c/title\u003e [Glusker, ed.]; \u003ctitle\u003eSouthern Writing in the Sixties/Poetry\u003c/title\u003e; \u003ctitle\u003eOn Doctoring\u003c/title\u003e; \u003ctitle\u003eThe Water of Light\u003c/title\u003e; \u003ctitle\u003eDecade: a Collection of Poems from the First Ten Years of the Wesleyan Poetry Program\u003c/title\u003e; \u003ctitle\u003eAmerican Poetry, 1965\n\u003c/title\u003e; \u003ctitle\u003eDog Music: Poetry About Dogs\n\u003c/title\u003e; \u003ctitle\u003eThe American Literary Anthology/1\u003c/title\u003e; \u003ctitle\u003eSome Haystacks Don't Even Have a Needle\u003c/title\u003e; \u003ctitle\u003eEncounters: an Anthology from the First Ten Years of Encounter Magazine\u003c/title\u003e; \u003ctitle\u003eGathered Waters\u003c/title\u003e; \u003ctitle\u003eWhere Is Vietnam: American Poets Respond\u003c/title\u003e.\u003c/p\u003e","\u003cp\u003eThis box contains books and journals mostly, but not always, featuring work by Dickey.\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003eChristmas at The New Yorker\u003c/title\u003e; \u003ctitle\u003eThe Poetry of the Negro, 1746-1970\u003c/title\u003e; \u003ctitle\u003eThe Norton Anthology of Modern Poetry, 1973\u003c/title\u003e; \u003ctitle\u003eRandall Jarrell, 1914-1965\u003c/title\u003e; \u003ctitle\u003eGeorgia Voices\u003c/title\u003e; \u003ctitle\u003eModern Poems: an Introduction to Poetry\u003c/title\u003e; \u003ctitle\u003eDivided Light: Father and Son Poems\u003c/title\u003e; \u003ctitle\u003eJames Dickey: the Selected Poems\u003c/title\u003e; \u003ctitle\u003eThe Appalachian Trail Reader\u003c/title\u003e; \u003ctitle\u003eAmerican Sports Poems\u003c/title\u003e; \u003ctitle\u003eThe James Dickey Reader\u003c/title\u003e; \u003ctitle\u003eBrother Songs: a Male Anthology of Poetry\u003c/title\u003e; \u003ctitle\u003eMore Than a Game\u003c/title\u003e [NFL]; \u003ctitle\u003eOther Things and the Aardvark\u003c/title\u003e; \u003ctitle\u003eAmerica in Poetry\u003c/title\u003e; \u003ctitle\u003eThe Best Parts Are Underlined: Great Rape Scences from Literature\u003c/title\u003e; \u003ctitle\u003eA Controversy of Poets\u003c/title\u003e; \u003ctitle\u003eContemporary American Poetry\u003c/title\u003e [H. Nemerov]; \u003ctitle\u003eOn William Stafford\u003c/title\u003e; \u003ctitle\u003eThe Twentieth Century Treasury of Sports\u003c/title\u003e; \u003ctitle\u003eGeorgia Voices\u003c/title\u003e; \u003ctitle\u003eBest Poems of 1966\u003c/title\u003e [Borestone Mountain Poetry Awards]; \u003ctitle\u003eYellow Silk II: International Erotic Stories and Poems\u003c/title\u003e; \u003ctitle\u003ePictures That Storm Inside My Head: Poems for the Inner You\u003c/title\u003e; \u003ctitle\u003eThe Poetry Anthology, 1912-1977.\u003c/title\u003e\u003c/p\u003e","\u003cp\u003eThis box contains a variety of materials related to the 1972 motion picture \u003ctitle\u003eDeliverance\u003c/title\u003e. It holds lobby cards, action shots of the actors, a VHS of the movie, movie reviews, posters, and other miscellaneous items.\u003c/p\u003e\n","\u003cp\u003eIncludes the score of \u003ctitle\u003eDuelling Banjos\u003c/title\u003e, the main song of the movie.\u003c/p\u003e","\u003cp\u003eThis box contains large runs of both the \u003ctitle\u003eJames Dickey Newsletter\u003c/title\u003e and its successor, the \u003ctitle\u003eJames Dickey Review\u003c/title\u003e. It also includes VHS, DVD, and CD materials.\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003eJames Dickey Newsletter\u003c/title\u003e; \u003ctitle\u003eJames Dickey Review\u003c/title\u003e; \u003ctitle\u003eListening to America with Bill Moyers \u003c/title\u003e[VHS]; \u003ctitle\u003eCall of the Wild\u003c/title\u003e [VHS]; \u003ctitle\u003eLord Let Me Die But Not Die Out\u003c/title\u003e [VHS]; \u003ctitle\u003eJames Dickey and Robert Penn Warren: Two Poets, Two Friends\u003c/title\u003e [VHS]; \u003ctitle\u003eJames Dickey Tribute\u003c/title\u003e [VHS];\u003ctitle\u003e Guilty as Charged\u003c/title\u003e [VHS]; \u003ctitle\u003eWriter's Workshop\u003c/title\u003e [VHS]; \u003ctitle\u003eWhispers on the Wind\u003c/title\u003e [VHS]; \u003ctitle\u003eJames Dickey Obituary\u003c/title\u003e [VHS]; \u003ctitle\u003eTo the White Sea\u003c/title\u003e [audiotape]; \u003ctitle\u003eVerb Audio Literary Magazine\u003c/title\u003e [CD]; \u003ctitle\u003eBirds, Beasts, and Flowers \u003c/title\u003e[CD]; \u003ctitle\u003eApollo 11: As It Happened\u003c/title\u003e [CD].