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.
Dated December 27th, 1978. A letter from Curtis Harnack, Executive Director of Yaddo, to Louise Kertesz in regard to duplicating the two group photos of Rukeyser at Yaddo.
Dated January 25th, 1979. A letter from Monica McCall at ICM to Louise Kertesz stating that Rukeyser liked the title of Louise’s book, and that she should be out of the hospital in a week to ten days.
Dated January 10th, 1979. A letter from Eric J. Carpenter to Louise Kertesz. Carpenter gives letters and microfiche to Louise Kertesz due to receiving permission from Monica McCall. Attached, another letter dated January 17th, from Eric J. Carpenter to LK. States that the letters 'crossed in the mail’. Carpenter had sent copies of Rukeyser’s letters on the 9th, and hopes Louise has received them by now. Louise did not request the microfilm of her manuscripts. Both letters from the University of New York at Buffalo.
Dated January 4th, 1979. A letter from Monica McCall at ICM (International Creative Management) to Eric Carpenter, Acting Curator of Poetry Collection at SUNY Buffalo, New York.. Authorizes Louise Kertesz to use letters from the poetry collection in her book. Some handwritten notes are on the paper.
Dated August 23rd. 1978. A typed letter from Miriam M. Reik to Louise Kertesz. Miriam M. Reik, a former student of Rukeyser at Sarah Lawrence recalls Rukeyser’s”unorthodox: but “entirely common sensical” teaching style. She provides one example when the class was assigned Blake’s poetry: “When we came to class, presumably having read it, Muriel asked us to write a description of Newton on the spot. Surprised by the instructions, most of the students set about the task armed with a set of predictable ideas: Newton meant reason as opposed to imagination, science as opposed to poetry; Blake was a mystic and disliked Newton and said so; scientists like Newton looked a certain bespeckled way, and so on. So most of us described an appropriately dry, professorial-looking Newton in this impromptu exercise. When we finished, Muriel managed to jiggle all of these simplicities out of our heads, merely by passing around Blake’s painting of Newton, in which he looks rather like a Greek God, preoccupied with the wonderful symmetries of geometry. This strategy did not solve the question of the relations between science and poetry, and it did not offer a specific interpretation of Blake, but for anyone with half a brain, it set you down a new track, gave you new access to the poems, and broke down what Muriel has called ‘the resistances’ to the work of the imagination.”
Dated January 2nd, 1979. A typed letter from Phyllis Leith to Louise Kertesz, writing on behalf of Denise Levertov. Levertov gives Louise Kertesz permission to use her quotes in her book, and brings up that two of her poems in Sorrow Dance, “The Unknown” and “Joy” are related to Muriel Rukeyser’s work.
Dated July 10th, 1978. A typed letter from Jane Cooper to Louise Kertesz. Cooper apologizes for replying to the letter so late, and expresses elation that Louise Kertesz is writing a book about Rukeyser. The letter suggests names of former Rukeyser students to contact. “Muriel’s writing has always meant an enormous amount to me. She was the first contemporary woman poet I read, when I was 13 or 14 … Later, in the 50s & 60s, we taught together at Sarah Lawrence. Her course then was the “Orlando” course–a marvelous, unorthodox history of English literature, which used the Woolf work as a sort of frame, read both at the beginning & end of the year. and some checks are next to the names of the sources. Some handwritten notes are also on the letter.
Dated November 7th, Unknown Year. A handwritten letter from Jane Cooper to Louise Kertesz. Cooper talks about a Writer’s Conference: A Day in Honor of Muriel Rukeyser that she hopes Kertesz will attend. Cooper regrets not having any photographs of Muriel. Letter is underlined in red (by LK) in some places.
Dated December 21st, Unknown Year. A typed letter from Gloria Bowles, University of California, to Louise Kertesz.. Bowles has included a mention of Kertesz’s book on Rukeyser in a review essay for Signs.
Dated August 3rd, 1977. A typed letter from the literary agent Richard Balkin. Balkin declines becoming the literary agent of Louise Kertesz, however, he does suggest that the book will find a publisher, and brings up another company. Some handwritten notes, including the name of another agent, are added. The letter is also underlined in parts.
