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Otomi craftspeople began selling it in cities such as Mexico City, where the paper was revived by Nahua painters in Guerrero to create \"new\" indigenous craft, which was then promoted by the Mexican government.\u003c/p\u003e\n","\u003cp\u003eThrough this and other innovations, amate paper is one of the most widely available Mexican indigenous handicrafts, sold both nationally and abroad. Nahua paintings of the paper, which is also called \"amate,\" receive the most attention, but Otomi paper makers have also received attention not only for the paper itself but for crafts made with it such as elaborate cut-outs. \u003c/p\u003e\n","\u003cp\u003eSource: Wikipedia\nhttps://en.wikipedia.org/wiki/Amate\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Amate (Spanish: amate [aˈmate] from Nahuatl languages: āmatl [ˈaːmat͡ɬ]) is a type of bark paper that has been manufactured in Mexico since the precontact times. It was used primarily to create codices.","Amate paper was extensively produced and used for both communication, records, and ritual during the Triple Alliance; however, after the Spanish conquest, its production was mostly banned[citation needed] and replaced by European paper. Amate paper production never completely died, nor did the rituals associated with it. It remained strongest in the rugged, remote mountainous areas of northern Puebla and northern Veracruz states. Spiritual leaders in the small village of San Pablito, Puebla were described as producing paper with \"magical\" properties[citation needed]. Foreign academics began studying this ritual use of amate in the mid-20th century, and the Otomi people of the area began producing the paper commercially. Otomi craftspeople began selling it in cities such as Mexico City, where the paper was revived by Nahua painters in Guerrero to create \"new\" indigenous craft, which was then promoted by the Mexican government.","Through this and other innovations, amate paper is one of the most widely available Mexican indigenous handicrafts, sold both nationally and abroad. Nahua paintings of the paper, which is also called \"amate,\" receive the most attention, but Otomi paper makers have also received attention not only for the paper itself but for crafts made with it such as elaborate cut-outs. ","Source: Wikipedia\nhttps://en.wikipedia.org/wiki/Amate"],"prefercite_html_tesm":["\u003cp\u003eMSS 16552, Amate bark papers Tratamiento de una ofrenda pura pedir la lluvia, Small Special Collections Library, University of Virginia Library.\u003c/p\u003e"],"prefercite_tesim":["MSS 16552, Amate bark papers Tratamiento de una ofrenda pura pedir la lluvia, Small Special Collections Library, University of Virginia Library."],"scopecontent_html_tesm":["\u003cp\u003eHandmade codex titled \"Tratamiento de una ofrenda para pedir la lluvia.\"\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Handmade codex titled \"Tratamiento de una ofrenda para pedir la lluvia.\""],"names_ssim":["Albert and Shirley Small Special Collections Library"],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T22:38:42.345Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_1076"}},{"id":"viu_repositories_3_resources_1434","type":"collection","attributes":{"title":"Barrett Minor Authors Literary Collection Index cards","creator":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_1434#creator","type":"document_value","attributes":{"value":"Barrett, Clifton Waller, 1901-1991","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_1434#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis collection consists of index cards, in alphabetical order, listing the hundreds of individual authors and manuscripts that form the Clifton Waller Barrett Minor Authors Literary Collection.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_1434#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_1434","ead_ssi":"viu_repositories_3_resources_1434","_root_":"viu_repositories_3_resources_1434","_nest_parent_":"viu_repositories_3_resources_1434","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1434.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/145796","title_filing_ssi":"Barrett Minor Authors Literary Collection Index cards","title_ssm":["Barrett Minor Authors Literary Collection Index cards"],"title_tesim":["Barrett Minor Authors Literary Collection Index cards"],"unitdate_ssm":["1968 December 12"],"unitdate_other_ssim":["1968 December 12"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16730","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/1434"],"text":["MSS 16730","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/1434","Barrett Minor Authors Literary Collection Index cards","literature","American Literature--19th Century--History and Criticism","American Literature--20th Century--History and Criticism","letters (correspondence)","card files","Manuscripts (documents)","This index is open for research.","When the Barrett Minor Authors Literary Collection came to Special Collections in 1968, the entire group of hundreds of authors was given the accession number MSS 9040. 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","This collection consists of index cards, in alphabetical order, listing the hundreds of individual authors and manuscripts that form the Clifton Waller Barrett Minor Authors Literary Collection.","There are no restrictions on this collection.","Albert and Shirley Small Special Collections Library","Barrett, Clifton Waller, 1901-1991","English"],"unitid_tesim":["MSS 16730","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/1434"],"normalized_title_ssm":["Barrett Minor Authors Literary Collection Index cards"],"collection_title_tesim":["Barrett Minor Authors Literary Collection Index cards"],"collection_ssim":["Barrett Minor Authors Literary Collection Index cards"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_ssm":["Barrett, Clifton Waller, 1901-1991"],"creator_ssim":["Barrett, Clifton Waller, 1901-1991"],"creator_persname_ssim":["Barrett, Clifton Waller, 1901-1991"],"creators_ssim":["Barrett, Clifton Waller, 1901-1991"],"access_terms_ssm":["There are no restrictions on this collection."],"acqinfo_ssim":["This index was given to the University of Virginia Special Collections on December 12, 1968 by Clifton Waller Barrett as part of the Barrett Minor Authors Literary Collection."],"access_subjects_ssim":["literature","American Literature--19th Century--History and Criticism","American Literature--20th Century--History and Criticism","letters (correspondence)","card files","Manuscripts (documents)"],"access_subjects_ssm":["literature","American Literature--19th Century--History and Criticism","American Literature--20th Century--History and Criticism","letters (correspondence)","card files","Manuscripts (documents)"],"has_online_content_ssim":["false"],"extent_ssm":[".5 Cubic Feet five card file boxes (3\"x5\")"],"extent_tesim":[".5 Cubic Feet five card file boxes (3\"x5\")"],"genreform_ssim":["American Literature--19th Century--History and Criticism","American Literature--20th Century--History and Criticism","letters (correspondence)","card files","Manuscripts (documents)"],"date_range_isim":[1968],"accessrestrict_html_tesm":["\u003cp\u003eThis index is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This index is open for research."],"bioghist_html_tesm":["\u003cp\u003eWhen the Barrett Minor Authors Literary Collection came to Special Collections in 1968, the entire group of hundreds of authors was given the accession number MSS 9040. Around the time the department moved into its new facility in 2004 through 2012, the individual authors in this collection were each given their own manuscript numbers and were cataloged in Virgo. The work of the Barrett volunteers formed the basis of much of the work of description.\u003c/p\u003e\n","\u003cp\u003eThe index itself was kept with other card files in a card catalog in Room 138. When this card catalog was removed, the Barrett Minor index card files were boxed and given a new manuscript number (MSS 16730). \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["When the Barrett Minor Authors Literary Collection came to Special Collections in 1968, the entire group of hundreds of authors was given the accession number MSS 9040. Around the time the department moved into its new facility in 2004 through 2012, the individual authors in this collection were each given their own manuscript numbers and were cataloged in Virgo. The work of the Barrett volunteers formed the basis of much of the work of description.","The index itself was kept with other card files in a card catalog in Room 138. When this card catalog was removed, the Barrett Minor index card files were boxed and given a new manuscript number (MSS 16730). "],"prefercite_html_tesm":["\u003cp\u003eBarrett Minor Authors Literary Collection Index cards, MSS 16730, Albert and Shirley Small Special Collections Library, University of Virginia, Charlottesville, Virginia.\u003c/p\u003e"],"prefercite_tesim":["Barrett Minor Authors Literary Collection Index cards, MSS 16730, Albert and Shirley Small Special Collections Library, University of Virginia, Charlottesville, Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of index cards, in alphabetical order, listing the hundreds of individual authors and manuscripts that form the Clifton Waller Barrett Minor Authors Literary Collection.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection consists of index cards, in alphabetical order, listing the hundreds of individual authors and manuscripts that form the Clifton Waller Barrett Minor Authors Literary Collection."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions on this collection.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["There are no restrictions on this collection."],"names_ssim":["Albert and Shirley Small Special Collections Library","Barrett, Clifton Waller, 1901-1991"],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"persname_ssim":["Barrett, Clifton Waller, 1901-1991"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":5,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T22:45:59.568Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_repositories_3_resources_1434","ead_ssi":"viu_repositories_3_resources_1434","_root_":"viu_repositories_3_resources_1434","_nest_parent_":"viu_repositories_3_resources_1434","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1434.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/145796","title_filing_ssi":"Barrett Minor Authors Literary Collection Index cards","title_ssm":["Barrett Minor Authors Literary Collection Index cards"],"title_tesim":["Barrett Minor Authors Literary Collection Index cards"],"unitdate_ssm":["1968 December 12"],"unitdate_other_ssim":["1968 December 12"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16730","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/1434"],"text":["MSS 16730","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/1434","Barrett Minor Authors Literary Collection Index cards","literature","American Literature--19th Century--History and Criticism","American Literature--20th Century--History and Criticism","letters (correspondence)","card files","Manuscripts (documents)","This index is open for research.","When the Barrett Minor Authors Literary Collection came to Special Collections in 1968, the entire group of hundreds of authors was given the accession number MSS 9040. 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","This collection consists of index cards, in alphabetical order, listing the hundreds of individual authors and manuscripts that form the Clifton Waller Barrett Minor Authors Literary Collection.","There are no restrictions on this collection.","Albert and Shirley Small Special Collections Library","Barrett, Clifton Waller, 1901-1991","English"],"unitid_tesim":["MSS 16730","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/1434"],"normalized_title_ssm":["Barrett Minor Authors Literary Collection Index cards"],"collection_title_tesim":["Barrett Minor Authors Literary Collection Index cards"],"collection_ssim":["Barrett Minor Authors Literary Collection Index cards"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_ssm":["Barrett, Clifton Waller, 1901-1991"],"creator_ssim":["Barrett, Clifton Waller, 1901-1991"],"creator_persname_ssim":["Barrett, Clifton Waller, 1901-1991"],"creators_ssim":["Barrett, Clifton Waller, 1901-1991"],"access_terms_ssm":["There are no restrictions on this collection."],"acqinfo_ssim":["This index was given to the University of Virginia Special Collections on December 12, 1968 by Clifton Waller Barrett as part of the Barrett Minor Authors Literary Collection."],"access_subjects_ssim":["literature","American Literature--19th Century--History and Criticism","American Literature--20th Century--History and Criticism","letters (correspondence)","card files","Manuscripts (documents)"],"access_subjects_ssm":["literature","American Literature--19th Century--History and Criticism","American Literature--20th Century--History and Criticism","letters (correspondence)","card files","Manuscripts (documents)"],"has_online_content_ssim":["false"],"extent_ssm":[".5 Cubic Feet five card file boxes (3\"x5\")"],"extent_tesim":[".5 Cubic Feet five card file boxes (3\"x5\")"],"genreform_ssim":["American Literature--19th Century--History and Criticism","American Literature--20th Century--History and Criticism","letters (correspondence)","card files","Manuscripts (documents)"],"date_range_isim":[1968],"accessrestrict_html_tesm":["\u003cp\u003eThis index is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This index is open for research."],"bioghist_html_tesm":["\u003cp\u003eWhen the Barrett Minor Authors Literary Collection came to Special Collections in 1968, the entire group of hundreds of authors was given the accession number MSS 9040. Around the time the department moved into its new facility in 2004 through 2012, the individual authors in this collection were each given their own manuscript numbers and were cataloged in Virgo. The work of the Barrett volunteers formed the basis of much of the work of description.\u003c/p\u003e\n","\u003cp\u003eThe index itself was kept with other card files in a card catalog in Room 138. When this card catalog was removed, the Barrett Minor index card files were boxed and given a new manuscript number (MSS 16730). \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["When the Barrett Minor Authors Literary Collection came to Special Collections in 1968, the entire group of hundreds of authors was given the accession number MSS 9040. Around the time the department moved into its new facility in 2004 through 2012, the individual authors in this collection were each given their own manuscript numbers and were cataloged in Virgo. The work of the Barrett volunteers formed the basis of much of the work of description.","The index itself was kept with other card files in a card catalog in Room 138. When this card catalog was removed, the Barrett Minor index card files were boxed and given a new manuscript number (MSS 16730). "],"prefercite_html_tesm":["\u003cp\u003eBarrett Minor Authors Literary Collection Index cards, MSS 16730, Albert and Shirley Small Special Collections Library, University of Virginia, Charlottesville, Virginia.