\u003c/p\u003e","\u003cp\u003eThis box contains mostly book reviews in many \u003ctitle\u003eNew York Times Book Reviews\u003c/title\u003e and \u003ctitle\u003eLife\u003c/title\u003e magazines, but also includes a few oversized books. Some materials are signed. NOTE: This box is oversized and is not shelved with the bulk of the collection.\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003eLife Magazine\u003c/title\u003e; \u003ctitle\u003eNew York Times Book Review\u003c/title\u003e; \u003ctitle\u003eThe Incredible Year '68\u003c/title\u003e [Life Magazine]; \u003ctitle\u003eA Festschrift for Lloyd J. Reynolds\u003c/title\u003e; \u003ctitle\u003eIntervisions: Poems and Photographs\u003c/title\u003e; \u003ctitle\u003eGod's Images: the Bible, a New Version\u003c/title\u003e.\u003c/p\u003e","\u003cp\u003eThis box contains mostly LP vinyl sound recordings, but also books, a film and a few posters. Some items are signed. NOTE: This box is oversized and is not shelved with the bulk of the collection.\u003c/p\u003e\n","\u003cp\u003eLP RECORDS: \u003ctitle\u003eThe Poems of James Dickey (1957-1967)\u003c/title\u003e; \u003ctitle\u003eGod's Images For the First Manned Moon Orbit, on \"Apollo Circling\"\u003c/title\u003e; \u003ctitle\u003eDuelling Banjos\u003c/title\u003e; \u003ctitle\u003eJames Dickey Reading His Poetry\u003c/title\u003e; \u003ctitle\u003eThe Inaugural Album\u003c/title\u003e [Jimmy Carter, 1977. Includes book]; \u003ctitle\u003eA Talk with James Dickey\u003c/title\u003e.\u003c/p\u003e\n","\u003cp\u003eBOOKS: \u003ctitle\u003eJericho: the South Beheld\u003c/title\u003e; \u003ctitle\u003eGeorgia Atlas and Gazetteer\u003c/title\u003e.\u003c/p\u003e\n","\u003cp\u003eFILM: \u003ctitle\u003eJames Dickey: \"Lord Let Me Die\"\u003c/title\u003e [Encyclopedia Britannica Film, 1970].\u003c/p\u003e","\u003cp\u003eThis box contains books and newspapers in which a portrait photograph of Dickey is featured.\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003e10,000 Eyes\u003c/title\u003e [magazine photographers]; \u003ctitle\u003eA Portrait of Southern Writers\u003c/title\u003e [Curt Richter]; \u003ctitle\u003eRollie McKenna: A Life in Photography\u003c/title\u003e; \u003ctitle\u003eSouthern Writers\u003c/title\u003e [David Spielman]; \u003ctitle\u003eThe Writer's Image\u003c/title\u003e [Jill Krementz]; \u003ctitle\u003eArtists at Large\u003c/title\u003e [Rollie McKenna].\u003c/p\u003e","\u003cp\u003eThis box contains issues of featured writers in the James Dickey Poetry Series. It also includes some writings by Dickey's children, and some miscellaneous items, such as a t-shirt related to the movie \u003ctitle\u003eDeliverance\u003c/title\u003e and items from Dickey's desk at the University of South Carolina.\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003e\n\u003ctitle\u003eJames Dickey Contemporary Poetry Series\u003c/title\u003e; Caverns of Fire\u003c/title\u003e; \u003ctitle\u003eJames Dickey: a Celebration\u003c/title\u003e; \u003ctitle\u003eDickey Conference\u003c/title\u003e at U of South Carolina; \u003ctitle\u003eNewsweek\u003c/title\u003e; \u003ctitle\u003eOxford American\u003c/title\u003e;  \u003ctitle\u003eJimmy Carter\u003c/title\u003e; \u003ctitle\u003eTo Write a Poem Like Dickey\u003c/title\u003e [Hank Malone]; Cahulawassee t-shirt [Deliverance]; Dickey's desk items at U of South Carolina.\u003c/p\u003e","\u003cp\u003eThis box contains the first copy of Briggs' \u003ctitle\u003eComplete Poems of James Dickey\u003c/title\u003e, as well as proofs and some promotional materials related to the book.