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.”
Dated January 6th, 1978. Copy of a typed letter from Richard Eberhart to Beverly Jarrett, executive editor of Louisiana University Press. Louise Kertesz is CC’D. Contains a Eberhart’s blurb for Kertesz’s forthcoming book. Also contains Eberhart’s handwritten notes to Kertesz.
Dated August 1st, 1976. A handwritten letter from Kenneth Rexroth to Louise Kertesz, in which he agrees to write the preface to her book on MR (The Poetic Vision of Muriel Rukeyser) and discusses Rukeyser’’s relation to the San Francisco Renascence and the Beats: “She didn't associate much with other poets but she was a good friend of mine & of Duncan’s. Patchen had even less to do with the locals. The Beats publicity machine has obliterated the SF ‘renascence’--and, of course, they have no real connection with SF–they are New Yorkers. If Muriel wants to be connected with them, she’s crazy. I have spent 20 years trying to get them off my neck and out of my hair. She is an infinitely better poet than any of the Beats….
Dated October 13th, 1978. A typed aeromail from Clive Bush to Louise Kertesz, providing the full reference to his 1977 essay “Muriel Rukeyser: the poet as scientific biographer.”
Dated April 6th, 1976, a typed letter from MIT professor Cyril Stanley Smith to Louise Kertesz in response to her inquiries about Willard Gibbs and The Traces of Thomas Harriot: “You ask about scientists’ views on W. G. Frankly, I have never met one who liked it. Most of them think that it is not the biography of a scientist. For all of its studies of incoming and outreaching influences, it fails to catch the intellectual experience of the scientist in finding and clarifying his problem and doesn't distinguish between the moments of insight and the hard work of verification and transmission” (underlined in red by LK). Suggests that both WG and The Traces “are somewhat questionable if they are judged by the standards of down-to-earth well disciplined science or history of science, and they may even me [sic] a bit unreliable as biography.” Suggests that the two books need to be supplemented by more critical scientific biographies.The letters are underlined and have handwritten notes by Louise Kertesz.
Dated April 12th, 1976, a typed letter from MIT (Massachusetts Institute of Technology) professor Dirk Jan Struik to Louise Kertesz, in response to her inquiries about Muriel Rukeyser’s Willard Gibbs: “I never read Muriel Rukeyser’s book on Willard Gibbs, but did read that one on Thomas Harriot. This was some years ago, and I only remember off hand the general impression it made on me, namely that I got little out of it.”
Dated December 13th, 1978. A typed letter from John Cheever to Louise Kertesz, talking about a photograph from Yaddo with Muriel in it. Also contains some handwritten notes by Louise Kertesz.
Dated September 20th, 1978. A typed letter from MH (Mary Hayne) to Louise Kertesz North recounting North’s experience in a class held by Muriel Rukeyser. Entitled: “Come To Your Shell: Muriel Rukeyser from the eyes of a student.
Dated September 12th, 1978. A typed letter from Mary Hayne North, a former student of MR at Sarah Lawrence, to Louise Kertesz, talking about contributions that she could make for Louise’s book, such as her review of THE GATES, as yet unpublished; she also offers to paint a portrait of Muriel Rukeyser and wonders if she knows of grants that might support such endeavor..
Closets R4 Clothes was a LGBTQ oriented student radio program from the University of Michigan's WCBN Ann Arbor. The Closets R4 Clothes collection in the Eastern Michigan University Archives contains radio broadcast recordings from 1988 to 1999. This December 1990 broadcast includes an interview with the Director Urvashi Vaid of the National Gay and Lesbian Task Force, musical selections, and a sketch comedy piece.
Closets R4 Clothes was a LGBTQ oriented student radio program from the University of Michigan's WCBN Ann Arbor. The Closets R4 Clothes collection in the Eastern Michigan University Archives contains radio broadcast recordings from 1988 to 1999. This October 1990 broadcast includes musical selections, information on queer events in Ann Arbor and Washtenaw County, LGBTQ-related news from around the world, and an interview with American cartoonist and original creator of the Bechdel test, Alison Bechdel.