\u003c/p\u003e"],"prefercite_tesim":["Barrett Minor Authors Literary Collection Index cards, MSS 16730, Albert and Shirley Small Special Collections Library, University of Virginia, Charlottesville, Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of index cards, in alphabetical order, listing the hundreds of individual authors and manuscripts that form the Clifton Waller Barrett Minor Authors Literary Collection.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection consists of index cards, in alphabetical order, listing the hundreds of individual authors and manuscripts that form the Clifton Waller Barrett Minor Authors Literary Collection."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions on this collection.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["There are no restrictions on this collection."],"names_ssim":["Albert and Shirley Small Special Collections Library","Barrett, Clifton Waller, 1901-1991"],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"persname_ssim":["Barrett, Clifton Waller, 1901-1991"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":5,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T22:45:59.568Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_1434"}},{"id":"vihart_repositories_4_resources_638","type":"collection","attributes":{"title":"Carol Barton papers","creator":{"id":"https://search.arvasarchive.org/catalog/vihart_repositories_4_resources_638#creator","type":"document_value","attributes":{"value":"Barton, Carol June, 1954-","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vihart_repositories_4_resources_638#abstract_or_scope","type":"document_value","attributes":{"value":"The Carol Barton Papers contain printed materials, letters, brochures, and primary materials as well as items that document professional endeavors, artistic processes, and personal items of book artist, paper engineer, teacher, and curator, Carol Barton.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vihart_repositories_4_resources_638#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vihart_repositories_4_resources_638","ead_ssi":"vihart_repositories_4_resources_638","_root_":"vihart_repositories_4_resources_638","_nest_parent_":"vihart_repositories_4_resources_638","ead_source_url_ssi":"data/oai/JMU/repositories_4_resources_638.xml","title_ssm":["Carol Barton papers"],"title_tesim":["Carol Barton papers"],"unitdate_ssm":["1973-2020"],"unitdate_inclusive_ssm":["1973-2020"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC 0274","/repositories/4/resources/638"],"text":["SC 0274","/repositories/4/resources/638","Carol Barton papers","Artists' books","Pop-up books","Toy and movable books","Paper work","Cut-out craft","Manuscripts (documents)","Letters (correspondence)","exhibition catalogs","Printed Ephemera","Promotional materials","Newspaper clippings","Prototypes (object genre)","Movable books","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.","In addition to analog manuscript material, Carol Barton transferred three digital audio files of podcasts on which she had been a guest including Santa Fe Radio Café (March 17, 2008), Book Artists and Poets (July 15, 2009), and Beyond the Page: Carol Barton's Art and Influence: a podcast with Carol Barton and the Nashville Public Library. These files were not retained and not incorporated into the collection. Select items were discarded from the collection due to preservation concerns, deterioration, duplicates, or preexisting damage.","The collection is arranged into four series. In the 'Exhibition Catalogs, 1993 (folder 2 of 2)', a digital floppy disk of Barton's exhibition,  Miliseconds to Milennia: The Art of Time, Hand Workshop , has been placed in this folder. The floppy disk is a copy of an old Word Perfect file.","Printed Materials, 1973-2015 Projects and Research, 1975-2012 Ephemera and Personal Papers, 1979-2013 2023-0404 Accession, 2009-2020","Grace Barth, Liana Bayne, and Caroline Hamby. \"History of Pop-up and Movable Books, About This Exhibit.\" Carol Barton Collection, JMU Special Collections. Accessed September, 2018, https://omeka.lib.jmu.edu/specialcollections/exhibits/show/carol-barton/about.","Barton, Carol. \"Popular Kinetics Press.\" Accessed September, 2018. https://www.popularkinetics.com/.","National Museum of Women. \"About the Artist, Carol Barton\". Accessed September 2018. https://nmwa.org/explore/artist-profiles/carol-june-barton.","Carol Barton, born on June 3, 1954 in St. Louis, Missouri, is an accomplished book artist, paper engineer, educator, and curator who has exhibited internationally (The Smithsonian Institution, Library of Congress, Museum of Modern Art, Victoria and Albert Museum in London) and has curated shows such as  Books \u0026 Bookends: Science and the Artist's Book  (Smithsonian). Inspired by reading, historical references, functional objects, architecture, and other artists' book, Barton is best known for her interactive workbooks,  The Pocket Paper Engineer. Five Luminous Towers: Books to Read in the Dark , which was awarded the Bogliasco Fellowship in 2000,  Vision Shifts ,  Instructions for Assembly , and  Tunnel Map  are other major works. A graduate of Washington University School of Fine Arts (1976), Barton has served as a faculty member at the University of the Arts in Philadelphia and the Corcoran College of Art \u0026 Design and has taught at the elementary and high school level. In 1977, Barton moved to Washington D.C. to work for the Glen Echo Park Arts Center. Through her time there and through the promotion of artists' books by local art group, The Writer's Center, Barton learned pre-press skills that allowed her to print her own work. She was later offered a small grant to produce her own artists' books. Having grown up as the daughter of a diesel engine mechanic, Barton's love for structural and mechanical elements was formed as she grew up building and playing with construction games and tinker toys. Movable books, better known as pop-ups, were not a part of her childhood. However, after the success of her first book,  Beyond the Page  (1981), Barton began a two year study of pop-up and movable books at the Dibner Rare Book Library and the Library of Congress to find early examples of dimensional and movable books. This research most likely resulted in her 1988 publication of her tunnel book,  Everyday Road Signs .","In 1992, Barton served as James Madison University's first Wampler Visiting Professor of Fine Art and has intermittently served as a visiting artist and professor. JMU Libraries acquired Barton's collection of artists' and movable books in 2015, and in March 2017 Barton returned to JMU as a guest lecturer for the Carrier Library Special Collections Speaker Series. The event was marked with Barton discussing her career and work; as well as, facilitating a book arts workshop with the Intermediate book arts students, and ending with a public lecture and reception in the Duke Hall Gallery Court.","The papers were originally stored in 14 boxes and 2 oversize file folders. Upon acquisition the collection did not have a specified arrangement. The collection is arranged based on like materials and topics. Items that were not pertinent to the collection such as duplicates or papers not pertaining to Carol Barton were discarded. In some cases only representative samples of materials were retained that best exemplify Barton's work","Carol Barton's personal and teaching collection of movable books and artists' books, which were acquired separately from her papers, are cataloged individually and are housed in the James Madison University's Special Collections.","The Carol Barton Papers, 1973-2020, include catalogues, letters, printed materials, journals, special publications, interviews, artist statements, artist projects, and project plans throughout the donor's career. The collection includes teaching tools, personal research, practice and planning, and commemoration of events in which Barton participated.","Numerous books, artists' books, toys, and publications were pulled from the collection, cataloged individually, and added to Special Collections' rare book holdings.  Ker-Bloom! , a series of art publications, were also separated and cataloged.","The copyright interests in this collection have not 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 Carol Barton Papers contain printed materials, letters, brochures, and primary materials as well as items that document professional endeavors, artistic processes, and personal items of book artist, paper engineer, teacher, and curator, Carol Barton.","James Madison University Libraries Special Collections","Barton, Carol June, 1954-","English"],"unitid_tesim":["SC 0274","/repositories/4/resources/638"],"normalized_title_ssm":["Carol Barton papers"],"collection_title_tesim":["Carol Barton papers"],"collection_ssim":["Carol Barton papers"],"repository_ssm":["James Madison University"],"repository_ssim":["James Madison University"],"creator_ssm":["Barton, Carol June, 1954-","Barton, Carol June, 1954-"],"creator_ssim":["Barton, Carol June, 1954-","Barton, Carol June, 1954-"],"creator_persname_ssim":["Barton, Carol June, 1954-","Barton, Carol June, 1954-"],"creators_ssim":["Barton, Carol June, 1954-","Barton, Carol June, 1954-"],"access_terms_ssm":["The copyright interests in this collection have not 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":["The collection was donated by Carol Barton on March 23, 2017. Manuscript material was also received as part of a 2015 acquisition of Carol Barton's personal and teaching collection of pop-up and artists' books. That material was incorporated into this collection. Barton made an additional donation of materials in October 2022 (accessioned in 2023)."],"access_subjects_ssim":["Artists' books","Pop-up books","Toy and movable books","Paper work","Cut-out craft","Manuscripts (documents)","Letters (correspondence)","exhibition catalogs","Printed Ephemera","Promotional materials","Newspaper clippings","Prototypes (object genre)","Movable books"],"access_subjects_ssm":["Artists' books","Pop-up books","Toy and movable books","Paper work","Cut-out craft","Manuscripts (documents)","Letters (correspondence)","exhibition catalogs","Printed Ephemera","Promotional materials","Newspaper clippings","Prototypes (object genre)","Movable books"],"has_online_content_ssim":["false"],"extent_ssm":["7.47 cubic feet 20 boxes, 1 flat file"],"extent_tesim":["7.47 cubic feet 20 boxes, 1 flat file"],"genreform_ssim":["Manuscripts (documents)","Letters (correspondence)","exhibition catalogs","Printed Ephemera","Promotional materials","Newspaper clippings","Prototypes (object genre)","Movable books"],"date_range_isim":[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],"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\u003eIn addition to analog manuscript material, Carol Barton transferred three digital audio files of podcasts on which she had been a guest including Santa Fe Radio Café (March 17, 2008), Book Artists and Poets (July 15, 2009), and Beyond the Page: Carol Barton's Art and Influence: a podcast with Carol Barton and the Nashville Public Library. These files were not retained and not incorporated into the collection. Select items were discarded from the collection due to preservation concerns, deterioration, duplicates, or preexisting damage.\u003c/p\u003e"],"appraisal_heading_ssm":["Appraisal Note"],"appraisal_tesim":["In addition to analog manuscript material, Carol Barton transferred three digital audio files of podcasts on which she had been a guest including Santa Fe Radio Café (March 17, 2008), Book Artists and Poets (July 15, 2009), and Beyond the Page: Carol Barton's Art and Influence: a podcast with Carol Barton and the Nashville Public Library. These files were not retained and not incorporated into the collection. Select items were discarded from the collection due to preservation concerns, deterioration, duplicates, or preexisting damage."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into four series. In the 'Exhibition Catalogs, 1993 (folder 2 of 2)', a digital floppy disk of Barton's exhibition, \u003cemph render=\"italic\"\u003eMiliseconds to Milennia: The Art of Time, Hand Workshop\u003c/emph\u003e, has been placed in this folder. The floppy disk is a copy of an old Word Perfect file.\u003c/p\u003e","\u003clist numeration=\"arabic\" type=\"ordered\"\u003e\n      \u003citem\u003ePrinted Materials, 1973-2015\u003c/item\u003e\n      \u003citem\u003eProjects and Research, 1975-2012\u003c/item\u003e\n      \u003citem\u003eEphemera and Personal Papers, 1979-2013\u003c/item\u003e\n      \u003citem\u003e2023-0404 Accession, 2009-2020\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged into four series. In the 'Exhibition Catalogs, 1993 (folder 2 of 2)', a digital floppy disk of Barton's exhibition,  Miliseconds to Milennia: The Art of Time, Hand Workshop , has been placed in this folder. The floppy disk is a copy of an old Word Perfect file.","Printed Materials, 1973-2015 Projects and Research, 1975-2012 Ephemera and Personal Papers, 1979-2013 2023-0404 Accession, 2009-2020"],"bibliography_html_tesm":["\u003cbibref\u003eGrace Barth, Liana Bayne, and Caroline Hamby. \"History of Pop-up and Movable Books, About This Exhibit.\" Carol Barton Collection, JMU Special Collections. Accessed September, 2018, https://omeka.lib.jmu.edu/specialcollections/exhibits/show/carol-barton/about.\u003c/bibref\u003e","\u003cbibref\u003eBarton, Carol. \"Popular Kinetics Press.\" Accessed September, 2018. https://www.popularkinetics.com/.\u003c/bibref\u003e","\u003cbibref\u003eNational Museum of Women. \"About the Artist, Carol Barton\". Accessed September 2018. https://nmwa.org/explore/artist-profiles/carol-june-barton.\u003c/bibref\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Grace Barth, Liana Bayne, and Caroline Hamby. \"History of Pop-up and Movable Books, About This Exhibit.\" Carol Barton Collection, JMU Special Collections. Accessed September, 2018, https://omeka.lib.jmu.edu/specialcollections/exhibits/show/carol-barton/about.","Barton, Carol. \"Popular Kinetics Press.