An original page of a calendar, unknown year, for the month November. The calendar page has Rukeyser’s photo and her poem “Rune,” on the back. The calendar seems to celebrate poets, since the birthdates of several poets, such as Anne Sexton,Vachel Lindsay, Allen Tate, Alexander Blok, and Wiliam Tate are on the calendar.
Unknown year and date. A typewritten letter from Louise Kertesz to someone named Elaine. Louise says that she enjoyed Elaine’s poetry, especially those in which she offered “pictures of people in her past” such as her father, brothers and their wives, her mother, Patsy, and Elaine as a child. Elaine has stated that she doesn't think that poetry sells, and indeed, Louise confirms it doesn’t sell. Big newspapers and publications such as the New Yorker and The Atlantic are not that interested in poetry. The best selling poet, Kenneth Rexroth, only sells about a thousand copies per book. Louise then looks at Elaine’s poems and says that she tells rather than shows, and to cut down on generalizations. Louise says that she sent this letter in the spirit of mutuality, and that if Elaine wants to send her poems to small publications, Louise would be willing to give her addresses. Someone, possibly Louise Kertesz, has handwritten on the top of the first page of the letter, ‘Who is this addressed to?’.
A collection labeled ‘MY PHOTOS’ A collection of an old negative order form, two negatives, and five black-and white photos labeled December ‘78. Photos are labeled on the back, 1 through 5.
Dated April 19th, 1947. Photocopy of a statement from Muriel Rukeyser, naming Marie W. West and Betty B. Hogan joint executors of her will should she not survive her pregnancy: “I should like Betty and Marie to be my executors, with my lasting thanks, and it is my wish that Betty and her husband be guardians of my child….If there is no survivor, Marie W. West is to have everything–little enough.” on top of the note, a handwritten note by Rukeyser: “superseded–MR. 1963.”
Photocopy of two letters from Anne Sexton to Muriel Rukeyser. Dated November 1st, 1967, Sexton states that she keeps Muriel’s “The Speed of Darkness” on her desk. Notable lines: “It glistens here like the first washed flowers in spring when you sent it to me. Section one goes whammy! Then flows out like an infusion of blood into the body.” Dated December 19th, 1967, Sexton’s letter states that she loved Muriel’s telegram and their quick hug at the Guggy (Guggenheim Museum). States that Muriel’s new poem is splendid. Notable lines: “Your poems move like dreams and sink into my unconscious to reappear at night. They frighten. They become a memory. I love you.”
Dated December 1st, 1942. Photocopy of a typed note written by an unknown person, most likely Rukeyser, on the word “surpass”: “Somehow, the word for surpassing, the word for a tremendous spiritual effort that will bring our total culture through, discarding and refining as it strengthens–that word is needed.” Handwritten notes in Rukeyser’s handwriting:”by a tremendous and total effort, one civilization can grow in every part so that it can forever crush the fascist threat of brutalizing [?] whatever good we have gained, and killing a great part of both good and evil.”
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.”
Undated. A big paperclipped pile of Kertesz’ handwritten research notes from the Rukeyser Collection of papers at the New York Public Library. Contains addresses, many underlines, and other written in additions. Eleven pages, double-sided (22 pages written).
Dated 1970, unknown month and year. An article, xeroxed from a book, titled ‘THE BARFLY OUGHT TO SING’ by Anne Sexton (from Triquarterly 7, 1970).. Details her relationship with Sylvia Plath, and that the two women bonded over their “first suicides.” Includes a poem titled “Sylvia’s Death,” The article is underlined in several places.
Unknown date. Another syllabus for Louise Kertesz’s class on Women. Seems to be a whole different syllabus than the last one. Has some handwritten notes.