Closets R4 Clothes was a LGBTQ oriented student radio program from the University of Michigan's WCBN Ann Arbor. The Closets R4 Clothes collection in the Eastern Michigan University Archives contains radio broadcast recordings from 1988 to 1999. This February 1995 broadcast includes an interview with famed poet and writer Allen Ginsberg.
Closets R4 Clothes was a LGBTQ oriented student radio program from the University of Michigan's WCBN Ann Arbor. The Closets R4 Clothes collection in the Eastern Michigan University Archives contains radio broadcast recordings from 1988 to 1999. This August 1991 broadcast includes information about queer events in Ann Arbor and Washtenaw County, musical selections, LGBTQ-related news from around the world, and an interview with an Ann Arbor area lesbian male impersonator.
Closets R4 Clothes was a LGBTQ oriented student radio program from the University of Michigan's WCBN Ann Arbor. The Closets R4 Clothes collection in the Eastern Michigan University Archives contains radio broadcast recordings from 1988 to 1999. This July 1991 broadcast includes musical selections, information on queer events in Ann Arbor and Washtenaw County, and LGBTQ news from around the world.
Closets R4 Clothes was a LGBTQ oriented student radio program from the University of Michigan's WCBN Ann Arbor. The Closets R4 Clothes collection in the Eastern Michigan University Archives contains radio broadcast recordings from 1988 to 1999. This July 1991 broadcast includes a listing of local queer events in Ann Arbor and Washtenaw County, LGBTQ-related news from around the world, musical selections, and the second half of an interview with Native American and AIDS activist Beth Brant.
Closets R4 Clothes was a LGBTQ oriented student radio program from the University of Michigan's WCBN Ann Arbor. The Closets R4 Clothes collection in the Eastern Michigan University Archives contains radio broadcast recordings from 1988 to 1999. This July 1991 broadcast includes information on queer related cinema, LGBTQ news from across the country, musical selections, and a piece by drag queen Vaginal Cream Davis.
Closets R4 Clothes was a LGBTQ oriented student radio program from the University of Michigan's WCBN Ann Arbor. The Closets R4 Clothes collection in the Eastern Michigan University Archives contains radio broadcast recordings from 1988 to 1999. This June 1991 broadcast includes an intro to the twelfth anniversary of the White Night riots in San Francisco that occurred after the assassination of Harvey Milk, musical selections, and a reading of a poem titled "I am a SCAB (Society for the Complete Annihilation of Breeding)."
Closets R4 Clothes was a LGBTQ oriented student radio program from the University of Michigan's WCBN Ann Arbor. The Closets R4 Clothes collection in the Eastern Michigan University Archives contains radio broadcast recordings from 1988 to 1999. This January 1991 includes an interview with Indigo Girls singer/songwriter Amy Ray.
Closets R4 Clothes was a LGBTQ oriented student radio program from the University of Michigan's WCBN Ann Arbor. The Closets R4 Clothes collection in the Eastern Michigan University Archives contains radio broadcast recordings from 1988 to 1999. This January 1991 broadcast includes an interview with Elise Bryant, a Ann Arbor-based playwriter of the production of "Zoo Zoo Chronicles."
Closets R4 Clothes was a LGBTQ oriented student radio program from the University of Michigan's WCBN Ann Arbor. The Closets R4 Clothes collection in the Eastern Michigan University Archives contains radio broadcast recordings from 1988 to 1999. This January 1991 broadcast includes an interview with Ilene Lynch from the domestic violence organization SafeHouse about the topic of lesbian battery.
Closets R4 Clothes was a LGBTQ oriented student radio program from the University of Michigan's WCBN Ann Arbor. The Closets R4 Clothes collection in the Eastern Michigan University Archives contains radio broadcast recordings from 1988 to 1999. The February 1991 broadcast includes LGBTQ news and events in Washtenaw County as well as an interview with LGBTQ novelist Lev Raphael.