\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003eComplete Poems of James Dickey\u003c/title\u003e; \u003ctitle\u003eThe Dailey Gamecock\u003c/title\u003e [USC student newspaper]; \u003ctitle\u003eFree Times\u003c/title\u003e [Columbia, S.C. newspaper]; proofs of Briggs' book; promotional materials for Briggs' book.\u003c/p\u003e","\u003cp\u003eThis category identifies framed fine press editions of  broadsides of some of Dickey's most loved poems, as well as other framed materials. All framed work hangs on racks in the Special Collections' vault.\u003c/p\u003e\n","\u003cp\u003e\u003ctitle\u003eBronwen,the Traw and the Shape Shifter\u003c/title\u003e, 1986; Movie poster for \u003ctitle\u003eDeliverance\u003c/title\u003e; \u003ctitle\u003eBuck Dancer's Choice\u003c/title\u003e, 1979; \u003ctitle\u003eThe Eagle's Mile\u003c/title\u003e, 1981; \u003ctitle\u003eKnock,\u003c/title\u003e 1977; \u003ctitle\u003eSummons\u003c/title\u003e, 1988; \u003ctitle\u003eFor a Time and Place\u003c/title\u003e, 1983; \u003ctitle\u003eDeliverance\u003c/title\u003e still with small card signed by major actors; \u003ctitle\u003eIn the Child's Night\u003c/title\u003e, 1981; Photograph of James Dickey playing guitar; \u003ctitle\u003eHunger, Time and the Moon\u003c/title\u003e [from \u003ctitle\u003eStrength of Fields\u003c/title\u003e, 1977]; \u003ctitle\u003eThe Shark at the Window\u003c/title\u003e, 1977; \u003ctitle\u003eMexican Valley\u003c/title\u003e, 1978.\u003c/p\u003e","\u003cp\u003eThis box contains materials related to the death of James Dickey.\nFolder 0 is the Control Folder.\u003c/p\u003e\n","\u003cp\u003eNOTE: Folders 9-12 are not displaying in public interface.\nFOLDER 9: Carolinian\nFOLDER 10: Current Biography\nFOLDER 11: American Poet\nFOLDER 12: Oxford American\u003c/p\u003e\n","\u003clist numeration=\"upperroman\" type=\"ordered\"\u003e\u003chead\u003eFolder 0-12\u003c/head\u003e\n\u003citem\u003eObituaries, varied sources\u003c/item\u003e\u003citem\u003eObituaries, varied sources\u003c/item\u003e\u003citem\u003eObituaries, varied sources\u003c/item\u003e\u003citem\u003eMemorial Service\u003c/item\u003e\u003citem\u003ePhotographs of Dickey's office at USC\u003c/item\u003e\u003citem\u003eNewsweek\u003c/item\u003e\u003citem\u003eTime\u003c/item\u003e\u003citem\u003ePeople\u003c/item\u003e\u003c/list\u003e","\u003cp\u003eThis box contains issues of the USC student newspapers, \u003ctitle\u003eThe Gamecock\u003c/title\u003e and \u003ctitle\u003eGarnet and Black\u003c/title\u003e, as well as issues of the Columbia, S.C. newspaper, \u003ctitle\u003eThe State\u003c/title\u003e, and issues of \u003ctitle\u003eNew York Times Book Review\u003c/title\u003e and \u003ctitle\u003eThe Point\u003c/title\u003e.\u003c/p\u003e","\u003cp\u003eThis oversized box contains the life mask of James Dickey. It also includes a photograph of Ward Briggs used for display purposes. NOTE: this oversized box is not shelved with the collection.\n---\nIn the mid-70s, North Carolina sculptor William Dunlap made this aluminum life mask of James Dickey. Dickey appeared, wearing a replica of the mask on his face, on the February 1976 cover of \u003ctitle\u003eEsquire\u003c/title\u003e magazine. The first chapter of his second novel, \u003ctitle\u003eAlnilam\u003c/title\u003e, was excerpted in the same issue. Dickey claimed that chemicals from the cast used to make the mask had seeped into his eyes and rendered him temporarily blind. His \"blindness\" was later heavily disputed, but Dickey said the experience inspired \u003ctitle\u003eAlnilam\u003c/title\u003e, which is about a blind man searching for his son.\u003c/p\u003e","\u003cp\u003eThis box contains additional materials related to James Dickey, donated by Ward Briggs in March 2017. There is no specific focus. Check the subject headings to learn about the box's content.