Dated February 17th, 1977. A letter from Alan Shaler to Stephen Seybolt. States that Shaler visited Louise Kertesz’s class on Thursday, February 17th. Notes three problem students that Shaler was never able to draw out in his own class. Shaler was prepared for “a rather dull period,” but was pleasantly surprised that the students were “generally responsive and seemed genuinely interested in what they had been reading.” Kertesz allowed the students to speak freely, but she was in control of the class the whole time and there was never any really unrelated discussion. When a student proposed a point of view, Kertesz did not treat the point of view like it was unreasonable, but she questioned the student so they could understand a wider point of view and not make a fool of themselves in front of the class. Kertesz did not like to lecture her students, but there were some who didn't say anything at all during the class, and there were a few lapses when the class said nothing at all. Shaler suggested drawing the more reticent students out, but was afraid that this would be time consuming. In general, he enjoyed his visit to the class and feels that the college faculty is fortunate to have Louise Kertesz as part of their staff. Louise Kertesz has seen the letter, and has written, “Approved! And Thanks,” signing her name under the comment.
Dated Spring, 1977. A Syllabus for Louise Kertesz’s class, Women Poets. There are many handwritten revisions, with added pages to read, notes, and more.
Dated May 26th, 1977. Louise Kertesz’s essay exam for a course she taught on Women Poets. The assignment is in two parts. Part One: “So you took a course in Women Poets!” wheezes your elderly great-uncle Jasper. “Isn't that sweet,” he continues, sipping his camomile tea. “More young ladies should read pretty verse. Then maybe we'd have sweet young ladies again, like that lovely Miss Dickinson in Amherst, so quiet and demure. Ah yes…one of my favorites is the ‘How do I love thee’ verse by that frail Mrs. Browning…” Fill Uncle Jasper in on 20th Century poetry by women. Discuss poems of Plath, Sexton, and Rukeyser, explaining the themes these poets explore and the ways they shock–or at least stimulate–readers into a new awareness of the world and of women’s lives. Take some time to tell Uncle Jasper about the real Dickinson and Browning, Discuss specific poems and themes. Mention other women poets of the past such as Bradstreet and 1) the way their writing reflected or defied the expectations of a patriarchal society and 2) the way literary historians have dealt with their lives and work. [SUGGESTED TIME: ONE HOUR AND 15 MINUTES]. Part Two: ``Write an essay entitled “Adrienne Rich: A Poet’s Evolution.” Discuss key lines and images from the following groups of poems (as many poems from each group that you can), explaining how Rich’s consciousness of herself, her craft, her relationships and society changed over the course of her career. Point out how her later development is foreshadowed in specific early poems, and note the change between her early and later styles of writing. Several of Rich’s poems are presented in groups. Published in 1951-1955: “An Unsaid Word” , “At a Bach Concert”, “Living in Sin”, “Autumn Equinox”. Published in 1957-69: “The Knight:, “Snapshots of a Daughter-in-Law”, “Necessities of Life”, “In the Evening”, “Tear Gas”. Published in 1971-72, “Planetarium”, :'' The Burning of Paper Instead of Children”, “Incipience”, “Diving into the Wreck”. “Rape”, “From a Survivor”. Published in 1974, “White Night”, “For L.G.”, “From an Old House in America”. [SUGGESTED TIME: 45 MINUTES)
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.
Dated October 5th, 1974. A New York Times article titled “ANNA [sic.] SEXTON DIES, PULITZER POET, 45’ that details the death of Anne Sexton, a poet that Rukeyser was compared to in terms of the content of their poems.. Suffering from “deep melancholy” or depression, Sexton was recently divorced from her husband, Alfred, and had two daughters, Linda and Joyce. The death was either natural causes or suicide. She was found in an idling car parked in her garage.
Undated. A poem by John Tagliabue titled “American Complicated With Integrity: Homage to Muriel.” Her poems, he writes “have collected our hope and power, to walk with / her and them makes us see bold incorrigible / indivisible Whitman ahead.”
Dated 1980, unknown day and month. A review of Louise Kertesz’s book that appeared in the Albuquerque Literary Supplement. The review states, “Kertesz’s work suffers a bit from her too obvious loyalty to her subject, though this is also its strength as her volume becomes not only the first book-length explication of Rukeyser’s writing, but a spirited defense of a relatively neglected (thanks to her efforts to do battle with the New Critics 40 years ago) American poet of power, range, and sensitivity.”