\" Accessed September, 2018. https://www.popularkinetics.com/.","National Museum of Women. \"About the Artist, Carol Barton\". Accessed September 2018. https://nmwa.org/explore/artist-profiles/carol-june-barton."],"bioghist_html_tesm":["\u003cp\u003eCarol Barton, born on June 3, 1954 in St. Louis, Missouri, is an accomplished book artist, paper engineer, educator, and curator who has exhibited internationally (The Smithsonian Institution, Library of Congress, Museum of Modern Art, Victoria and Albert Museum in London) and has curated shows such as \u003cemph render=\"italic\"\u003eBooks \u0026amp; Bookends: Science and the Artist's Book\u003c/emph\u003e (Smithsonian). Inspired by reading, historical references, functional objects, architecture, and other artists' book, Barton is best known for her interactive workbooks, \u003cemph render=\"italic\"\u003eThe Pocket Paper Engineer. Five Luminous Towers: Books to Read in the Dark\u003c/emph\u003e, which was awarded the Bogliasco Fellowship in 2000, \u003cemph render=\"italic\"\u003eVision Shifts\u003c/emph\u003e, \u003cemph render=\"italic\"\u003eInstructions for Assembly\u003c/emph\u003e, and \u003cemph render=\"italic\"\u003eTunnel Map\u003c/emph\u003e are other major works. A graduate of Washington University School of Fine Arts (1976), Barton has served as a faculty member at the University of the Arts in Philadelphia and the Corcoran College of Art \u0026amp; Design and has taught at the elementary and high school level. In 1977, Barton moved to Washington D.C. to work for the Glen Echo Park Arts Center. Through her time there and through the promotion of artists' books by local art group, The Writer's Center, Barton learned pre-press skills that allowed her to print her own work. She was later offered a small grant to produce her own artists' books. Having grown up as the daughter of a diesel engine mechanic, Barton's love for structural and mechanical elements was formed as she grew up building and playing with construction games and tinker toys. Movable books, better known as pop-ups, were not a part of her childhood. However, after the success of her first book, \u003cemph render=\"italic\"\u003eBeyond the Page\u003c/emph\u003e (1981), Barton began a two year study of pop-up and movable books at the Dibner Rare Book Library and the Library of Congress to find early examples of dimensional and movable books. This research most likely resulted in her 1988 publication of her tunnel book, \u003cemph render=\"italic\"\u003eEveryday Road Signs\u003c/emph\u003e.\u003c/p\u003e\n","\u003cp\u003eIn 1992, Barton served as James Madison University's first Wampler Visiting Professor of Fine Art and has intermittently served as a visiting artist and professor. JMU Libraries acquired Barton's collection of artists' and movable books in 2015, and in March 2017 Barton returned to JMU as a guest lecturer for the Carrier Library Special Collections Speaker Series. The event was marked with Barton discussing her career and work; as well as, facilitating a book arts workshop with the Intermediate book arts students, and ending with a public lecture and reception in the Duke Hall Gallery Court.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Carol Barton, born on June 3, 1954 in St. Louis, Missouri, is an accomplished book artist, paper engineer, educator, and curator who has exhibited internationally (The Smithsonian Institution, Library of Congress, Museum of Modern Art, Victoria and Albert Museum in London) and has curated shows such as  Books \u0026 Bookends: Science and the Artist's Book  (Smithsonian). Inspired by reading, historical references, functional objects, architecture, and other artists' book, Barton is best known for her interactive workbooks,  The Pocket Paper Engineer. Five Luminous Towers: Books to Read in the Dark , which was awarded the Bogliasco Fellowship in 2000,  Vision Shifts ,  Instructions for Assembly , and  Tunnel Map  are other major works. A graduate of Washington University School of Fine Arts (1976), Barton has served as a faculty member at the University of the Arts in Philadelphia and the Corcoran College of Art \u0026 Design and has taught at the elementary and high school level. In 1977, Barton moved to Washington D.C. to work for the Glen Echo Park Arts Center. Through her time there and through the promotion of artists' books by local art group, The Writer's Center, Barton learned pre-press skills that allowed her to print her own work. She was later offered a small grant to produce her own artists' books. Having grown up as the daughter of a diesel engine mechanic, Barton's love for structural and mechanical elements was formed as she grew up building and playing with construction games and tinker toys. Movable books, better known as pop-ups, were not a part of her childhood. However, after the success of her first book,  Beyond the Page  (1981), Barton began a two year study of pop-up and movable books at the Dibner Rare Book Library and the Library of Congress to find early examples of dimensional and movable books. This research most likely resulted in her 1988 publication of her tunnel book,  Everyday Road Signs .","In 1992, Barton served as James Madison University's first Wampler Visiting Professor of Fine Art and has intermittently served as a visiting artist and professor. JMU Libraries acquired Barton's collection of artists' and movable books in 2015, and in March 2017 Barton returned to JMU as a guest lecturer for the Carrier Library Special Collections Speaker Series. The event was marked with Barton discussing her career and work; as well as, facilitating a book arts workshop with the Intermediate book arts students, and ending with a public lecture and reception in the Duke Hall Gallery Court."],"prefercite_html_tesm":["\u003cp\u003e[identification of item], [box #, folder #], Carol Barton Papers, 1973-2020, SC 0274, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA.\u003c/p\u003e"],"prefercite_tesim":["[identification of item], [box #, folder #], Carol Barton Papers, 1973-2020, SC 0274, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA."],"processinfo_html_tesm":["\u003cp\u003eThe papers were originally stored in 14 boxes and 2 oversize file folders. Upon acquisition the collection did not have a specified arrangement. The collection is arranged based on like materials and topics. Items that were not pertinent to the collection such as duplicates or papers not pertaining to Carol Barton were discarded. In some cases only representative samples of materials were retained that best exemplify Barton's work\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The papers were originally stored in 14 boxes and 2 oversize file folders. Upon acquisition the collection did not have a specified arrangement. The collection is arranged based on like materials and topics. Items that were not pertinent to the collection such as duplicates or papers not pertaining to Carol Barton were discarded. In some cases only representative samples of materials were retained that best exemplify Barton's work"],"relatedmaterial_html_tesm":["\u003cp\u003eCarol Barton's personal and teaching collection of movable books and artists' books, which were acquired separately from her papers, are cataloged individually and are housed in the James Madison University's Special Collections.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Carol Barton's personal and teaching collection of movable books and artists' books, which were acquired separately from her papers, are cataloged individually and are housed in the James Madison University's Special Collections."],"scopecontent_html_tesm":["\u003cp\u003eThe Carol Barton Papers, 1973-2020, include catalogues, letters, printed materials, journals, special publications, interviews, artist statements, artist projects, and project plans throughout the donor's career. The collection includes teaching tools, personal research, practice and planning, and commemoration of events in which Barton participated.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Carol Barton Papers, 1973-2020, include catalogues, letters, printed materials, journals, special publications, interviews, artist statements, artist projects, and project plans throughout the donor's career. The collection includes teaching tools, personal research, practice and planning, and commemoration of events in which Barton participated."],"separatedmaterial_html_tesm":["\u003cp\u003eNumerous books, artists' books, toys, and publications were pulled from the collection, cataloged individually, and added to Special Collections' rare book holdings. \u003cemph render=\"italic\"\u003eKer-Bloom!\u003c/emph\u003e, a series of art publications, were also separated and cataloged.\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Material"],"separatedmaterial_tesim":["Numerous books, artists' books, toys, and publications were pulled from the collection, cataloged individually, and added to Special Collections' rare book holdings.  Ker-Bloom! , a series of art publications, were also separated and cataloged."],"userestrict_html_tesm":["\u003cp\u003eThe copyright interests in this collection have not 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 not 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_2d8e790c8752baf58256cbedb902ee64\"\u003eThe Carol Barton Papers contain printed materials, letters, brochures, and primary materials as well as items that document professional endeavors, artistic processes, and personal items of book artist, paper engineer, teacher, and curator, Carol Barton.\u003c/abstract\u003e"],"abstract_tesim":["The Carol Barton Papers contain printed materials, letters, brochures, and primary materials as well as items that document professional endeavors, artistic processes, and personal items of book artist, paper engineer, teacher, and curator, Carol Barton."],"names_ssim":["James Madison University Libraries Special Collections","Barton, Carol June, 1954-"],"corpname_ssim":["James Madison University Libraries Special Collections"],"names_coll_ssim":["Barton, Carol June, 1954-","Barton, Carol June, 1954-"],"persname_ssim":["Barton, Carol June, 1954-"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":162,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T22:57:55.783Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vihart_repositories_4_resources_638","ead_ssi":"vihart_repositories_4_resources_638","_root_":"vihart_repositories_4_resources_638","_nest_parent_":"vihart_repositories_4_resources_638","ead_source_url_ssi":"data/oai/JMU/repositories_4_resources_638.xml","title_ssm":["Carol Barton papers"],"title_tesim":["Carol Barton papers"],"unitdate_ssm":["1973-2020"],"unitdate_inclusive_ssm":["1973-2020"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC 0274","/repositories/4/resources/638"],"text":["SC 0274","/repositories/4/resources/638","Carol Barton papers","Artists' books","Pop-up books","Toy and movable books","Paper work","Cut-out craft","Manuscripts (documents)","Letters (correspondence)","exhibition catalogs","Printed Ephemera","Promotional materials","Newspaper clippings","Prototypes (object genre)","Movable books","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.","In addition to analog manuscript material, Carol Barton transferred three digital audio files of podcasts on which she had been a guest including Santa Fe Radio Café (March 17, 2008), Book Artists and Poets (July 15, 2009), and Beyond the Page: Carol Barton's Art and Influence: a podcast with Carol Barton and the Nashville Public Library. These files were not retained and not incorporated into the collection. Select items were discarded from the collection due to preservation concerns, deterioration, duplicates, or preexisting damage.","The collection is arranged into four series. In the 'Exhibition Catalogs, 1993 (folder 2 of 2)', a digital floppy disk of Barton's exhibition,  Miliseconds to Milennia: The Art of Time, Hand Workshop , has been placed in this folder. The floppy disk is a copy of an old Word Perfect file.","Printed Materials, 1973-2015 Projects and Research, 1975-2012 Ephemera and Personal Papers, 1979-2013 2023-0404 Accession, 2009-2020","Grace Barth, Liana Bayne, and Caroline Hamby. \"History of Pop-up and Movable Books, About This Exhibit.\" Carol Barton Collection, JMU Special Collections. Accessed September, 2018, https://omeka.lib.jmu.edu/specialcollections/exhibits/show/carol-barton/about.","Barton, Carol. \"Popular Kinetics Press.\" Accessed September, 2018. https://www.popularkinetics.com/.","National Museum of Women. \"About the Artist, Carol Barton\". Accessed September 2018. https://nmwa.org/explore/artist-profiles/carol-june-barton.","Carol Barton, born on June 3, 1954 in St. Louis, Missouri, is an accomplished book artist, paper engineer, educator, and curator who has exhibited internationally (The Smithsonian Institution, Library of Congress, Museum of Modern Art, Victoria and Albert Museum in London) and has curated shows such as  Books \u0026 Bookends: Science and the Artist's Book  (Smithsonian). Inspired by reading, historical references, functional objects, architecture, and other artists' book, Barton is best known for her interactive workbooks,  The Pocket Paper Engineer. Five Luminous Towers: Books to Read in the Dark , which was awarded the Bogliasco Fellowship in 2000,  Vision Shifts ,  Instructions for Assembly , and  Tunnel Map  are other major works. A graduate of Washington University School of Fine Arts (1976), Barton has served as a faculty member at the University of the Arts in Philadelphia and the Corcoran College of Art \u0026 Design and has taught at the elementary and high school level. In 1977, Barton moved to Washington D.C. to work for the Glen Echo Park Arts Center. Through her time there and through the promotion of artists' books by local art group, The Writer's Center, Barton learned pre-press skills that allowed her to print her own work. She was later offered a small grant to produce her own artists' books. Having grown up as the daughter of a diesel engine mechanic, Barton's love for structural and mechanical elements was formed as she grew up building and playing with construction games and tinker toys. Movable books, better known as pop-ups, were not a part of her childhood. However, after the success of her first book,  Beyond the Page  (1981), Barton began a two year study of pop-up and movable books at the Dibner Rare Book Library and the Library of Congress to find early examples of dimensional and movable books. This research most likely resulted in her 1988 publication of her tunnel book,  Everyday Road Signs .","In 1992, Barton served as James Madison University's first Wampler Visiting Professor of Fine Art and has intermittently served as a visiting artist and professor. JMU Libraries acquired Barton's collection of artists' and movable books in 2015, and in March 2017 Barton returned to JMU as a guest lecturer for the Carrier Library Special Collections Speaker Series. The event was marked with Barton discussing her career and work; as well as, facilitating a book arts workshop with the Intermediate book arts students, and ending with a public lecture and reception in the Duke Hall Gallery Court.","The papers were originally stored in 14 boxes and 2 oversize file folders. Upon acquisition the collection did not have a specified arrangement. The collection is arranged based on like materials and topics. Items that were not pertinent to the collection such as duplicates or papers not pertaining to Carol Barton were discarded. In some cases only representative samples of materials were retained that best exemplify Barton's work","Carol Barton's personal and teaching collection of movable books and artists' books, which were acquired separately from her papers, are cataloged individually and are housed in the James Madison University's Special Collections.","The Carol Barton Papers, 1973-2020, include catalogues, letters, printed materials, journals, special publications, interviews, artist statements, artist projects, and project plans throughout the donor's career. The collection includes teaching tools, personal research, practice and planning, and commemoration of events in which Barton participated.","Numerous books, artists' books, toys, and publications were pulled from the collection, cataloged individually, and added to Special Collections' rare book holdings.  