\u003c/p\u003e\n","\u003cp\u003eIncludes: \u003ctitle\u003eBelgrade Literary Magazine\u003c/title\u003e; \u003ctitle\u003eLa Violencia Esta en Nostros\u003c/title\u003e; \u003ctitle\u003eVergilius\u003c/title\u003e; \u003ctitle\u003ePoems from the Hills, 1970\u003c/title\u003e; \u003ctitle\u003eWashington and Lee Alumnus\u003c/title\u003e, June 1970; \u003ctitle\u003eFor Aaron Copland, 14 Nov 1978\u003c/title\u003e; \u003ctitle\u003eLe Montagne\u003c/title\u003e, 30 Nov 1971; \u003ctitle\u003eFirsts: the Book Collector's Magazine\u003c/title\u003e; \u003ctitle\u003eFalling\u003c/title\u003e [the Sandlapper Singers]; \u003ctitle\u003eBarat Review\u003c/title\u003e; \u003ctitle\u003eDeliverance\u003c/title\u003e [in clamshell box edition]; miscellaneous materials.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["This collection consists of 1st editions of a selection of James Dickey's publications (some signed and/or inscribed); Dickey's contributions to books and pamphlets; journal articles by Dickey; interviews; criticism; anthologies; multimedia; photographs; broadsides (some framed, signed); miscellaneous items on his book and the film  Deliverance ; and publications related to Ward Briggs' book  The Complete Poems of James Dickey  (U. South Carolina, 2013).","All books in this box are authored by Dickey. Some (or all?) are first editions.","Anilham ;  To the White Sea ;  Night Hurdling ;  Crux: the Letters of James Dickey.","Includes inscriptions, dedications, signatures by James Dickey.","All books authored by James Dickey. Some are first editions.\nEzra Pound Lecture (by Dickey),  The Water-Bug's Mittens ,  The Starry Place Between the Antlers ,  A Private Brinkmanship ,  The Enemy from Eden ,  Some Sort of Grandeur ,  Head-Deep in Strange Sounds ,  Sorties ,  The Suspect in Poetry ,  Babel to Byzantium ,  Crux ,  Self-Interviews ,  Striking In , Deliverance","Includes inscriptions, dedications, and signatures by James Dickey.","Please see Subject entries for scope of content.","Wayfairer ,  In Pursuit of the Grey Soul ,  Self-Interviews ,  Firing Line ,  Spinning the Crystal Ball ,  Night Hurdling ,  Classes on Modern Poets and the Art of Poetry ,  The Voiced Connections of James Dickey ,  Deliverance ,  To the White Sea","Includes inscriptions, dedications, signatures.","All books are collections of poems by Dickey.\n.\n The Whole Motion: Collected Poems, 1945-1992 ,  Poems, 1957-1967 ,  The Zodiac ,  The Whole Motion: Collected Poems, 1948-1992 ,  The Strength of Fields","Includes inscription, dedications, signatures.","Please see the Subject entries for scope of contents.","Exchanges ,  James Dickey at 70 ,  Drowning with Others ,  The Early Motion ,  Tucky the Hunter ,  Veteran Birth ,  Buckdancer's Choice ,  Metaphor as Pure Adventure ,  Poets of Today VII ,  The Eye-Beaters ,  Blood Victory ,  Madness, Buckhead and Mercy ,  Helmets ,  Falling, May Day Sermon, and Other Poems ,  The Central Motion: Poems 1968-1979 ,  The Eagle's Mile ,  Varmland ,  The Zodiac ,  James Dickey: Poems 1957-1967 ,  Bronwen, the Trawl, and the Shape Shifter ,  The Owl King ,  Two Poems of the Air ,  Looking for the Buckhead Boys  (broadside),  False Youth ,  Four Seasons ,  Apollo Circling ,  The Strength of Fields","This box contains anthologies in which Dickey's work is published, as well as several biographical sources on Dickey. Includes inscriptions, dedications, signatures.","The Great American Writers' Cookbook ,  Ah Men! ,  Translations by American Poets ,  Of Poetry and Poets ,  New Aquist of True Experience ,  Readings for Writing ,  Tell it to the King ,  Travels ,  The Writer as Celebrity ,  Land of Superior Mirages ,  Richard Eberhart: a Celebration ,  On Being a Writer ,  Through the Wheat ,  McCullough's Brief Lives ,  Osiris at the Roller Derby ,  South ,  The Call of the Wild, White Fang and Other Stories ,  From the Green Horseshoe ,  Interviews with Contemporary Writers ,  Short Story , no. 2, Spring 2007,  The Form 1970-1979 ,  Rotten Rejections ,  Singular Voices ,  F. Scott Fitzgerald: Poems 1911-1940 ,  