Undated. A review of Louise Kertesz’s book that appeared in the Journal of Modern Literature. The review states that “Kertesz argues convincingly that the time is right for full appreciation of a vigorous woman who wrote poetry both passionate and controlled.”
Dated December, 1979. A review and summary of Louise Kertesz’s book, The Poetic Vision of Muriel Rukeyser, that appeared in the Library Journal. The review states that the book “guides the reader through decade after decade of publishing, explicating poem after poem, line after line. It reveals crosscurrents of thought and technique pointing to Crane, Eliot, Whitman, and others.”
Undated. A note from Catherine Silvia to Louise Kertesz. Silvia, the Promotion Manager of LSU (Louisiana State University) Press states, “Enclosed are reviews and/or advertisements of your LSU Press book. The publication in which the review/ad appeared is noted on each enclosure.”
Dated July 22nd, 1979. “Daughter of the 19th Century Poet’s Best Efforts are in Romantic Vein,” a review of Rukeyser’s Collected Poems by B. R. Cohen, published in the Courier Express, Buffalo, New York. Cohen finds it interesting that Rukeyser, despite having been born more than 70 years ago, wrote poetry “almost as rugged, as sexually explicit as that of Anne Sexton.” And yet, he continues, “the end effect is curiously neuter” and her sexually explicit words are, “rather, like words issuing from a poetic eunuch, peculiarly asexual, oddly abstract, diffuse, not felt.” Indeed, as “mother of us all,” Rukeyser, Cohen asserts, “shares with many out mothers the terrible ambivalence that comes from being born and reared so close to the turn of the century. She is split down the middle… by the contradiction between what she has, despite herself, internalized from the teachings and behavior of her parents, her milieu, and what she has labored so staunchly to teach herself about the proper role (and language) of women.” Muriel’s poetry tells us that “Women are meant to be fully fleshed, strong, natural, passionate, sexual, solved–everything, that is, that men are supposed to be,” yet, he goes one: “So the poet tells us, but she doesn't believe it–not really–not so that these sentiments, this rhetoric is transmuted into something genuine enough to become a real poetry.”
Undated. William H. Pritchard’s review of recent poetry for The Hudson Review. The review states that Muriel Rukeyser is on her way to becoming “The Grand Old Woman” of American poetry, or at least that’s what Prichard gathers from the glowing reviews of her collection of twelve books. Erica Jong called Rukeyser “the mother of us all” and Prichard hastens to add that Rukeyser is not his mother. Prichard calls Rukeyser “one of the great bores of American poetry,” comparable to Oscar Williams, Stephen Spender, and Gene Derwood. He also states that Rukeyser has “a reverence for life, complete with deep thoughts about ultimate things,” such as that “it is wrong, evidently, to despise either the clitoris or the penis,” which the reviewer states is “too deep for a simple fellow like me.”
Unknown date. Photocopy of Rukeyser review of Robert Duncan’s book of poems Heavenly City, Earthly City. Entitled “Myth and Torment,” Muriel’s review is glowing. She states at the end that Robert Duncan ‘...has struck past his apparent flaws; I think he has found his own voice, and among the Miller-haunted writers of this coast, he is building the scene into poems, making experiment, music, debt, into a personal and widening art.” There are underlinings by Louise Kertesz in the article.
Unknown date. Titled “Bibliographies of Past Faculty From the Sarah Lawrence College LIbrary” and subtitled “Bibliography #2 Muriel Rukeyser.” Includes a short biography of Muriel Rukeyser, a list of her poetry publications and other works, selected articles by Muriel Rukeyser, selected articles about Muriel Rukeyser, and recordings of Muriel reading her poems.
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.
