The materials in the Alix Kates Shulman Papers span the dates 1892 to 2000, with the bulk of materials dating from 1968 to 2000. These materials include: manuscripts, notes, clippings, published books, correspondence, photographs, audio and videotapes, microfilm, address and date books, family and business records. The primary focus of the collection is Shulman's writing and literary career. The secondary focus is the women's liberation and feminist movements, in which Shulman was and continues to be very active (from 1968 to the present). However, feminism and feminist activism are inextricably intertwined with Shulman's writing career, and her 1972 novel Memoirs of an Ex-Prom Queen is regarded by many as the first novel to "come out of" the women's liberation movement of the late 1960s and early 1970s.
Other topics covered by the collection include: her teaching and other academic work; her public speaking and conference activities; and her involvement in political activities besides feminism. This collection sheds valuable light on the concerns and tensions within the women's liberation and second-wave feminist movements. In particular, the materials document debates and disagreements among those active in the movement with regard to sexuality, marriage and domestic relations, women's financial situation and careers, health care, civil rights and cultural expression. Many of these issues are raised in Shulman's own work, including her novels, essays, short fiction, personal letters and her teaching materials.
The collection is divided into seven series. The Personal Papers Series contains Shulman's family history papers, photographs, biographical papers, and her personal correspondence (with writers, academics, political activists and family members). Notable correspondents include Ros Baxandall, Jay Bolotin, Kay Boyle, Rita Mae Brown, Phyllis Chesler, Judy Chicago, Andrea Dworkin, Candace Falk, Marilyn French, Lori Ginzberg, Hannah Green, Erica Jong, Kate Millett, Honor Moore, Robin Morgan, Tillie Olson, Lillian Rubin, Sue Standing, and Meredith Tax. The Political Work Series contains material relating to Shulman's involvement with feminist and other liberal political groups, including Redstockings, New York Radical Women, the PEN Women's Committee, No More Nice Girls, the Women's Action Coalition, and Women Against Government Surveillance
The Literary Work Series contains a variety of materials relating to Shulman's literary career, including financial and other dealings with publishing houses, notes and research, photocopies of publications, reviews of her work, articles and notes she collected regarding the literary scene, and original manuscripts. This series contains information about her early children's books; several books she edited of Emma Goldman's writings; her essays and short fiction; her novels Memoirs of an Ex-Prom Queen (1972), Burning Questions (1975), On the Stroll (1977), In Every Woman's Life . . . (1980); and her memoirs Drinking the Rain (1995) and A Good Enough Daughter (1999). A small amount of correspondence regarding book reviews of other authors' work is also included.
The Academic Work Series contains materials relating to Shulman's graduate work at NYU; her teaching at Yale, the University of Colorado at Boulder, NYU, and the University of Hawaii at Manoa; as well as her relationships with her students. The Public Speaking Series contains materials relating to Shulman's participation in literary and political conferences and gatherings, personal interviews, lectures and book talks.
Portions of the Restricted Materials Series either may not be photocopied without prior permission of Ms. Shulman or the relevant author, or may not be accessed until a future date. The same organizational categories have been applied to the restricted materials as were used in the unrestricted materials to help researchers easily access overlapping and related materials that have been boxed separately due to the restrictions. The Oversize Materials Series contains miscellaneous oversize materials of a biographical and literary nature.
Acquired as part of the Sallie Bingham Center for Women's History and Culture.
The papers of Kate Millett provide rich documentation of Millett's activities as a feminist activist, artist, and author of numerous works, including Sexual Politics, whose publication established her as one of the founding 20th century feminists. Other works for which supporting materials exist are The Loony-bin Trip, Flying, and The Basement.
Seen in a broader context, Millett's papers provide important documentation of the history of the feminist movement and feminist theory in the United States, including the history of the National Organization for Women. Materials in the collection also cover feminism and the social conditions for women around the globe, especially in France, Italy, and the Middle East - most notably Iran, where Millett traveled in 1979-1980.
The earliest dates in the collection, 1912 and 1928, refer respectively to an early family photograph, and historical resources used when writing the book A.D.. The bulk of the materials span her adult life from the 1950s through the early 2000s.
The collection content reflects the intensely personal nature of much of Millett's work and the frequent fusion of her personal, political, and professional interests, strongly evident in the many files of personal and literary correspondence, including significant exchanges with Ti-Grace Atkinson, Rita Mae Brown, Phyllis Chesler, Andrea Dworkin, Cynthia McAdams, Yoko Ono, Alix Kates Shulman, Gloria Steinem, and many other activists, writers, artists, friends, partners, and family.
Additional series include writings by other authors; papers documenting Millett's work as an artist and instructor; files relating to her New York State farm and artists' colony; materials from Millett's student years, including her thesis which led to the book, Sexual Politics; and scripts and other papers relating to Millett's little-known documentary film, Three Lives (a copy of the film also exists in the collection). Other materials document her relationship with her mother during the last years of her mother's life, also the topic of her book, Mother Millett. Subject files relate to Millett's involvement with the gay and lesbian communities, her research on prisons and torture, and her diagnosis with bipolar disorder and subsequent involvement in anti-psychiatry activism. There are also extensive printed materials such as serial issues, articles, clippings, posters, fliers, mainstream and grassroots newsletters, event programs, and manifestos.
Audiovisual materials, many available through digital access copies, include audio and video recordings of Millett's lectures, speeches, and many conversations with activists, friends, and family. There are also many photographs, slides, and negatives documenting Millett's activities and the people in her life.