Dictionary of Literary Biography , 1982, 1984, 1986.","This box contains anthologies in which Dickey's work is published. Includes inscriptions, dedications, signatures.","The Call of the Wild ,  The Craft of Poetry ,  John Keats's Porridge ,  Dear Scott ,  Selected Poems of Edwin Arlington Robinson ,  45 Contemporary Poems: the Creative Process ,  Deliverance ,  The Reading Commitment ,  The Wreck of the Deutschland ,  American Christmas ,  The Biblical Etchings of Marvin Hayes ,  Frost: Centennial Essays ,  Pages: the World of Books, Writers, and Writing ,  A New Spirit, a New Commitment, a New America  (Jimmy Carter inauguration),  Close-Ups: the Movie Star Book ,  The Adventures of Tom Sawyer and the Adventures of Huckleberry Finn ,  Contemporary American Authors , vol. 10,  Preferences: 51 American Poets Choose Poems from their Own Work and from the Past ,  The Southern Mystique ,  Conversations with Writers ,  Fountain of Youth ,  Garnet and Black: Carolina's Magazine Network , May 1974.","This box contains books in which Dickey has made a contribution, such as an introduction, a translation, etc.","The New Yorker Book of Poems ,  Soundings, the Writer's Voice ,  The University and the New Intellectual Environment ,  New World Writing 21 ,  James Dickey: a Checklist ,  This is my Best in the Third Quarter of the Century ,  Stolen Apples  (Yevtushenko),  James Dickey: the Expansive Imagination ,  Vandal ,  Best Poems of 1970: Borestone Mountain Poetry Awards ,  Poets on Poetry  (Nemerov),  Selected Poems by Edwin Arlington Robinson ,  A Symposium on Contemporary Poetry ,  All is Brillig (or Ought to Be) ,  Stephen Crane in Transition ,  Meaning: a Common Ground of Linguistics and Literature ,  The Young American Poets ,  The Great Ideas Today, 1968 ,  The Distinctive Voice ,  Best Poems of 1965 ,  Contemporary Poets of the English Language ,  Super Bowl XXVIII at Georgia Dome ,  Creative Responses for Composition","Please see Subject entries for scope and content of box.","Hands of the Saddlemaker ,  Best Poems of 1962 (Borestone Mountain Poetry Awards,  Lombardi  [Vince],  The Writer and his Tradition  [U. Tennessee],  White Plum Thickets ,  A Southern Renascence Man: Views of Robert Penn Warren ,  All the Rights and Privileges Appertaining Thereto ,  James Dickey: a Bibliography ,  Contemporary Sources: Readings from \"Writer's Workshop\" ,  The New York Times Book of Verse ,  Writers at Work  [Paris Review interviews],  Simposio Pablo Neruda: Actas ,  The Red Badge of Courage ,  Craft So Hard to Learn\n ,  Poetry's Catbird Seat ,  South Carolina Business  1983, vol.3,  Toward the Year 2000  [Bell South Corp.],  Conversations with South Carolina Poets ,  Lyrikvannen , no.4, 1980,  Master Poems of the English Language ,  The Seamless Web ,  The Complete Short Stories of Thomas Wolfe ,  Oystering: a Way of Life ,  Ghosts  [Jane Tuckerman],  Dictionary of Literary Biography , vol. 5, 1980,  The Imagination as Glory: the Poetry of James Dickey ,  Three American Poets  [Life Educational Reprint, 1957]","Includes inscriptions, decications, signatures.","Please see Subject entries for scope and content of this box.","Living in the Resurrection ,  Cities of Memory ,  Bears Dancing in the Northern Air ,  Stone Crop ,  Thinking the World Visible ,  My Shining Archipelago ,  James Dickey: Splintered Sunlight ,  James Dickey: a Descriptive Bibliography ,  Dictionary of Literary Biography , vol. 7, 1978,  Washington University Libraries Guide to Modern Literary Manuscripts ,  Images of the Southern Writer  [Mark Morrow, photographer],  Looking for Magical Country ,  Writers  [Nancy Crampton, photographer],  The Arts Journal , Nov. 1981","Includes inscriptions, dedications, signatures.","This box contains literary journals in which Dickey's poems have been published. Includes long runs of  The Kenyon Review  and  The Hudson Review .","For all other titles, please consult the paper guide to the collection, located in Special Collections, or