Dated March, 1974. A whole issue of American Poetry Review (Vol. 3, No. 3, 1974), with a picture of Muriel Rukeyser on the front cover and the heading, “Muriel Rukeyser on Kafka’s Letters.” Includes nine poems by Rukeyser: “How We Did It,” “Then,” “‘Before Danger,” “The Iris-Eaters,” “Not to Be Printed, Not to be Thought,” “Recovering,” “Trinity Churchyard,” “Parallel Intervention” and “IVES.” Also contains a Rukeyser’s review “The Life To Which I Belong: Kafka’s Letters to Felice.” Issue also includes Virginia R. Terris’s“Muriel Rukeyser: A Retrospective.”. There are many handwritten notes in the article, and underlinings of passages by Louise Kertesz..
Dated February 20th, 1979.Cut-out of Michael True’s review of Rukeyser’s Collected poems, titled ‘The Collected Works of a Persevering Poet: Muriel Rukeyser’s Unique and Therapeutic Vision.” Michael True was professor of English at Assumption College. The review also covers her career as a poet, and states that Muriel had numerous false starts, to which someone, most likely Louise Kertesz, handwrote next to that passage, ‘“What?”. There are also other comments and underlinings on the article.
Dated February 11th, 1979. Cut-out of Anne Stevenson’s “With Head and Heart,” a New York Times review of The Collected Poems of Muriel Rukeyser and May Swenson’s New & Selected Things Taking Place. The article reviews Rukeyser’s poetry in complimentary terms, placing her in “a central tradition in American writing–Melville, Whitman, Crane, Snyder. But, like Melville’s, Miss Rukeyser’s realism is really a bridge to an intensely visionary state of awareness. The line between world and world is indistinct. The threshold of the miraculous and mystical is never far away. It is as if life were always happening to her on two or three levels. Beneath her passion for social justice and her empathy with all sufferers lie deeper apprehensions of what existence and its paradoxes can lead to… ‘No more mask[sic] ! No more mythologies!’ Miss Rukeyser cries in a poem called ‘Orpheus’ (from ‘The Poem as Mask’). But in truth, the coherent body of her poems comprises a mythology that poetry cannot do without. The body of symbol and belief which she has nurtured over the years has worn its masks memorably. All have been worth keeping, as Yeats’s masks were worth keeping….”.
Dated Sunday, January 21st, 1979. Cut-out of a review of The Collected Poems of Muriel Rukeyser by Jane Cooper, Washington Post. Cooper was poet in residence at Sarah Lawrence College. The review, which is on multiple pages, taped together, asserts: “The best thing the publication of The Collected Poems can do is to right a balance, to set the work of Muriel Rukeyser where it belongs, at the center of the poetry of her generation written in America. Once again now we can read all the poems of that first dazzling decade and understand why they were celebrated. Can we also manage to understand why, in the 15 or so years between the end of World War II and the publication of Waterlily Fire, the work came to be neglected, even disparaged? Our health depends on this understanding, too. My guess is that the New Criticism set up exactly the wrong standards by which to measure a poet of Muriel Rukeyser’s concerns. In the McCarthy era her political material was suspect. Was her very openness to the truths of her inner experience, “as in sex, dreams,” equally suspect? What did people want from a poet in the 1950s, especially from a woman poet?”
Unknown Date. A photocopied description of a movie about Rukeyser (available as video cassette and a 16mm film), focused on her life and poetry. (Library of Congress No. 78-701170). States that Muriel was rated as one of “The most interesting and individual poets” in 1935 by Stephen Vincent Benet. Describing Muriel’s work, it says, “Always a political poet, she selects those who demean the value of human life as her targets.” “When asked to talk about the obstacles a poet faced, Rukeyser mentions misunderstanding–misunderstanding from oneself, one’s family, the audience. Rukeyser strives to overcome these and the most recent barriers to her poetry, two disabling strokes… Muriel Rukeyser is continually challenged by the difficult job of writing poetry that reaches the people.”