Ker-Bloom! , a series of art publications, were also separated and cataloged.","The copyright interests in this collection have not 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 Carol Barton Papers contain printed materials, letters, brochures, and primary materials as well as items that document professional endeavors, artistic processes, and personal items of book artist, paper engineer, teacher, and curator, Carol Barton.","James Madison University Libraries Special Collections","Barton, Carol June, 1954-","English"],"unitid_tesim":["SC 0274","/repositories/4/resources/638"],"normalized_title_ssm":["Carol Barton papers"],"collection_title_tesim":["Carol Barton papers"],"collection_ssim":["Carol Barton papers"],"repository_ssm":["James Madison University"],"repository_ssim":["James Madison University"],"creator_ssm":["Barton, Carol June, 1954-","Barton, Carol June, 1954-"],"creator_ssim":["Barton, Carol June, 1954-","Barton, Carol June, 1954-"],"creator_persname_ssim":["Barton, Carol June, 1954-","Barton, Carol June, 1954-"],"creators_ssim":["Barton, Carol June, 1954-","Barton, Carol June, 1954-"],"access_terms_ssm":["The copyright interests in this collection have not been transferred to the James Madison University Special Collections Library. 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Barton made an additional donation of materials in October 2022 (accessioned in 2023)."],"access_subjects_ssim":["Artists' books","Pop-up books","Toy and movable books","Paper work","Cut-out craft","Manuscripts (documents)","Letters (correspondence)","exhibition catalogs","Printed Ephemera","Promotional materials","Newspaper clippings","Prototypes (object genre)","Movable books"],"access_subjects_ssm":["Artists' books","Pop-up books","Toy and movable books","Paper work","Cut-out craft","Manuscripts (documents)","Letters (correspondence)","exhibition catalogs","Printed Ephemera","Promotional materials","Newspaper clippings","Prototypes (object genre)","Movable books"],"has_online_content_ssim":["false"],"extent_ssm":["7.47 cubic feet 20 boxes, 1 flat file"],"extent_tesim":["7.47 cubic feet 20 boxes, 1 flat file"],"genreform_ssim":["Manuscripts (documents)","Letters (correspondence)","exhibition catalogs","Printed Ephemera","Promotional materials","Newspaper clippings","Prototypes (object genre)","Movable books"],"date_range_isim":[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],"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\u003eIn addition to analog manuscript material, Carol Barton transferred three digital audio files of podcasts on which she had been a guest including Santa Fe Radio Café (March 17, 2008), Book Artists and Poets (July 15, 2009), and Beyond the Page: Carol Barton's Art and Influence: a podcast with Carol Barton and the Nashville Public Library. These files were not retained and not incorporated into the collection. Select items were discarded from the collection due to preservation concerns, deterioration, duplicates, or preexisting damage.\u003c/p\u003e"],"appraisal_heading_ssm":["Appraisal Note"],"appraisal_tesim":["In addition to analog manuscript material, Carol Barton transferred three digital audio files of podcasts on which she had been a guest including Santa Fe Radio Café (March 17, 2008), Book Artists and Poets (July 15, 2009), and Beyond the Page: Carol Barton's Art and Influence: a podcast with Carol Barton and the Nashville Public Library. These files were not retained and not incorporated into the collection. Select items were discarded from the collection due to preservation concerns, deterioration, duplicates, or preexisting damage."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into four series. In the 'Exhibition Catalogs, 1993 (folder 2 of 2)', a digital floppy disk of Barton's exhibition, \u003cemph render=\"italic\"\u003eMiliseconds to Milennia: The Art of Time, Hand Workshop\u003c/emph\u003e, has been placed in this folder. The floppy disk is a copy of an old Word Perfect file.\u003c/p\u003e","\u003clist numeration=\"arabic\" type=\"ordered\"\u003e\n      \u003citem\u003ePrinted Materials, 1973-2015\u003c/item\u003e\n      \u003citem\u003eProjects and Research, 1975-2012\u003c/item\u003e\n      \u003citem\u003eEphemera and Personal Papers, 1979-2013\u003c/item\u003e\n      \u003citem\u003e2023-0404 Accession, 2009-2020\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged into four series. In the 'Exhibition Catalogs, 1993 (folder 2 of 2)', a digital floppy disk of Barton's exhibition,  Miliseconds to Milennia: The Art of Time, Hand Workshop , has been placed in this folder. The floppy disk is a copy of an old Word Perfect file.","Printed Materials, 1973-2015 Projects and Research, 1975-2012 Ephemera and Personal Papers, 1979-2013 2023-0404 Accession, 2009-2020"],"bibliography_html_tesm":["\u003cbibref\u003eGrace Barth, Liana Bayne, and Caroline Hamby. \"History of Pop-up and Movable Books, About This Exhibit.\" Carol Barton Collection, JMU Special Collections. Accessed September, 2018, https://omeka.lib.jmu.edu/specialcollections/exhibits/show/carol-barton/about.\u003c/bibref\u003e","\u003cbibref\u003eBarton, Carol. \"Popular Kinetics Press.\" Accessed September, 2018. https://www.popularkinetics.com/.\u003c/bibref\u003e","\u003cbibref\u003eNational Museum of Women. \"About the Artist, Carol Barton\". Accessed September 2018. https://nmwa.org/explore/artist-profiles/carol-june-barton.\u003c/bibref\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Grace Barth, Liana Bayne, and Caroline Hamby. \"History of Pop-up and Movable Books, About This Exhibit.\" Carol Barton Collection, JMU Special Collections. Accessed September, 2018, https://omeka.lib.jmu.edu/specialcollections/exhibits/show/carol-barton/about.","Barton, Carol. \"Popular Kinetics Press.\" Accessed September, 2018. https://www.popularkinetics.com/.","National Museum of Women. \"About the Artist, Carol Barton\". Accessed September 2018. https://nmwa.org/explore/artist-profiles/carol-june-barton."],"bioghist_html_tesm":["\u003cp\u003eCarol Barton, born on June 3, 1954 in St. Louis, Missouri, is an accomplished book artist, paper engineer, educator, and curator who has exhibited internationally (The Smithsonian Institution, Library of Congress, Museum of Modern Art, Victoria and Albert Museum in London) and has curated shows such as \u003cemph render=\"italic\"\u003eBooks \u0026amp; Bookends: Science and the Artist's Book\u003c/emph\u003e (Smithsonian). Inspired by reading, historical references, functional objects, architecture, and other artists' book, Barton is best known for her interactive workbooks, \u003cemph render=\"italic\"\u003eThe Pocket Paper Engineer. Five Luminous Towers: Books to Read in the Dark\u003c/emph\u003e, which was awarded the Bogliasco Fellowship in 2000, \u003cemph render=\"italic\"\u003eVision Shifts\u003c/emph\u003e, \u003cemph render=\"italic\"\u003eInstructions for Assembly\u003c/emph\u003e, and \u003cemph render=\"italic\"\u003eTunnel Map\u003c/emph\u003e are other major works. A graduate of Washington University School of Fine Arts (1976), Barton has served as a faculty member at the University of the Arts in Philadelphia and the Corcoran College of Art \u0026amp; Design and has taught at the elementary and high school level. In 1977, Barton moved to Washington D.C. to work for the Glen Echo Park Arts Center. Through her time there and through the promotion of artists' books by local art group, The Writer's Center, Barton learned pre-press skills that allowed her to print her own work. She was later offered a small grant to produce her own artists' books. Having grown up as the daughter of a diesel engine mechanic, Barton's love for structural and mechanical elements was formed as she grew up building and playing with construction games and tinker toys. Movable books, better known as pop-ups, were not a part of her childhood. However, after the success of her first book, \u003cemph render=\"italic\"\u003eBeyond the Page\u003c/emph\u003e (1981), Barton began a two year study of pop-up and movable books at the Dibner Rare Book Library and the Library of Congress to find early examples of dimensional and movable books. This research most likely resulted in her 1988 publication of her tunnel book, \u003cemph render=\"italic\"\u003eEveryday Road Signs\u003c/emph\u003e.\u003c/p\u003e\n","\u003cp\u003eIn 1992, Barton served as James Madison University's first Wampler Visiting Professor of Fine Art and has intermittently served as a visiting artist and professor. JMU Libraries acquired Barton's collection of artists' and movable books in 2015, and in March 2017 Barton returned to JMU as a guest lecturer for the Carrier Library Special Collections Speaker Series. The event was marked with Barton discussing her career and work; as well as, facilitating a book arts workshop with the Intermediate book arts students, and ending with a public lecture and reception in the Duke Hall Gallery Court.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Carol Barton, born on June 3, 1954 in St. Louis, Missouri, is an accomplished book artist, paper engineer, educator, and curator who has exhibited internationally (The Smithsonian Institution, Library of Congress, Museum of Modern Art, Victoria and Albert Museum in London) and has curated shows such as  Books \u0026 Bookends: Science and the Artist's Book  (Smithsonian). Inspired by reading, historical references, functional objects, architecture, and other artists' book, Barton is best known for her interactive workbooks,  The Pocket Paper Engineer. Five Luminous Towers: Books to Read in the Dark , which was awarded the Bogliasco Fellowship in 2000,  Vision Shifts ,  Instructions for Assembly , and  Tunnel Map  are other major works. A graduate of Washington University School of Fine Arts (1976), Barton has served as a faculty member at the University of the Arts in Philadelphia and the Corcoran College of Art \u0026 Design and has taught at the elementary and high school level. In 1977, Barton moved to Washington D.C. to work for the Glen Echo Park Arts Center. Through her time there and through the promotion of artists' books by local art group, The Writer's Center, Barton learned pre-press skills that allowed her to print her own work. She was later offered a small grant to produce her own artists' books. Having grown up as the daughter of a diesel engine mechanic, Barton's love for structural and mechanical elements was formed as she grew up building and playing with construction games and tinker toys. Movable books, better known as pop-ups, were not a part of her childhood. However, after the success of her first book,  Beyond the Page  (1981), Barton began a two year study of pop-up and movable books at the Dibner Rare Book Library and the Library of Congress to find early examples of dimensional and movable books. This research most likely resulted in her 1988 publication of her tunnel book,  Everyday Road Signs .","In 1992, Barton served as James Madison University's first Wampler Visiting Professor of Fine Art and has intermittently served as a visiting artist and professor. JMU Libraries acquired Barton's collection of artists' and movable books in 2015, and in March 2017 Barton returned to JMU as a guest lecturer for the Carrier Library Special Collections Speaker Series. The event was marked with Barton discussing her career and work; as well as, facilitating a book arts workshop with the Intermediate book arts students, and ending with a public lecture and reception in the Duke Hall Gallery Court."],"prefercite_html_tesm":["\u003cp\u003e[identification of item], [box #, folder #], Carol Barton Papers, 1973-2020, SC 0274, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA.\u003c/p\u003e"],"prefercite_tesim":["[identification of item], [box #, folder #], Carol Barton Papers, 1973-2020, SC 0274, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA."],"processinfo_html_tesm":["\u003cp\u003eThe papers were originally stored in 14 boxes and 2 oversize file folders. Upon acquisition the collection did not have a specified arrangement. The collection is arranged based on like materials and topics. Items that were not pertinent to the collection such as duplicates or papers not pertaining to Carol Barton were discarded. In some cases only representative samples of materials were retained that best exemplify Barton's work\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The papers were originally stored in 14 boxes and 2 oversize file folders. Upon acquisition the collection did not have a specified arrangement. The collection is arranged based on like materials and topics. Items that were not pertinent to the collection such as duplicates or papers not pertaining to Carol Barton were discarded. In some cases only representative samples of materials were retained that best exemplify Barton's work"],"relatedmaterial_html_tesm":["\u003cp\u003eCarol Barton's personal and teaching collection of movable books and artists' books, which were acquired separately from her papers, are cataloged individually and are housed in the James Madison University's Special Collections.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Carol Barton's personal and teaching collection of movable books and artists' books, which were acquired separately from her papers, are cataloged individually and are housed in the James Madison University's Special Collections."],"scopecontent_html_tesm":["\u003cp\u003eThe Carol Barton Papers, 1973-2020, include catalogues, letters, printed materials, journals, special publications, interviews, artist statements, artist projects, and project plans throughout the donor's career. The collection includes teaching tools, personal research, practice and planning, and commemoration of events in which Barton participated.