the box itself.","This box contains journals in which Dickey's poems have been published. It includes long runs of  The Sewanee Review ,  Partisan Review , and  Poetry . ","For other journal titles in this box, please consult the paper guide to the collection, located in Special Collections, or the box itself.","This box contains literary journals in Dickey's poems have been published. Includes long runs of  The Paris Review ,  Quarterly Review of Literature ,  Shenandoah ,  The Southern Review , The Virginia Quarterly Review , and the  Yale Review .","This box contains appearances of Dickey's work in  The Atlantic ,  Harper's , and  The New Yorker . Includes book reviews of Dickey's work as well.","Note that Box C6 also contains issues of  The New Yorker .","This box contains magazines in which Dickey's works have been published, or book reviews about his work appeared:  Esquire ,  GQ ,  Time ,  Southern Living ,  Mademoiselle ,  People ,  Saturday Review.","Entries by and about James Dickey in  Playboy Magazine  and  The New Yorker . Note that box C4 also contains  The New Yorker .","This box contains interviews with Dickey published in a variety of magazines, journals, a few newspapers, and books. The book titles are:\n Parting the Curtains: Interviews with Southern Writers ,  The Writer's Mind: Interviews with American Authors , and  Speak So I Shall Know Thee: Interviews with Southern Writers .","This box contains criticism and reviews of Dickey's work. Some items are inscribed and signed.","Fatal Flowers: On Sin, Sex, and Suicide in the Deep South ,  The Way We Read James Dickey ,  James Dickey and the Politics of Canon ,  James Dickey and the Gentle Ecstacy of Earth ,  Struggling for Wings: the Art of James Dickey ,  Speaking with Strangers ,  The Kick: a Memoir ,  Adventures of a Suburban Boy  ,  American Poetry: Wildness and Domesticity ,  Privileged Moments ,  Confessions of a Female Chauvenist\n ,  James Dickey: the Critic as Poet ,  The Leonard L Milberg Collection of American Poetry ,  Cathedrals of Kudzu ,  James Dickey  [Calhoun and Hill, eds.],  Separate Country ,  Understanding James Dickey .","This box contains mostly books about Dickey's life and work, including some bibliographies. Several books are signed.","Summer of Deliverance ,  The Hi-Ways , [Dickey's 1940 High School Yearbook],  Harvard Guide to Contemporary American Writing ,  The American Literary Anthology ,  James Dickey: the Poet as Pitchman ,  The Sixties  [magazine, Robert Bly, ed.], J ames Dickey: the Life and Lies of a Poet ,  James Dickey: a Bibliography, 1947-1974 ,  The Achievement of James Dickey ,  Do I Owe You Something? ,  Truman Capote  [G. Plimpton],  Contemporary Authors , vol. 2, 1986,  A Century of Arts and Letters ,  Buckhead: a Place for All Time ,  New York Days ,  Bulletin of Bibliography , 1981.","This box contains unpublished typescripts of screenplays and other works by Dickey, as well as some biographical and critical works about Dickey.","SCREENPLAYS:\n Deliverance ;  Gene Bullard ;  The Sentence  ;  The Claim ;  The Call of the Wild ;  Flying Blind ;  Anilham","POETRY:\n Two Poems on the Survival of the Male Body","SHORT STORY:\n The Eye of the Fire","FILM TREATMENT:\n Away from the Sun","BIOGRAPHY and CRITICISM:\n Dictionary of Literary Biography Documentary Series: James Dickey, an Illustrated Chronicle ;  Dueling Banjos: The Deliverance of Drew ;  Critical Essays on James Dickey  [Kirschten]","Includes some signed pieces.","Entrance to the Honeycomb ;  Death and the Day's Light ;  Strong Horses Circling ;  The Casting ;  Crux ;  Philosophy Notebooks ;  Tom Dickey Juvenilia ;  Celebration  [Film by W. Hale]; and various journals.","This box contains books and journals that feature Dickey's work.","Best Poems of 1961  [Borestone Mountain Poetry Awards];  Motion: American Sports Poems ;  How to Use the Power of the Printed Word ;  A Game of Passion  [NFL];  Splash! ;  The James Dickey Reader ;  Best Poems of 1964  [Borestone