Dated January 20th, 1981. A handwritten letter on three small pages from Denise Levertov to Louise Kertesz. States that Louise has done a good job publicizing the book and getting people’s attention. Denise suggests that Louise write to Hayden Carruth from the University of Syracuse (which Louise later does) and get him to review it. Says that one day, Louise’s book will be looked at as important. Also contains a photocopy, dated October, 1980, from Choice, of a description of Louise’s book. “Along with the recently published Collected Works …, this book should do much to locate Rukeyser within the pantheon of modern American poets. Whether or not the high praises Kertesz lavishes on the poetry will hold up in later years remains to be seen in further, possibly more disinterested, studies.”
Dated March 29th, unknown year. Postcard to Louise Kertesz from Mary Baldwin. States that Baldwin got a copy of the book, and that she loves it. She also thanks Louise for putting her in.
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.”
Two reviews titled ‘First Extended Study of Muriel Rukeyser’. One is undated, the other has the title of the heading it appeared under, which is ‘Books’, with the date November 9th, 1980. By Michael True, who was a professor of English at Assumption College,the article discusses Louise Kertesz’s book, The Poetic Vision of Muriel Rukeyser.
Dated December 22nd, 1980. A letter from poet Marge Piercy to Louise Kertesz.. Piercy writes that she misunderstood the content of Louise’s book, and thought Louise was writing a biography instead of a scholarly book. States that many of the people Louise approached were poets and writers. Piercy states that she usually does not read scholarly literature, and does not feel qualified to review the book. She then goes on to say that the book is not for a general audience, and that she spoke to Grace (most likely Grace Paley) and that she had a similar reaction to Piercy.
Envelope, undated, titled ‘Review by Richard Eberhart’. The review is complimentary, saying the lengthy book that Louise Kertesz wrote should be published to bring Rukeyser back into the national spotlight. Eberhart says the book should be published as is, and that many people and libraries would be interested in having and reading this book. “Louise Kertesz’s huge volume on Muriel Rukeyser’s poetry should not only be published, but it should prove to be a monument to the value of Rukeyser’s work to American culture. It vindicates her sometime neglect and misunderstanding through decades, and establishes the glory and splendor of her gifts not only to poetry, but in prose books as well. Her imaginative powers are well documented in the words of critics and used throughout.”
Dated July 19th, 1980. A letter from Layle Silbert to Louise Kertesz. Layle was a professional photographer who had some photos of the late Muriel Rukeyser. Louise’s name is spelled ‘Louis’ on the letter, and the letter starts, ‘Dear Mr. Kertesz’.
Dated October 18th, 1976. A letter from Dwight MacDonald to Louise Kertesz. Answers questions Louise posed him in a June 25 letter about “that editorial roughing up of Muriel Rukeyser in the Sept.-Oct. 1943 PR”; “why MR was put down similarly by other critics of the period (Jarrell, Bogan, Humphries)”; and “why Shapiro and Lowell got Pulitzer prizes and MR didn't”; his “opinion of her work to date.” Letter is crossed out in some places and has some handwriting on it.
Envelope with three photos of Muriel Rukeyser. One is from 1975, in the Westgate Prison in Seoul, Korea, another is from 1978 at Sarah Lawrence College, and the other one is undated.
Dated February 12th, 1980. Postcard from Lawrence Ferlinghetti, City Lights, to Louise Kertesz. Asks Louise to give him the facts on the Rukeyser- Octavio Paz connection.
Dated February 7th, 1980 a letter, with envelope, from Lawrence Ferlinghetti, City Lights, to Louise Kertesz. if Louise can tell him the year that Imogen Cunningham portrait was taken, due to the Cunningham Trust not knowing. He also states that the book reads well and that Louise’s publisher will send him a review copy.
Dated January 28th, 1980, a letter with envelope from Lawrence Ferlinghetti to Louise Kertesz. Heto and from the same people, asks how long Muriel lived in San Francisco. Asks Louise to send him a paragraph about Rukeyser’s life and publications when living in San Francisco. Signs off “Hurriedly, Lawrence Ferlinghetti.”