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Carol Barton Papers, 1973-2020, include catalogues, letters, printed materials, journals, special publications, interviews, artist statements, artist projects, and project plans throughout the donor's career. The collection includes teaching tools, personal research, practice and planning, and commemoration of events in which Barton participated."],"separatedmaterial_html_tesm":["\u003cp\u003eNumerous books, artists' books, toys, and publications were pulled from the collection, cataloged individually, and added to Special Collections' rare book holdings. \u003cemph render=\"italic\"\u003eKer-Bloom!\u003c/emph\u003e, a series of art publications, were also separated and cataloged.\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Material"],"separatedmaterial_tesim":["Numerous books, artists' books, toys, and publications were pulled from the collection, cataloged individually, and added to Special Collections' rare book holdings.  Ker-Bloom! , a series of art publications, were also separated and cataloged."],"userestrict_html_tesm":["\u003cp\u003eThe copyright interests in this collection have not 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 not 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_2d8e790c8752baf58256cbedb902ee64\"\u003eThe Carol Barton Papers contain printed materials, letters, brochures, and primary materials as well as items that document professional endeavors, artistic processes, and personal items of book artist, paper engineer, teacher, and curator, Carol Barton.\u003c/abstract\u003e"],"abstract_tesim":["The Carol Barton Papers contain printed materials, letters, brochures, and primary materials as well as items that document professional endeavors, artistic processes, and personal items of book artist, paper engineer, teacher, and curator, Carol Barton."],"names_ssim":["James Madison University Libraries Special Collections","Barton, Carol June, 1954-"],"corpname_ssim":["James Madison University Libraries Special Collections"],"names_coll_ssim":["Barton, Carol June, 1954-","Barton, Carol June, 1954-"],"persname_ssim":["Barton, Carol June, 1954-"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":162,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T22:57:55.783Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vihart_repositories_4_resources_638"}},{"id":"viu_repositories_3_resources_907","type":"collection","attributes":{"title":"C. Cowen manuscript The Three Sentimentalities, Love, Revenge, and Rivalry","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_907#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThe three sentimentalities, love, revenge, and rivalry by C. Cowen manuscript (1867; 0.03 cubic feet) is in 3 parts in one vol., fashioned to look like a published work, complete with frontispiece and title page. A home-made book that reads like a gothic novel, full of adventure, romance, and drama.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_907#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_907","ead_ssi":"viu_repositories_3_resources_907","_root_":"viu_repositories_3_resources_907","_nest_parent_":"viu_repositories_3_resources_907","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_907.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/807","title_filing_ssi":"Cowen, C. manuscript The Three Sentimentalities, Love, Revenge, and Rivalry","title_ssm":["C. Cowen manuscript The Three Sentimentalities, Love, Revenge, and Rivalry"],"title_tesim":["C. Cowen manuscript The Three Sentimentalities, Love, Revenge, and Rivalry"],"unitdate_ssm":["1867"],"unitdate_other_ssim":["1867"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16439","Archival Resource Key","/repositories/3/resources/907"],"text":["MSS 16439","Archival Resource Key","/repositories/3/resources/907","C. Cowen manuscript The Three Sentimentalities, Love, Revenge, and Rivalry","Manuscripts (documents)","This collection is open for research use.","The three sentimentalities, love, revenge, and rivalry by C. Cowen manuscript (1867; 0.03 cubic feet) is in 3 parts in one vol., fashioned to look like a published work, complete with frontispiece and title page. A home-made book that reads like a gothic novel, full of adventure, romance, and drama.","Albert and Shirley Small Special Collections Library","English"],"unitid_tesim":["MSS 16439","Archival Resource Key","/repositories/3/resources/907"],"normalized_title_ssm":["C. Cowen manuscript The Three Sentimentalities, Love, Revenge, and Rivalry"],"collection_title_tesim":["C. Cowen manuscript The Three Sentimentalities, Love, Revenge, and Rivalry"],"collection_ssim":["C. Cowen manuscript The Three Sentimentalities, Love, Revenge, and Rivalry"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"acqinfo_ssim":["Accession 2019-0158 Purchased, 15 February 2019; Bradley H. Gunter Fund, 2018/2019."],"access_subjects_ssim":["Manuscripts (documents)"],"access_subjects_ssm":["Manuscripts (documents)"],"has_online_content_ssim":["false"],"extent_ssm":["0.03 Cubic Feet One folder"],"extent_tesim":["0.03 Cubic Feet One folder"],"genreform_ssim":["Manuscripts (documents)"],"date_range_isim":[1867],"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\u003eMSS 16439, C. Cowen manuscript The Three Sentimentalities, Love, Revenge, and Rivalry, Albert and Shirley Small Special Collections Library, University of Virginia.\u003c/p\u003e"],"prefercite_tesim":["MSS 16439, C. Cowen manuscript The Three Sentimentalities, Love, Revenge, and Rivalry, Albert and Shirley Small Special Collections Library, University of Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThe three sentimentalities, love, revenge, and rivalry by C. Cowen manuscript (1867; 0.03 cubic feet) is in 3 parts in one vol., fashioned to look like a published work, complete with frontispiece and title page. A home-made book that reads like a gothic novel, full of adventure, romance, and drama.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents Note"],"scopecontent_tesim":["The three sentimentalities, love, revenge, and rivalry by C. Cowen manuscript (1867; 0.03 cubic feet) is in 3 parts in one vol., fashioned to look like a published work, complete with frontispiece and title page. A home-made book that reads like a gothic novel, full of adventure, romance, and drama."],"names_ssim":["Albert and Shirley Small Special Collections Library"],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T22:42:25.725Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_repositories_3_resources_907","ead_ssi":"viu_repositories_3_resources_907","_root_":"viu_repositories_3_resources_907","_nest_parent_":"viu_repositories_3_resources_907","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_907.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/807","title_filing_ssi":"Cowen, C. manuscript The Three Sentimentalities, Love, Revenge, and Rivalry","title_ssm":["C. 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A home-made book that reads like a gothic novel, full of adventure, romance, and drama.","Albert and Shirley Small Special Collections Library","English"],"unitid_tesim":["MSS 16439","Archival Resource Key","/repositories/3/resources/907"],"normalized_title_ssm":["C. Cowen manuscript The Three Sentimentalities, Love, Revenge, and Rivalry"],"collection_title_tesim":["C. Cowen manuscript The Three Sentimentalities, Love, Revenge, and Rivalry"],"collection_ssim":["C. Cowen manuscript The Three Sentimentalities, Love, Revenge, and Rivalry"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"acqinfo_ssim":["Accession 2019-0158 Purchased, 15 February 2019; Bradley H. Gunter Fund, 2018/2019."],"access_subjects_ssim":["Manuscripts (documents)"],"access_subjects_ssm":["Manuscripts (documents)"],"has_online_content_ssim":["false"],"extent_ssm":["0.03 Cubic Feet One folder"],"extent_tesim":["0.03 Cubic Feet One folder"],"genreform_ssim":["Manuscripts (documents)"],"date_range_isim":[1867],"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\u003eMSS 16439, C. Cowen manuscript The Three Sentimentalities, Love, Revenge, and Rivalry, Albert and Shirley Small Special Collections Library, University of Virginia.\u003c/p\u003e"],"prefercite_tesim":["MSS 16439, C. 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A home-made book that reads like a gothic novel, full of adventure, romance, and drama."],"names_ssim":["Albert and Shirley Small Special Collections Library"],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T22:42:25.725Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_907"}},{"id":"vihart_repositories_4_resources_636","type":"collection","attributes":{"title":"Daisy Bacon Papers","creator":{"id":"https://search.arvasarchive.org/catalog/vihart_repositories_4_resources_636#creator","type":"document_value","attributes":{"value":"Bacon, Daisy, 1898-1986","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vihart_repositories_4_resources_636#abstract_or_scope","type":"document_value","attributes":{"value":"The Daisy Bacon Papers, 1857-before March 25, 1986, comprise the personal and professional papers, diaries, manuscripts, and photographs of Daisy Bacon, longtime editor of \u003cem\u003eLove Story Magazine\u003c/em\u003e. The papers of select immediate and extended family members are also included in this collection.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vihart_repositories_4_resources_636#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vihart_repositories_4_resources_636","ead_ssi":"vihart_repositories_4_resources_636","_root_":"vihart_repositories_4_resources_636","_nest_parent_":"vihart_repositories_4_resources_636","ead_source_url_ssi":"data/oai/JMU/repositories_4_resources_636.xml","title_ssm":["Daisy Bacon Papers"],"title_tesim":["Daisy Bacon Papers"],"unitdate_ssm":["1857-before March 25, 1986"],"unitdate_inclusive_ssm":["1857-before March 25, 1986"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC 0304","/repositories/4/resources/636"],"text":["SC 0304","/repositories/4/resources/636","Daisy Bacon Papers","Women editors -- United States","Women authors","Women publishers -- United States","Romance fiction, American -- 20th century","Scrapbooks","Diaries","Photographs","Letters (correspondence)","Notes (documents)","Newspaper clippings","Printed Ephemera","Manuscripts (documents)","Financial Records","Receipts (financial records)","Telephone directories","Negatives (photographs)","Collection is open for research. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact research services staff at library-special@jmu.edu before visiting the James Madison University Special Collections Library to use this collection.","Original audiovisual materials contained in this collection are restricted from access. Reformatted access copies may be available, or media reformatting may be available upon request. Contact research services staff at library-special@jmu.edu for additional information.","The three lacquer (acetate) phonodiscs containing the June 13, 1941 radio program \"The Writer and Your Life\" were reformatted in-house by Kirsten Mlodynia, Digital Projects Specialist.","Photocopies of documents acquired by Laurie Powers for the purpose of writing Bacon's biography, many of which were facsimiles of collection material held at other repositories, were not retained.","The collection is arranged into five series:","Diaries and Journals, 1899-1982, is arranged by creator (Daisy Bacon, Jessie Bacon Ford, etc.) and item type (diaries, dream journals, etc.) which generally also follows a chronological arrangement. Scrapbooks and Ephemera, 1903-1976, is arranged chronologically. The scrapbooks of  Love Story  covers are grouped together which only slightly disrupts the chronological arrangement. Manuscripts and Publishing, 1929-1975, is arranged alphabetically according to manuscript title/folder title. Personal Papers and Correspondence, 1857-1975, is arranged chronologically. Photographs and Negatives, 1883-before March 25, 1986, is arranged chronologically.","Laurie Powers,  Queen of the Pulps: The Reign of Daisy Bacon and Love Story Magazine , Jefferson, NC: McFarland \u0026 Company, Inc. Publishers, 2019.","Daisy Sarah Bacon (1898-1986) was a writer and editor of Street \u0026 Smith's popular  Love Story Magazine  from 1928 to 1947. She was born in Union City, Pennsylvania to Jessie Holbrook Bacon (1870-1936) and Elmer Bacon (1864-1900). After her father's death on January 1, 1900, Daisy's mother married George Ford (1858-1907). Their daughter Esther Joa Ford (d. 1989) was born in 1906. Esther was Daisy's lifelong friend, confidante, associate, and colleague. The two frequently referred to each other by their respective surnames – Bacon and Ford. In July 1943, Esther married Clarke Robinson, an opera singer, WWI officer, and writer. For a time, Daisy was involved romantically with Henry Wise Miller, a stockbroker who was married to writer Alice Duer Miller. During much of her adulthood, Daisy battled depression, alcoholism, and made at least two suicide attempts.","Daisy began her career at Street \u0026 Smith in 1926 as the reader for the  Love Story  advice column. Just a few months later, she started writing short stories for the magazine. Daisy became the magazine's editor in 1928 and worked closely with her half-sister and editorial assistant Esther. At the height of its popularity,  Love Story 's weekly circulation reportedly reached 600,000. In addition to  Love Story  and other publications, Daisy edited  Real Love ,  Ainslee's Smart Love Stories ,  The Shadow ,  Pocket Love ,  Detective Story Magazine ,  Romantic Range , and  Doc Savage . The publication of  Love Story  ceased with its February 1947 issue though Daisy continued to work at Street \u0026 Smith on other pulp titles. Daisy was fired from Street \u0026 Smith in April 1949 when the company ended its publication of all pulp fiction magazines except  Astounding Stories . ","After leaving Street \u0026 Smith, Daisy moved from Manhattan to Port Washington, New York where she continued to write. In 1954, she published  Love Story Writer , an instruction manual on how to write romance stories. After regaining the copyright to  Love Story Writer  in 1963, Bacon established Gemini Books and republished the book as a paperback under the title  Love Story Editor . Her manuscript for \"Love Story Diary,\" a Street \u0026 Smith tell-all was never published and is not extant. Bacon also kept diaries and dream journals, and their contents often alluded to her personal struggles and complicated relationships.","Esther and Daisy's relationship was strained after they were let go from Street \u0026 Smith, but Esther moved in with Daisy after her husband Clarke's death in 1962 