Rounding out the visual components of the collection are over 250 pieces of Millett's artwork created by Millett, who was also involved in the Fluxus art movement. Predominant formats include ink drawings, calligraphy, and graphic prints. There are also sculptures and other three-dimensional works, some of which formed part of an installation representing events that surrounded the murder of Sylvia Likens, also the subject of Millett's book, The Basement. A full inventory of the artwork is available in this collection guide.
Electronic formats include some correspondence, book drafts, and other writings. These files are included in the inventory under the appropriate series. The electronic files have been migrated to a library server; please contact the Rubenstein Library for access.
The collection documents the personal, political, and professional aspects of the life of an important feminist writer of the twentieth century. It is organized into the following series: Correspondence, Writings, Speeches and Interviews, Subject Files, Personal Files, Teaching Materials, Audio-Visual Materials, Photographic and Visual Materials, and Oversize Material. The largest group of materials consists of documentation on all of Morgan's significant written works: Demon Lover; Depth Perception; Dry Your Smile; Going Too Far; A Hot January; Lady of the Beasts; Saturday's Child; her well-known feminist anthologies, Sisterhood is Powerful and Sisterhood is Global; and other materials on her poems, articles, and other writings. In addition, Morgan's papers hold many items of correspondence with a wide range of individuals, including prominent activists and feminists as well as family members and close friends. There is also a significant amount of correspondence and other material that documents Morgan's role as founder of the Sisterhood is Global Institute, and records related to her role as editor and writer for Ms. magazine.
Seen in a broader context, the collection provides ample documentation for the study of modern feminism. Morgan's subject files (the second largest in the series) are rich in materials related to the feminist movement in the United States and around the world; and materials concerning sexual health, witchcraft, lesbian feminism, and the social, economic, and political position of women in the world (especially in the Middle East, Russia, and South Africa). There are materials on individual figures such as Bella Abzug, Jane Alpert (imprisoned revolutionary), Patty Hearst, Gloria Steinem, and Marilyn Waring. Other series hold additional materials related to Morgan's career as a writer; several of her speeches and interviews; materials from Morgan's courses she gave on feminism; and photographs and audio-visual materials.
The Correspondence Series spans much of Morgan's adult life. It is divided into two subseries: Correspondence by Name and Correspondence by Decade. The Correspondence by Name Subseries chiefly consists of Morgan's correspondence with family members, friends, fellow feminist activists and contemporary authors and critics. The bulk of the items in the Correspondence by Decade Subseries dates from the 1990s and relates to the production of Ms. magazine. The Correspondence Series is restricted: patrons must sign an Acknowledgment of Legal Rights and Responsibilities form before using the materials.
The Writings Series documents Morgan's career as a poet, novelist, essayist and journalist. Of Morgan's eighteen books, ten are represented in individual subseries. Particularly noteworthy is the material related to Sisterhood is Global, which provides an inside view into the production of the anthology. The series also contains some of Morgan's earliest unpublished writings as well as files containing her comments on other writers' work, and single issues of periodicals in which she published her poetry. The Writings Series is also restricted: patrons must sign an Acknowledgment of Legal Responsibilities and Privacy Rights form before using the materials.
The Speeches and Interviews Series primarily contains peripheral documentation such as contracts, correspondence, and schedules. However, there are drafts of a number of her speeches and interviews.
Materials which Morgan collected over the years concerning American and international feminism are located in the Subject Files Series. The materials cover a number of topics, including women's economic, political, and social status, and feminist action - especially in South Africa, the Soviet Union, and the Middle East; rape, abortion, terrorism, female genital mutilation, and pornography; and the first feminist demonstration against the Miss America Pageant. Significant figures represented in the subject files include Marilyn Waring, Patricia Hearst, and Gloria Steinem. Two subseries contain administrative information about Ms. magazine and the Sisterhood is Global Institute. The Subjects Series is restricted: patrons must sign an Acknowledgment of Legal Rights and Responsibilities form before using the materials.
The smaller Personal Files Series offers materials related to Robin Morgan's education, early critical writing, and her many trips overseas. The series also includes material that Morgan requested under the Freedom of Information Act from the FBI and CIA about her own activities.
The documents in the Teaching Materials Series are primarily related to Morgan's academic positions at New College (Sarasota, Fla.) and the University of Denver, and the courses she taught on feminism and writing. The files include both administrative documentation as well as actual course material, but there are also clippings related to feminist protests on campus.
The Audio-Visual Materials Series contains numerous interviews on cassette tapes that Morgan conducted in the Middle East, a recording of her reading of selected poems from A Hot January, and a videotape about the production of Saturday's Child. Permission is not granted to publish interviews conducted in the Middle East; the researcher is responsible for obtaining permission to publish. Original copies of audiovisual materials are not open to use; however, use copies are available to researchers.
The Photographic and Visual Materials Series provides a small visual supplement to the other documents in the collection and includes portrait photographs of Morgan taken by the press and by her close friends, as well as snapshots of social gatherings. This series also includes two painted portraits of Morgan. The series is restricted: patrons must sign an Acknowledgment of Legal Rights and Responsibilities form before using the materials.
Later additions (Accessions 2009-0069, 2010-0176, 2015-0060) have not been fully processed, but boxlists are available in the Detailed Description portion of this finding aid. Some portions are restricted or closed.
For collections related to the Robin Morgan Papers, see the Phyllis Chesler, Merle Hoffman, and Kate Millett Papers, all located in the Duke University David M. Rubenstein Rare Book & Manuscript Library. In addition to Robin Morgan's own papers, the Library also holds the records of the Sisterhood is Global Institute, founded by Morgan in 1984.