Mountain Poetry Awards];  The New Consciousness ;  Men in Sports ;  Beach Glass ;  100 Postwar Poems ;  Visions of America by the Poets of Our Time ;  Sounds and Silences: Poetry for Now ;  The World on Wheels ;  Southern Christmas: Literary Classics of the Holidays ;  The Wesleyan Tradition: Four Decades of American Poetry ;  Men Without Masks ;  Things Appalachian ;  A Southern Album  [Glusker, ed.];  Southern Writing in the Sixties/Poetry ;  On Doctoring ;  The Water of Light ;  Decade: a Collection of Poems from the First Ten Years of the Wesleyan Poetry Program ;  American Poetry, 1965\n ;  Dog Music: Poetry About Dogs\n ;  The American Literary Anthology/1 ;  Some Haystacks Don't Even Have a Needle ;  Encounters: an Anthology from the First Ten Years of Encounter Magazine ;  Gathered Waters ;  Where Is Vietnam: American Poets Respond .","This box contains books and journals mostly, but not always, featuring work by Dickey.","Christmas at The New Yorker ;  The Poetry of the Negro, 1746-1970 ;  The Norton Anthology of Modern Poetry, 1973 ;  Randall Jarrell, 1914-1965 ;  Georgia Voices ;  Modern Poems: an Introduction to Poetry ;  Divided Light: Father and Son Poems ;  James Dickey: the Selected Poems ;  The Appalachian Trail Reader ;  American Sports Poems ;  The James Dickey Reader ;  Brother Songs: a Male Anthology of Poetry ;  More Than a Game  [NFL];  Other Things and the Aardvark ;  America in Poetry ;  The Best Parts Are Underlined: Great Rape Scences from Literature ;  A Controversy of Poets ;  Contemporary American Poetry  [H. Nemerov];  On William Stafford ;  The Twentieth Century Treasury of Sports ;  Georgia Voices ;  Best Poems of 1966  [Borestone Mountain Poetry Awards];  Yellow Silk II: International Erotic Stories and Poems ;  Pictures That Storm Inside My Head: Poems for the Inner You ;  The Poetry Anthology, 1912-1977.","This box contains a variety of materials related to the 1972 motion picture  Deliverance . It holds lobby cards, action shots of the actors, a VHS of the movie, movie reviews, posters, and other miscellaneous items.","Includes the score of  Duelling Banjos , the main song of the movie.","This box contains large runs of both the  James Dickey Newsletter  and its successor, the  James Dickey Review . It also includes VHS, DVD, and CD materials.","James Dickey Newsletter ;  James Dickey Review ;  Listening to America with Bill Moyers  [VHS];  Call of the Wild  [VHS];  Lord Let Me Die But Not Die Out  [VHS];  James Dickey and Robert Penn Warren: Two Poets, Two Friends  [VHS];  James Dickey Tribute  [VHS];  Guilty as Charged  [VHS];  Writer's Workshop  [VHS];  Whispers on the Wind  [VHS];  James Dickey Obituary  [VHS];  To the White Sea  [audiotape];  Verb Audio Literary Magazine  [CD];  Birds, Beasts, and Flowers  [CD];  Apollo 11: As It Happened  [CD].","This box contains mostly book reviews in many  New York Times Book Reviews  and  Life  magazines, but also includes a few oversized books. Some materials are signed. NOTE: This box is oversized and is not shelved with the bulk of the collection.","Life Magazine ;  New York Times Book Review ;  The Incredible Year '68  [Life Magazine];  A Festschrift for Lloyd J. Reynolds ;  Intervisions: Poems and Photographs ;  God's Images: the Bible, a New Version .","This box contains mostly LP vinyl sound recordings, but also books, a film and a few posters. Some items are signed. NOTE: This box is oversized and is not shelved with the bulk of the collection.","LP RECORDS:  The Poems of James Dickey (1957-1967) ;  God's Images For the First Manned Moon Orbit, on \"Apollo Circling\" ;  Duelling Banjos ;  James Dickey Reading His Poetry ;  The Inaugural Album  [Jimmy Carter, 1977. Includes book];  A Talk with James Dickey .","BOOKS:  Jericho: the South Beheld ;  Georgia Atlas and Gazetteer .","FILM:  James Dickey: \"Lord Let Me Die\"  [Encyclopedia Britannica Film, 1970].","This box contains books and newspapers in which a portrait photograph of Dickey is