Dated October 25th, 1977. To Louise Kertesz from Kenneth Rexroth. The letter states his willingness to write a preface for Louise Kertesz’s book on Rukeyser, but he adds: “...but between you and me, I don't think the book is very satisfactory. It does not do Muriel justice. She is certainly the best poet of those now in their sixties; she is also the best US woman poet since Mina Loy and Laura Riding, and she is better than either, except for a very few poems of each. All this rehearsal of book reviews gives a completely false picture of anything except Stalinist-anti Stalinist politics and change in the Party Line itself. … Never forget–Muriel for a whole generation was, along with Patchen, myself and very very few others a rare US representative of the international idiom of modern poetry.” Compares her to Octavio Paz, Paul Eluard, Paul Celan, Eugenio Montale.
Dated July 20th, 1977. A letter from Sandra M. Gilbert, University of California, to Louise Kertesz. CC’D to Susan Gubar. They cannot use Louise Kertesz’s essays, “The Bridge, ‘Theory of Flight,’ and The Spirit of Whitman” for their collection Shakespeare’s Sisters.
Dated November 7th, 1978. A letter from Monica McCall at ICM to Louise Kertesz. McCall had spoken with a woman called Lucille Rhodes, who had no stills of Muriel. Muriel will be sending pictures of her son, daughter in law, and two grandchildren.
Dated February 1978. A picture titled Poetry Flash. Taken at the Amnesty International Benefit, it includes Muriel Rukeyser, whose name is misspelled as ‘Murial’.
Dated August 22nd, 1978. A letter from Kay Boyle to Louise Kertesz. The letter writer informs Louise Kertesz that they do not have the picture that Kertesz is looking for, but points her in the direction of Joei Tranchina, who has taken multiple pictures of Muriel Rukeyser.
Dated 1954, a photo of the Bollingen Poetry Prize Selection Committee. A group photo (from the back row, left to right) Wallace Stevens, Randall Jarell, Allen Tate. (Front row) Marianne Moore and Rukeyser.
Dated January 24th, 1979. A letter from Curtis Harnack, Executive Director of Yaddo,.to Louise Kertesz. The letter contains two photos of Muriel Rukeyser. The cost of the photos was eleven dollars.
Dated April 8th, 1980. A postcard from Kenneth Rexroth to Louise Kertesz. Talks about Louise’s book. “MR was the victim of vast & vicious critical injustices….”
Dated August 22nd, 1979. An article by Thomas Lask entitled “Books: Muriel Rukeyser Revealed as Total Poet,” in which he talks about The Collected Poems of Muriel Rukeyser.
Sunday, March 2nd, 1980. A newspaper article titled RUKEYSER, A PARTISAN OF LOVE by Kenneth Rexroth that details the poet’s death and her legacy: Muriel Rukeyser was a traditionalist. But when, like Mark Twain’s weather, everybody was talking about one tradition or another but doing nothing about it, her tradition was not recognized or was despised.” “Muriel Rukeyser believed in the Community of Love, not because she was convinced that it was going to win but because it is true, it is the right way for human beings to live.”
Unknown Date, Torn-off paper with handwritten notes by Louise Kertesz. Contains addresses and phone numbers of Louise Bernikow, Anne Sexton, William Mcguire.
Dated October 4th, 1978. A letter from Monica McCall of ICM. to Louise Kertesz. The letter states that McCall will send Louise Kertesz some Rukeyser snapshots, and that Professor Jan Berg, who translated Muriel Rukeyser’s poems into Swedish, would like to have a copy of the page proofs. Some handwritten notes are on the letter.
Dated December 29th, 1978. A letter from Richard Eberhart to Beverly Jarett. The letter states that Eberhart would like to give Louise Kertesz a blurb for the cover of the book.
Dated February 1, 1979. A letter from Monica McCall at ICM to Louise Kertesz. The letter discusses a permission letter, asking if the letter is the one from Buffalo or one that they have not attended to yet. It states that Muriel’s health is improving and that she is being taken to a rehabilitation center.