and the two became close again. Both Daisy and Esther were cat lovers and were frequently photographed with their feline companions. Daisy Bacon died March 25, 1986 in Port Washington.","Researchers are highly encouraged to review Laurie Powers's biography of Daisy Bacon titled  Queen of the Pulps: The Reign of Daisy Bacon and Love Story Magazine  (2019) as this biographical note is not intended to serve as a comprehensive account of Daisy Bacon's life and career.","Per Laurie Powers, either Daisy Bacon or Daisy's sister Esther gave the Haagensons Bacon's papers.","Laurie Powers, Daisy Bacon biographer, was actively referencing and using the materials in this collection prior to its transfer to Special Collections. Powers provided descriptions and date ranges for much of the material in this collection including diaries and journals. Powers also removed loose newspaper clippings, notes, and printed ephemera from diaries and arranged them according to date or subject in plastic sleeves. Said clippings and assorted ephemera have been foldered according to Powers' groupings. Any associated labels were retained and transferred to folders and sub-folders. Exceptions have been made for papers with more discrete research potential than newspaper clippings (e.g. correspondence, Daisy Bacon's cat's pedigree chart). ","Plastic covers were removed from three scrapbooks containing  Love Story  covers.","Non-archival plastic sleeves were removed from personal papers and correspondence.","The groupings of newspaper clippings are foldered and subfoldered according to their groupings when donated.","The three lacquer (acetate) phonodiscs containing the June 13, 1941 radio program \"The Writer and Your Life\" were reformatted in-house by Kirsten Mlodynia, Digital Projects Specialist. ","The photograph groupings as arranged by Laurie Powers were largely retained. Exceptions include photographs used for Powers' biography that were separated based solely on their inclusion in  Queen of the Pulps . Most of these photographs were interfiled with other groupings. ","A portion of the photo negatives are cellulose nitrate, in deteriorating condition, and/or do not have photograph copies. As such, they are likely candidates for future reformatting. The negatives were removed from their paper envelopes and housed in acid-free sleeves in those same groupings. The envelopes are retained as examples of marketing and advertisement for photo development companies.","Street \u0026 Smith Records, Special Collections Research Center, Syracuse University Libraries","The Daisy Bacon Papers, 1857-before March 25, 1986, comprise the personal and professional papers, diaries, scrapbooks, printed ephemera, published and unpublished manuscripts, and photographs of Daisy Bacon, longtime editor of  Love Story Magazine . The papers of select family members are also represented in this collection and include Esther Joa Ford Robinson, Jessie Holbrook Bacon Ford, and Elmer Bacon.","Copyright is retained by the creator(s) and their heirs for materials they have authored or otherwise produced that reside in this collection. Copyright status for other collection materials is unknown. Transmission or reproduction of materials protected by U.S. Copyright Law (Title 17, U.S.C.) beyond that allowed by fair use requires the written permission of the copyright owners. Works not in the public domain cannot be commercially exploited without permission of the copyright owners. Responsibility for any use rests exclusively with the user. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","The Daisy Bacon Papers, 1857-before March 25, 1986, comprise the personal and professional papers, diaries, manuscripts, and photographs of Daisy Bacon, longtime editor of  Love Story Magazine . The papers of select immediate and extended family members are also included in this collection.","James Madison University Libraries Special Collections","Belmont Stakes","Bacon, Daisy, 1898-1986","Haagenson, William and Nora","Powers, Laurie (Laurel), 1957-","English"],"unitid_tesim":["SC 0304","/repositories/4/resources/636"],"normalized_title_ssm":["Daisy Bacon Papers"],"collection_title_tesim":["Daisy Bacon Papers"],"collection_ssim":["Daisy Bacon Papers"],"repository_ssm":["James Madison University"],"repository_ssim":["James Madison University"],"creator_ssm":["Bacon, Daisy, 1898-1986","Haagenson, William and Nora","Powers, Laurie (Laurel), 1957-"],"creator_ssim":["Bacon, Daisy, 1898-1986","Haagenson, William and Nora","Powers, Laurie (Laurel), 1957-"],"creator_persname_ssim":["Bacon, Daisy, 1898-1986","Haagenson, William and Nora","Powers, Laurie (Laurel), 1957-"],"creators_ssim":["Bacon, Daisy, 1898-1986","Haagenson, William and Nora","Powers, Laurie (Laurel), 1957-"],"access_terms_ssm":["Copyright is retained by the creator(s) and their heirs for materials they have authored or otherwise produced that reside in this collection. Copyright status for other collection materials is unknown. Transmission or reproduction of materials protected by U.S. Copyright Law (Title 17, U.S.C.) beyond that allowed by fair use requires the written permission of the copyright owners. Works not in the public domain cannot be commercially exploited without permission of the copyright owners. Responsibility for any use rests exclusively with the user. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu)."],"acqinfo_ssim":["Bill and Nora Haagenson, Daisy's neighbors in Port Washington, New York, donated the collection in December 2019. The collection was in the physical custody of Laurie Powers, Daisy Bacon's biographer and Staunton, Virginia resident, while she was writing  Queen of the Pulps: The Reign of Daisy Bacon and Love Story Magazine . Powers delivered the collection to Special Collections after the Haagensons signed a deed of gift transferring ownership to JMU."],"access_subjects_ssim":["Women editors -- United States","Women authors","Women publishers -- United States","Romance fiction, American -- 20th century","Scrapbooks","Diaries","Photographs","Letters (correspondence)","Notes (documents)","Newspaper clippings","Printed Ephemera","Manuscripts (documents)","Financial Records","Receipts (financial records)","Telephone directories","Negatives (photographs)"],"access_subjects_ssm":["Women editors -- United States","Women authors","Women publishers -- United States","Romance fiction, American -- 20th century","Scrapbooks","Diaries","Photographs","Letters (correspondence)","Notes (documents)","Newspaper clippings","Printed Ephemera","Manuscripts (documents)","Financial Records","Receipts (financial records)","Telephone directories","Negatives (photographs)"],"has_online_content_ssim":["false"],"extent_ssm":["3.64 cubic feet 10 boxes","44.4 Megabytes 6 digital files"],"extent_tesim":["3.64 cubic feet 10 boxes","44.4 Megabytes 6 digital files"],"genreform_ssim":["Scrapbooks","Diaries","Photographs","Letters (correspondence)","Notes (documents)","Newspaper clippings","Printed Ephemera","Manuscripts (documents)","Financial Records","Receipts (financial records)","Telephone directories","Negatives (photographs)"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open for research. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact research services staff at library-special@jmu.edu before visiting the James Madison University Special Collections Library to use this collection.\u003c/p\u003e\n","\u003cp\u003eOriginal audiovisual materials contained in this collection are restricted from access. Reformatted access copies may be available, or media reformatting may be available upon request. Contact research services staff at library-special@jmu.edu for additional information.\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 at library-special@jmu.edu before visiting the James Madison University Special Collections Library to use this collection.","Original audiovisual materials contained in this collection are restricted from access. Reformatted access copies may be available, or media reformatting may be available upon request. Contact research services staff at library-special@jmu.edu for additional information."],"altformavail_html_tesm":["\u003cp\u003eThe three lacquer (acetate) phonodiscs containing the June 13, 1941 radio program \"The Writer and Your Life\" were reformatted in-house by Kirsten Mlodynia, Digital Projects Specialist.\u003c/p\u003e"],"altformavail_heading_ssm":["Other Formats Available"],"altformavail_tesim":["The three lacquer (acetate) phonodiscs containing the June 13, 1941 radio program \"The Writer and Your Life\" were reformatted in-house by Kirsten Mlodynia, Digital Projects Specialist."],"appraisal_html_tesm":["\u003cp\u003ePhotocopies of documents acquired by Laurie Powers for the purpose of writing Bacon's biography, many of which were facsimiles of collection material held at other repositories, were not retained.\u003c/p\u003e"],"appraisal_heading_ssm":["Appraisal Note"],"appraisal_tesim":["Photocopies of documents acquired by Laurie Powers for the purpose of writing Bacon's biography, many of which were facsimiles of collection material held at other repositories, were not retained."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into five series:\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003citem\u003eDiaries and Journals, 1899-1982, is arranged by creator (Daisy Bacon, Jessie Bacon Ford, etc.) and item type (diaries, dream journals, etc.) which generally also follows a chronological arrangement.\u003c/item\u003e\n      \u003citem\u003eScrapbooks and Ephemera, 1903-1976, is arranged chronologically. The scrapbooks of \u003cemph render=\"italic\"\u003eLove Story\u003c/emph\u003e covers are grouped together which only slightly disrupts the chronological arrangement.\u003c/item\u003e\n      \u003citem\u003eManuscripts and Publishing, 1929-1975, is arranged alphabetically according to manuscript title/folder title.\u003c/item\u003e\n      \u003citem\u003ePersonal Papers and Correspondence, 1857-1975, is arranged chronologically.\u003c/item\u003e\n      \u003citem\u003ePhotographs and Negatives, 1883-before March 25, 1986, is arranged chronologically.\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged into five series:","Diaries and Journals, 1899-1982, is arranged by creator (Daisy Bacon, Jessie Bacon Ford, etc.) and item type (diaries, dream journals, etc.) which generally also follows a chronological arrangement. Scrapbooks and Ephemera, 1903-1976, is arranged chronologically. The scrapbooks of  Love Story  covers are grouped together which only slightly disrupts the chronological arrangement. Manuscripts and Publishing, 1929-1975, is arranged alphabetically according to manuscript title/folder title. Personal Papers and Correspondence, 1857-1975, is arranged chronologically. Photographs and Negatives, 1883-before March 25, 1986, is arranged chronologically."],"bibliography_html_tesm":["\u003cbibref\u003eLaurie Powers, \u003cemph render=\"italic\"\u003eQueen of the Pulps: The Reign of Daisy Bacon and Love Story Magazine\u003c/emph\u003e, Jefferson, NC: McFarland \u0026amp; Company, Inc. Publishers, 2019.\u003c/bibref\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Laurie Powers,  Queen of the Pulps: The Reign of Daisy Bacon and Love Story Magazine , Jefferson, NC: McFarland \u0026 Company, Inc. Publishers, 2019."],"bioghist_html_tesm":["\u003cp\u003eDaisy Sarah Bacon (1898-1986) was a writer and editor of Street \u0026amp; Smith's popular \u003cemph render=\"italic\"\u003eLove Story Magazine\u003c/emph\u003e from 1928 to 1947. She was born in Union City, Pennsylvania to Jessie Holbrook Bacon (1870-1936) and Elmer Bacon (1864-1900). After her father's death on January 1, 1900, Daisy's mother married George Ford (1858-1907). Their daughter Esther Joa Ford (d. 1989) was born in 1906. Esther was Daisy's lifelong friend, confidante, associate, and colleague. The two frequently referred to each other by their respective surnames – Bacon and Ford. In July 1943, Esther married Clarke Robinson, an opera singer, WWI officer, and writer. For a time, Daisy was involved romantically with Henry Wise Miller, a stockbroker who was married to writer Alice Duer Miller. During much of her adulthood, Daisy battled depression, alcoholism, and made at least two suicide attempts.\u003c/p\u003e\n","\u003cp\u003eDaisy began her career at Street \u0026amp; Smith in 1926 as the reader for the \u003cemph render=\"italic\"\u003eLove Story\u003c/emph\u003e advice column. Just a few months later, she started writing short stories for the magazine. Daisy became the magazine's editor in 1928 and worked closely with her half-sister and editorial assistant Esther. At the height of its popularity, \u003cemph render=\"italic\"\u003eLove Story\u003c/emph\u003e's weekly circulation reportedly reached 600,000. In addition to \u003cemph render=\"italic\"\u003eLove Story\u003c/emph\u003e and other publications, Daisy edited \u003cemph render=\"italic\"\u003eReal Love\u003c/emph\u003e, \u003cemph render=\"italic\"\u003eAinslee's Smart Love Stories\u003c/emph\u003e, \u003cemph\u003eThe Shadow\u003c/emph\u003e, \u003cemph render=\"italic\"\u003ePocket Love\u003c/emph\u003e, \u003cemph render=\"italic\"\u003eDetective Story Magazine\u003c/emph\u003e, \u003cemph render=\"italic\"\u003eRomantic Range\u003c/emph\u003e, and \u003cemph render=\"italic\"\u003eDoc Savage\u003c/emph\u003e. The publication of \u003cemph render=\"italic\"\u003eLove Story\u003c/emph\u003e ceased with its February 1947 issue though Daisy continued to work at Street \u0026amp; Smith on other pulp titles. Daisy was fired from Street \u0026amp; Smith in April 1949 when the company ended its publication of all pulp fiction magazines except \u003cemph render=\"italic\"\u003eAstounding Stories\u003c/emph\u003e. \u003c/p\u003e\n","\u003cp\u003eAfter leaving Street \u0026amp; Smith, Daisy moved from Manhattan to Port Washington, New York where she continued to write. In 1954, she published \u003cemph render=\"italic\"\u003eLove Story Writer\u003c/emph\u003e, an instruction manual on how to write romance stories. After regaining the copyright to \u003cemph render=\"italic\"\u003eLove Story Writer\u003c/emph\u003e in 1963, Bacon established Gemini Books and republished the book as a paperback under the title \u003cemph render=\"italic\"\u003eLove Story Editor\u003c/emph\u003e. Her manuscript for \"Love Story Diary,\" a Street \u0026amp; Smith tell-all was never published and is not extant. Bacon also kept diaries and dream journals, and their contents often alluded to her personal struggles and complicated relationships.\u003c/p\u003e\n","\u003cp\u003eEsther and Daisy's relationship was strained after they were let go from Street \u0026amp; Smith, but Esther moved in with Daisy after her husband Clarke's death in 1962 and the two became close again. Both Daisy and Esther were cat lovers and were frequently photographed with their feline companions. Daisy Bacon died March 25, 1986 in Port Washington.