featured.","10,000 Eyes  [magazine photographers];  A Portrait of Southern Writers  [Curt Richter];  Rollie McKenna: A Life in Photography ;  Southern Writers  [David Spielman];  The Writer's Image  [Jill Krementz];  Artists at Large  [Rollie McKenna].","This box contains issues of featured writers in the James Dickey Poetry Series. It also includes some writings by Dickey's children, and some miscellaneous items, such as a t-shirt related to the movie  Deliverance  and items from Dickey's desk at the University of South Carolina.","James Dickey Contemporary Poetry Series ; Caverns of Fire ;  James Dickey: a Celebration ;  Dickey Conference  at U of South Carolina;  Newsweek ;  Oxford American ;   Jimmy Carter ;  To Write a Poem Like Dickey  [Hank Malone]; Cahulawassee t-shirt [Deliverance]; Dickey's desk items at U of South Carolina.","This box contains the first copy of Briggs'  Complete Poems of James Dickey , as well as proofs and some promotional materials related to the book.","Complete Poems of James Dickey ;  The Dailey Gamecock  [USC student newspaper];  Free Times  [Columbia, S.C. newspaper]; proofs of Briggs' book; promotional materials for Briggs' book.","This category identifies framed fine press editions of  broadsides of some of Dickey's most loved poems, as well as other framed materials. All framed work hangs on racks in the Special Collections' vault.","Bronwen,the Traw and the Shape Shifter , 1986; Movie poster for  Deliverance ;  Buck Dancer's Choice , 1979;  The Eagle's Mile , 1981;  Knock,  1977;  Summons , 1988;  For a Time and Place , 1983;  Deliverance  still with small card signed by major actors;  In the Child's Night , 1981; Photograph of James Dickey playing guitar;  Hunger, Time and the Moon  [from  Strength of Fields , 1977];  The Shark at the Window , 1977;  Mexican Valley , 1978.","This box contains materials related to the death of James Dickey.\nFolder 0 is the Control Folder.","NOTE: Folders 9-12 are not displaying in public interface.\nFOLDER 9: Carolinian\nFOLDER 10: Current Biography\nFOLDER 11: American Poet\nFOLDER 12: Oxford American","Folder 0-12 Obituaries, varied sources Obituaries, varied sources Obituaries, varied sources Memorial Service Photographs of Dickey's office at USC Newsweek Time People","This box contains issues of the USC student newspapers,  The Gamecock  and  Garnet and Black , as well as issues of the Columbia, S.C. newspaper,  The State , and issues of  New York Times Book Review  and  The Point .","This oversized box contains the life mask of James Dickey. It also includes a photograph of Ward Briggs used for display purposes. NOTE: this oversized box is not shelved with the collection.\n---\nIn the mid-70s, North Carolina sculptor William Dunlap made this aluminum life mask of James Dickey. Dickey appeared, wearing a replica of the mask on his face, on the February 1976 cover of  Esquire  magazine. The first chapter of his second novel,  Alnilam , was excerpted in the same issue. Dickey claimed that chemicals from the cast used to make the mask had seeped into his eyes and rendered him temporarily blind. His \"blindness\" was later heavily disputed, but Dickey said the experience inspired  Alnilam , which is about a blind man searching for his son.","This box contains additional materials related to James Dickey, donated by Ward Briggs in March 2017. There is no specific focus. Check the subject headings to learn about the box's content.","Includes:  Belgrade Literary Magazine ;  La Violencia Esta en Nostros ;  Vergilius ;  Poems from the Hills, 1970 ;  Washington and Lee Alumnus , June 1970;  For Aaron Copland, 14 Nov 1978 ;  Le Montagne , 30 Nov 1971;  Firsts: the Book Collector's Magazine ;  Falling  [the Sandlapper Singers];  Barat Review ;  Deliverance  [in clamshell box edition]; miscellaneous materials."],"userestrict_html_tesm":["\u003cp\u003eThe materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  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