245 items

• Letter from Susan Highleyman to Louise Kertesz
  The eleventh typewritten letter, dates June 20th, 1979. From Susan Highleyman to Louise Kertesz. The letter states that Ms. Highleyman will contact William Meredith and Grace Schulman for advance comments, and she will send Hayden Carruth a review copy of the book.
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  Letter from Susan Highleyman to Louise Kertesz
  The thirteenth typewritten letter, dated May 4th, 1979 from Susan Highleyman to Louise Kertesz. The letter tells Louise that Highleyman has written to Michael True, letting him know when bound pages will be available, and to Margaret Weeks, informing her of True’s intent to review Poetic Vision.
• Letter from William Phillips to Louise Kertesz
  Dated June 23rd, 1976. A typed letter from William Phillips of Partisan Review to Louise Kertesz: “It’s difficult to answer your questions since they all seem to have some hidden assumptions.”
• Letter to Denise Levertov to Louise Kertesz
  Dated July 19, 1977, from Louise Kertesz to Denise Levertov, stapled to Levertov’s response.. Louise tells Denise that she is writing the conclusion of the first book-length study of Muriel Rukeyser. And she adds that some of Levertov’s poems, such as “Living,” “The Freeing of the Dust,” and “The Wealth of the Destitute” mean a lot to her. Louise asks Denise to give her a phone call or send her a letter that details what Muriel meant to her, and for her to comment on which of Rukeyser’s books meant most to her. At the end of the letter, Louise gives Levertov her phone number.
• Letter to Louise Kertesz from Hayden Carruth
  Envelope dated February 2nd, 1989, while the letter is dated February 1st, 1980. Letter is to Louise Kertesz from Hayden Carruth from the English Department of Syracuse University. Carruth acknowledges that he received both galleys and a finished book, and that everybody in the literary world, including Denise (Levertov?) is pushing him to do the ‘same sort of thing’, but he can't. He also states that he wrote a collective elegy for the poets who died last winter and spring, including Muriel, and that it will be published somewhere soon. Noteworthy lines: “Why don't the young assume some of the burden? If I sound old and peevish, I am. But of course I mean nothing personal.”
• List of people that Muriel Rukeyser was close to and their occupations
  Undated, labeled ‘San Francisco 1944-1949. Handwritten by Muriel Rukeyser, it contains a list of people that Muriel was close to and their occupations while she lived in S.F.: Herbert Evans, US anatomist, biologist; Mare de L. Welch, writer, poet, “close friend”; Matthew Barnes, painter, plasterer for Diego Rivera; Alfred Marshak, geneticist, U-C, radical; Glyn Collins, “painter, husband”; Donan Jeffers, “one of the twin sons of Robinson Jeffers–unique, wild, splendid, ‘out of time with the century’”; Kenneth Rexroth, “poet, scholar”; Freda Koblick, “sculptor, artist in plastics; Josephine Miles, poet; David Jenkins and Louise, California Labor School; Thomas Addis, renal scientist, radical; Emmy Lou Packard, artist, muralist; Dorothy Erskine, social activist, city planning; Lene [?] Goldsmith and Nancy Naumburg, “friends from earliest life in New York”: Dr. Eric Bena, psychiatrist Carmel–wrote Innas [?]; Robert Duncton, poet. People Play, died in Action: Stapled to a postcard from Muriel Rukeyser to Louise Kertesz in which she mentions additional people who “were important to me in California.”
• List of typewritten journals and magazines to contact for reviews
  The third sheet of paper is the typewritten journals and magazines to contact for reviews.
• Louise Kertesz poet credo
  Unknown date. Louise Kertesz’s poet’s credo: “I think of writing as a way to explore and clarify my perception of the world – my personal sphere of relationships, work, place, and sometimes, through these, the larger world as well…” On back page is a draft from Kertesz’s book on Rukeyser.
• Louise Kertesz's notes from taped interview
  Original copy of Louise Kertesz’s notes from an interview with Rukeyser on cassette tapes dated July 11th, 1977.
• Louise Kertesz's review of Sexton's "The Death Notebooks" for the Daily Hampshire Gazette titled "Sexton's poetry: ax for our frozen sea"
  Dated 1974, unknown day or month. Louise Kertesz review of Sexton’s “The Death Notebooks” for the Daily Hampshire Gazette. Entitled “Sexton’s poetry: ax for our frozen sea,” Kertesz summarizes some of Sexton’s works and refers to the “frozen sea,” or our numbed consciousness of the special horrors of the 20th Century, from World War I through Hitler and Vietnam. Sexton was the ax for our frozen sea, which means that she awakened our consciousness to these horrific times in history.
• Lyrics from Muriel Rukeyser's musical Houdini
  Dated Unknown Day 1973. A sheet featuring lyrics from Muriel Rukeyser’s musical Houdini. These include “The Mediums,” “Coney Island,” “Chains,” “Beer and Bacon,” “Yes,” “Chow,” “What the King Said,” and “I Make my Magic.” The play was directed by Grover Dale, and the music was by David Spangler. According to Bill Rukeyser, who was in attendance at the opening performance of Houdini at the Lenox Arts Center, copies of this sheet were handed to each member of the audience.
• Ms. Lot, poem by Muriel Rukeyser scan
  Ms. Lot, a poem by Muriel Rukeyser. A scan from a book. Has some handwritten notes and addresses written by Louise Kertesz on the back.