\u003c/p\u003e\n","\u003cp\u003eResearchers are highly encouraged to review Laurie Powers's biography of Daisy Bacon titled \u003cemph render=\"italic\"\u003eQueen of the Pulps: The Reign of Daisy Bacon and Love Story Magazine\u003c/emph\u003e (2019) as this biographical note is not intended to serve as a comprehensive account of Daisy Bacon's life and career.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Daisy Sarah Bacon (1898-1986) was a writer and editor of Street \u0026 Smith's popular  Love Story Magazine  from 1928 to 1947. She was born in Union City, Pennsylvania to Jessie Holbrook Bacon (1870-1936) and Elmer Bacon (1864-1900). After her father's death on January 1, 1900, Daisy's mother married George Ford (1858-1907). Their daughter Esther Joa Ford (d. 1989) was born in 1906. Esther was Daisy's lifelong friend, confidante, associate, and colleague. The two frequently referred to each other by their respective surnames – Bacon and Ford. In July 1943, Esther married Clarke Robinson, an opera singer, WWI officer, and writer. For a time, Daisy was involved romantically with Henry Wise Miller, a stockbroker who was married to writer Alice Duer Miller. During much of her adulthood, Daisy battled depression, alcoholism, and made at least two suicide attempts.","Daisy began her career at Street \u0026 Smith in 1926 as the reader for the  Love Story  advice column. Just a few months later, she started writing short stories for the magazine. Daisy became the magazine's editor in 1928 and worked closely with her half-sister and editorial assistant Esther. At the height of its popularity,  Love Story 's weekly circulation reportedly reached 600,000. In addition to  Love Story  and other publications, Daisy edited  Real Love ,  Ainslee's Smart Love Stories ,  The Shadow ,  Pocket Love ,  Detective Story Magazine ,  Romantic Range , and  Doc Savage . The publication of  Love Story  ceased with its February 1947 issue though Daisy continued to work at Street \u0026 Smith on other pulp titles. Daisy was fired from Street \u0026 Smith in April 1949 when the company ended its publication of all pulp fiction magazines except  Astounding Stories . ","After leaving Street \u0026 Smith, Daisy moved from Manhattan to Port Washington, New York where she continued to write. In 1954, she published  Love Story Writer , an instruction manual on how to write romance stories. After regaining the copyright to  Love Story Writer  in 1963, Bacon established Gemini Books and republished the book as a paperback under the title  Love Story Editor . Her manuscript for \"Love Story Diary,\" a Street \u0026 Smith tell-all was never published and is not extant. Bacon also kept diaries and dream journals, and their contents often alluded to her personal struggles and complicated relationships.","Esther and Daisy's relationship was strained after they were let go from Street \u0026 Smith, but Esther moved in with Daisy after her husband Clarke's death in 1962 and the two became close again. Both Daisy and Esther were cat lovers and were frequently photographed with their feline companions. Daisy Bacon died March 25, 1986 in Port Washington.","Researchers are highly encouraged to review Laurie Powers's biography of Daisy Bacon titled  Queen of the Pulps: The Reign of Daisy Bacon and Love Story Magazine  (2019) as this biographical note is not intended to serve as a comprehensive account of Daisy Bacon's life and career."],"custodhist_html_tesm":["\u003cp\u003ePer Laurie Powers, either Daisy Bacon or Daisy's sister Esther gave the Haagensons Bacon's papers.\u003c/p\u003e"],"custodhist_heading_ssm":["Provenance"],"custodhist_tesim":["Per Laurie Powers, either Daisy Bacon or Daisy's sister Esther gave the Haagensons Bacon's papers."],"prefercite_html_tesm":["\u003cp\u003e[identification of item], [box #, folder #], Daisy Bacon Papers, 1857-before March 25, 1986, SC 0304, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA.\u003c/p\u003e"],"prefercite_tesim":["[identification of item], [box #, folder #], Daisy Bacon Papers, 1857-before March 25, 1986, SC 0304, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA."],"processinfo_html_tesm":["\u003cp\u003eLaurie Powers, Daisy Bacon biographer, was actively referencing and using the materials in this collection prior to its transfer to Special Collections. Powers provided descriptions and date ranges for much of the material in this collection including diaries and journals. Powers also removed loose newspaper clippings, notes, and printed ephemera from diaries and arranged them according to date or subject in plastic sleeves. Said clippings and assorted ephemera have been foldered according to Powers' groupings. Any associated labels were retained and transferred to folders and sub-folders. Exceptions have been made for papers with more discrete research potential than newspaper clippings (e.g. correspondence, Daisy Bacon's cat's pedigree chart). \u003c/p\u003e","\u003cp\u003ePlastic covers were removed from three scrapbooks containing \u003cemph render=\"italic\"\u003eLove Story\u003c/emph\u003e covers.\u003c/p\u003e","\u003cp\u003eNon-archival plastic sleeves were removed from personal papers and correspondence.\u003c/p\u003e","\u003cp\u003eThe groupings of newspaper clippings are foldered and subfoldered according to their groupings when donated.\u003c/p\u003e","\u003cp\u003eThe three lacquer (acetate) phonodiscs containing the June 13, 1941 radio program \"The Writer and Your Life\" were reformatted in-house by Kirsten Mlodynia, Digital Projects Specialist. \u003c/p\u003e","\u003cp\u003eThe photograph groupings as arranged by Laurie Powers were largely retained. Exceptions include photographs used for Powers' biography that were separated based solely on their inclusion in \u003cemph render=\"italic\"\u003eQueen of the Pulps\u003c/emph\u003e. Most of these photographs were interfiled with other groupings. \u003c/p\u003e","\u003cp\u003eA portion of the photo negatives are cellulose nitrate, in deteriorating condition, and/or do not have photograph copies. As such, they are likely candidates for future reformatting. The negatives were removed from their paper envelopes and housed in acid-free sleeves in those same groupings. The envelopes are retained as examples of marketing and advertisement for photo development companies.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Laurie Powers, Daisy Bacon biographer, was actively referencing and using the materials in this collection prior to its transfer to Special Collections. Powers provided descriptions and date ranges for much of the material in this collection including diaries and journals. Powers also removed loose newspaper clippings, notes, and printed ephemera from diaries and arranged them according to date or subject in plastic sleeves. Said clippings and assorted ephemera have been foldered according to Powers' groupings. Any associated labels were retained and transferred to folders and sub-folders. Exceptions have been made for papers with more discrete research potential than newspaper clippings (e.g. correspondence, Daisy Bacon's cat's pedigree chart). ","Plastic covers were removed from three scrapbooks containing  Love Story  covers.","Non-archival plastic sleeves were removed from personal papers and correspondence.","The groupings of newspaper clippings are foldered and subfoldered according to their groupings when donated.","The three lacquer (acetate) phonodiscs containing the June 13, 1941 radio program \"The Writer and Your Life\" were reformatted in-house by Kirsten Mlodynia, Digital Projects Specialist. ","The photograph groupings as arranged by Laurie Powers were largely retained. Exceptions include photographs used for Powers' biography that were separated based solely on their inclusion in  Queen of the Pulps . Most of these photographs were interfiled with other groupings. ","A portion of the photo negatives are cellulose nitrate, in deteriorating condition, and/or do not have photograph copies. As such, they are likely candidates for future reformatting. The negatives were removed from their paper envelopes and housed in acid-free sleeves in those same groupings. The envelopes are retained as examples of marketing and advertisement for photo development companies."],"relatedmaterial_html_tesm":["\u003cp\u003eStreet \u0026amp; Smith Records, Special Collections Research Center, Syracuse University Libraries\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Street \u0026 Smith Records, Special Collections Research Center, Syracuse University Libraries"],"scopecontent_html_tesm":["\u003cp\u003eThe Daisy Bacon Papers, 1857-before March 25, 1986, comprise the personal and professional papers, diaries, scrapbooks, printed ephemera, published and unpublished manuscripts, and photographs of Daisy Bacon, longtime editor of \u003cemph render=\"italic\"\u003eLove Story Magazine\u003c/emph\u003e. The papers of select family members are also represented in this collection and include Esther Joa Ford Robinson, Jessie Holbrook Bacon Ford, and Elmer Bacon.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Daisy Bacon Papers, 1857-before March 25, 1986, comprise the personal and professional papers, diaries, scrapbooks, printed ephemera, published and unpublished manuscripts, and photographs of Daisy Bacon, longtime editor of  Love Story Magazine . The papers of select family members are also represented in this collection and include Esther Joa Ford Robinson, Jessie Holbrook Bacon Ford, and Elmer Bacon."],"userestrict_html_tesm":["\u003cp\u003eCopyright is retained by the creator(s) and their heirs for materials they have authored or otherwise produced that reside in this collection. Copyright status for other collection materials is unknown. Transmission or reproduction of materials protected by U.S. Copyright Law (Title 17, U.S.C.) beyond that allowed by fair use requires the written permission of the copyright owners. Works not in the public domain cannot be commercially exploited without permission of the copyright owners. Responsibility for any use rests exclusively with the user. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["Copyright is retained by the creator(s) and their heirs for materials they have authored or otherwise produced that reside in this collection. Copyright status for other collection materials is unknown. Transmission or reproduction of materials protected by U.S. Copyright Law (Title 17, U.S.C.) beyond that allowed by fair use requires the written permission of the copyright owners. Works not in the public domain cannot be commercially exploited without permission of the copyright owners. Responsibility for any use rests exclusively with the user. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu)."],"abstract_html_tesm":["\u003cabstract id=\"aspace_cb7f7f07da2c2707ee74d46d25a929d9\"\u003eThe Daisy Bacon Papers, 1857-before March 25, 1986, comprise the personal and professional papers, diaries, manuscripts, and photographs of Daisy Bacon, longtime editor of \u003cemph render=\"italic\"\u003eLove Story Magazine\u003c/emph\u003e. The papers of select immediate and extended family members are also included in this collection.\u003c/abstract\u003e"],"abstract_tesim":["The Daisy Bacon Papers, 1857-before March 25, 1986, comprise the personal and professional papers, diaries, manuscripts, and photographs of Daisy Bacon, longtime editor of  Love Story Magazine . The papers of select immediate and extended family members are also included in this collection."],"names_ssim":["James Madison University Libraries Special Collections","Belmont Stakes","Bacon, Daisy, 1898-1986","Haagenson, William and Nora","Powers, Laurie (Laurel), 1957-"],"corpname_ssim":["James Madison University Libraries Special Collections","Belmont Stakes"],"names_coll_ssim":["Haagenson, William and Nora","Powers, Laurie (Laurel), 1957-","Bacon, Daisy, 1898-1986"],"persname_ssim":["Bacon, Daisy, 1898-1986","Haagenson, William and Nora","Powers, Laurie (Laurel), 1957-"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":117,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T22:58:37.387Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vihart_repositories_4_resources_636","ead_ssi":"vihart_repositories_4_resources_636","_root_":"vihart_repositories_4_resources_636","_nest_parent_":"vihart_repositories_4_resources_636","ead_source_url_ssi":"data/oai/JMU/repositories_4_resources_636.xml","title_ssm":["Daisy Bacon Papers"],"title_tesim":["Daisy Bacon Papers"],"unitdate_ssm":["1857-before March 25, 1986"],"unitdate_inclusive_ssm":["1857-before March 25, 1986"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC 0304","/repositories/4/resources/636"],"text":["SC 0304","/repositories/4/resources/636","Daisy Bacon Papers","Women editors -- United States","Women authors","Women publishers -- United States","Romance fiction, American -- 20th century","Scrapbooks","Diaries","Photographs","Letters (correspondence)","Notes (documents)","Newspaper clippings","Printed Ephemera","Manuscripts (documents)","Financial Records","Receipts (financial records)","Telephone directories","Negatives (photographs)","Collection is open for research. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact research services staff at library-special@jmu.edu before visiting the James Madison University Special Collections Library to use this collection.","Original audiovisual materials contained in this collection are restricted from access. Reformatted access copies may be available, or media reformatting may be available upon request. Contact research services staff at library-special@jmu.edu for additional information.","The three lacquer (acetate) phonodiscs containing the June 13, 1941 radio program \"The Writer and Your Life\" were reformatted in-house by Kirsten Mlodynia, Digital Projects Specialist.","Photocopies of documents acquired by Laurie Powers for the purpose of writing Bacon's biography, many of which were facsimiles of collection material held at other repositories, were not retained.","The collection is arranged into five series:","Diaries and Journals, 1899-1982, is arranged by creator (Daisy Bacon, Jessie Bacon Ford, etc.) and item type (diaries, dream journals, etc.) which generally also follows a chronological arrangement. Scrapbooks and Ephemera, 1903-1976, is arranged chronologically. The scrapbooks of  Love Story  covers are grouped together which only slightly disrupts the chronological arrangement. Manuscripts and Publishing, 1929-1975, is arranged alphabetically according to manuscript title/folder title. Personal Papers and Correspondence, 1857-1975, is arranged chronologically. Photographs and Negatives, 1883-before March 25, 1986, is arranged chronologically.","Laurie Powers,  Queen of the Pulps: The Reign of Daisy Bacon and Love Story Magazine , Jefferson, NC: McFarland \u0026 Company, Inc. Publishers, 2019.","Daisy Sarah Bacon (1898-1986) was a writer and editor of Street \u0026 Smith's popular  Love Story Magazine  from 1928 to 1947. She was born in Union City, Pennsylvania to Jessie Holbrook Bacon (1870-1936) and Elmer Bacon (1864-1900). After her father's death on January 1, 1900, Daisy's mother married George Ford (1858-1907). Their daughter Esther Joa Ford (d. 1989) was born in 1906. Esther was Daisy's lifelong friend, confidante, associate, and colleague. The two frequently referred to each other by their respective surnames – Bacon and Ford. In July 1943, Esther married Clarke Robinson, an opera singer, WWI officer, and writer. For a time, Daisy was involved romantically with Henry Wise Miller, a stockbroker who was married to writer Alice Duer Miller. During much of her adulthood, Daisy battled depression, alcoholism, and made at least two suicide attempts.","Daisy began her career at Street \u0026 Smith in 1926 as the reader for the  Love Story  advice column. Just a few months later, she started writing short stories for the magazine. Daisy became the magazine's editor in 1928 and worked closely with her half-sister and editorial assistant Esther. At the height of its popularity,  Love Story 's weekly circulation reportedly reached 600,000. In addition to  Love Story  and other publications, Daisy edited  Real Love ,  Ainslee's Smart Love Stories ,  The Shadow ,  Pocket Love ,  Detective Story Magazine ,  Romantic Range , and  Doc Savage . The publication of  Love Story  ceased with its February 1947 issue though Daisy continued to work at Street \u0026 Smith on other pulp titles. Daisy was fired from Street \u0026 Smith in April 1949 when the company ended its publication of all pulp fiction magazines except  Astounding Stories . ","After leaving Street \u0026 Smith, Daisy moved from Manhattan to Port Washington, New York where she continued to write. In 1954, she published  Love Story Writer , an instruction manual on how to write romance stories. After regaining the copyright to  Love Story Writer  in 1963, Bacon established Gemini Books and republished the book as a paperback under the title  Love Story Editor . Her manuscript for \"Love Story Diary,\" a Street \u0026 Smith tell-all was never published and is not extant. Bacon also kept diaries and dream journals, and their contents often alluded to her personal struggles and complicated relationships.","Esther and Daisy's relationship was strained after they were let go from Street \u0026 Smith, but Esther moved in with Daisy after her husband Clarke's death in 1962 and the two became close again. Both Daisy and Esther were cat lovers and were frequently photographed with their feline companions. Daisy Bacon died March 25, 1986 in Port Washington.","Researchers are highly encouraged to review Laurie Powers's biography of Daisy Bacon titled  Queen of the Pulps: The Reign of Daisy Bacon and Love Story Magazine  (2019) as this biographical note is not intended to serve as a comprehensive account of Daisy Bacon's life and career.","Per Laurie Powers, either Daisy Bacon or Daisy's sister Esther gave the Haagensons Bacon's papers.","Laurie Powers, Daisy Bacon biographer, was actively referencing and using the materials in this collection prior to its transfer to Special Collections. Powers provided descriptions and date ranges for much of the material in this collection including diaries and journals. Powers also removed loose newspaper clippings, notes, and printed ephemera from diaries and arranged them according to date or subject in plastic sleeves. Said clippings and assorted ephemera have been foldered according to Powers' groupings. Any associated labels were retained and transferred to folders and sub-folders. Exceptions have been made for papers with more discrete research potential than newspaper clippings (e.g. correspondence, Daisy Bacon's cat's pedigree chart). ","Plastic covers were removed from three scrapbooks containing  Love Story  covers.","Non-archival plastic sleeves were removed from personal papers and correspondence.","The groupings of newspaper clippings are foldered and subfoldered according to their groupings when donated.","The three lacquer (acetate) phonodiscs containing the June 13, 1941 radio program \"The Writer and Your Life\" were reformatted in-house by Kirsten Mlodynia, Digital Projects Specialist. ","The photograph groupings as arranged by Laurie Powers were largely retained. Exceptions include photographs used for Powers' biography that were separated based solely on their inclusion in  Queen of the Pulps . Most of these photographs were interfiled with other groupings. ","A portion of the photo negatives are cellulose nitrate, in deteriorating condition, and/or do not have photograph copies. As such, they are likely candidates for future reformatting. The negatives were removed from their paper envelopes and housed in acid-free sleeves in those same groupings. The envelopes are retained as examples of marketing and advertisement for photo development companies.","Street \u0026 Smith Records, Special Collections Research Center, Syracuse University Libraries","The Daisy Bacon Papers, 1857-before March 25, 1986, comprise the personal and professional papers, diaries, scrapbooks, printed ephemera, published and unpublished manuscripts, and photographs of Daisy Bacon, longtime editor of  Love Story Magazine . The papers of select family members are also represented in this collection and include Esther Joa Ford Robinson, Jessie Holbrook Bacon Ford, and Elmer Bacon.","Copyright is retained by the creator(s) and their heirs for materials they have authored or otherwise produced that reside in this collection. Copyright status for other collection materials is unknown. Transmission or reproduction of materials protected by U.S. Copyright Law (Title 17, U.S.C.) beyond that allowed by fair use requires the written permission of the copyright owners. Works not in the public domain cannot be commercially exploited without permission of the copyright owners. Responsibility for any use rests exclusively with the user. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","The Daisy Bacon Papers, 1857-before March 25, 1986, comprise the personal and professional papers, diaries, manuscripts, and photographs of Daisy Bacon, longtime editor of  Love Story Magazine . The papers of select immediate and extended family members are also included in this collection.","James Madison University Libraries Special Collections","Belmont Stakes","Bacon, Daisy, 1898-1986","Haagenson, William and Nora","Powers, Laurie (Laurel), 1957-","English"],"unitid_tesim":["SC 0304","/repositories/4/resources/636"],"normalized_title_ssm":["Daisy Bacon Papers"],"collection_title_tesim":["Daisy Bacon Papers"],"collection_ssim":["Daisy Bacon Papers"],"repository_ssm":["James Madison University"],"repository_ssim":["James Madison University"],"creator_ssm":["Bacon, Daisy, 1898-1986","Haagenson, William and Nora","Powers, Laurie (Laurel), 1957-"],"creator_ssim":["Bacon, Daisy, 1898-1986","Haagenson, William and Nora","Powers, Laurie (Laurel), 1957-"],"creator_persname_ssim":["Bacon, Daisy, 1898-1986","Haagenson, William and Nora","Powers, Laurie (Laurel), 1957-"],"creators_ssim":["Bacon, Daisy, 1898-1986","Haagenson, William and Nora","Powers, Laurie (Laurel), 1957-"],"access_terms_ssm":["Copyright is retained by the creator(s) and their heirs for materials they have authored or otherwise produced that reside in this collection. Copyright status for other collection materials is unknown. Transmission or reproduction of materials protected by U.S. Copyright Law (Title 17, U.S.C.) beyond that allowed by fair use requires the written permission of the copyright owners. Works not in the public domain cannot be commercially exploited without permission of the copyright owners. Responsibility for any use rests exclusively with the user. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu)."],"acqinfo_ssim":["Bill and Nora Haagenson, Daisy's neighbors in Port Washington, New York, donated the collection in December 2019. The collection was in the physical custody of Laurie Powers, Daisy Bacon's biographer and Staunton, Virginia resident, while she was writing  Queen of the Pulps: The Reign of Daisy Bacon and Love Story Magazine . Powers delivered the collection to Special Collections after the Haagensons signed a deed of gift transferring ownership to JMU."],"access_subjects_ssim":["Women editors -- United States","Women authors","Women publishers -- United States","Romance fiction, American -- 20th century","Scrapbooks","Diaries","Photographs","Letters (correspondence)","Notes (documents)","Newspaper clippings","Printed Ephemera","Manuscripts (documents)","Financial Records","Receipts (financial records)","Telephone directories","Negatives (photographs)"],"access_subjects_ssm":["Women editors -- United States","Women authors","Women publishers -- United States","Romance fiction, American -- 20th century","Scrapbooks","Diaries","Photographs","Letters (correspondence)","Notes (documents)","Newspaper clippings","Printed Ephemera","Manuscripts (documents)","Financial Records","Receipts (financial records)","Telephone directories","Negatives (photographs)"],"has_online_content_ssim":["false"],"extent_ssm":["3.64 cubic feet 10 boxes","44.4 Megabytes 6 digital files"],"extent_tesim":["3.64 cubic feet 10 boxes","44.4 Megabytes 6 digital files"],"genreform_ssim":["Scrapbooks","Diaries","Photographs","Letters (correspondence)","Notes (documents)","Newspaper clippings","Printed Ephemera","Manuscripts (documents)","Financial Records","Receipts (financial records)","Telephone directories","Negatives (photographs)"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open for research. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact research services staff at library-special@jmu.edu before visiting the James Madison University Special Collections Library to use this collection.\u003c/p\u003e\n","\u003cp\u003eOriginal audiovisual materials contained in this collection are restricted from access. Reformatted access copies may be available, or media reformatting may be available upon request. Contact research services staff at library-special@jmu.edu for additional information.\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 at library-special@jmu.edu before visiting the James Madison University Special Collections Library to use this collection.","Original audiovisual materials contained in this collection are restricted from access. Reformatted access copies may be available, or media reformatting may be available upon request. Contact research services staff at library-special@jmu.edu for additional information."],"altformavail_html_tesm":["\u003cp\u003eThe three lacquer (acetate) phonodiscs containing the June 13, 1941 radio program \"The Writer and Your Life\" were reformatted in-house by Kirsten Mlodynia, Digital Projects Specialist.\u003c/p\u003e"],"altformavail_heading_ssm":["Other Formats Available"],"altformavail_tesim":["The three lacquer (acetate) phonodiscs containing the June 13, 1941 radio program \"The Writer and Your Life\" were reformatted in-house by Kirsten Mlodynia, Digital Projects Specialist."],"appraisal_html_tesm":["\u003cp\u003ePhotocopies of documents acquired by Laurie Powers for the purpose of writing Bacon's biography, many of which were facsimiles of collection material held at other repositories, were not retained.\u003c/p\u003e"],"appraisal_heading_ssm":["Appraisal Note"],"appraisal_tesim":["Photocopies of documents acquired by Laurie Powers for the purpose of writing Bacon's biography, many of which were facsimiles of collection material held at other repositories, were not retained."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into five series:\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003citem\u003eDiaries and Journals, 1899-1982, is arranged by creator (Daisy Bacon, Jessie Bacon Ford, etc.) and item type (diaries, dream journals, etc.) which generally also follows a chronological arrangement.\u003c/item\u003e\n      \u003citem\u003eScrapbooks and Ephemera, 1903-1976, is arranged chronologically. The scrapbooks of \u003cemph render=\"italic\"\u003eLove Story\u003c/emph\u003e covers are grouped together which only slightly disrupts the chronological arrangement.\u003c/item\u003e\n      \u003citem\u003eManuscripts and Publishing, 1929-1975, is arranged alphabetically according to manuscript title/folder title.\u003c/item\u003e\n      \u003citem\u003ePersonal Papers and Correspondence, 1857-1975, is arranged chronologically.\u003c/item\u003e\n      \u003citem\u003ePhotographs and Negatives, 1883-before March 25, 1986, is arranged chronologically.\u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged into five series:","Diaries and Journals, 1899-1982, is arranged by creator (Daisy Bacon, Jessie Bacon Ford, etc.) and item type (diaries, dream journals, etc.) which generally also follows a chronological arrangement. Scrapbooks and Ephemera, 1903-1976, is arranged chronologically. The scrapbooks of  Love Story  covers are grouped together which only slightly disrupts the chronological arrangement. Manuscripts and Publishing, 1929-1975, is arranged alphabetically according to manuscript title/folder title. Personal Papers and Correspondence, 1857-1975, is arranged chronologically. Photographs and Negatives, 1883-before March 25, 1986, is arranged chronologically."],"bibliography_html_tesm":["\u003cbibref\u003eLaurie Powers, \u003cemph render=\"italic\"\u003eQueen of the Pulps: The Reign of Daisy Bacon and Love Story Magazine\u003c/emph\u003e, Jefferson, NC: McFarland \u0026amp; Company, Inc. Publishers, 2019.\u003c/bibref\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Laurie Powers,  Queen of the Pulps: The Reign of Daisy Bacon and Love Story Magazine , Jefferson, NC: McFarland \u0026 Company, Inc. Publishers, 2019."],"bioghist_html_tesm":["\u003cp\u003eDaisy Sarah Bacon (1898-1986) was a writer and editor of Street \u0026amp; Smith's popular \u003cemph render=\"italic\"\u003eLove Story Magazine\u003c/emph\u003e from 1928 to 1947. She was born in Union City, Pennsylvania to Jessie Holbrook Bacon (1870-1936) and Elmer Bacon (1864-1900). After her father's death on January 1, 1900, Daisy's mother married George Ford (1858-1907). Their daughter Esther Joa Ford (d. 1989) was born in 1906. Esther was Daisy's lifelong friend, confidante, associate, and colleague. The two frequently referred to each other by their respective surnames – Bacon and Ford. In July 1943, Esther married Clarke Robinson, an opera singer, WWI officer, and writer. For a time, Daisy was involved romantically with Henry Wise Miller, a stockbroker who was married to writer Alice Duer Miller. During much of her adulthood, Daisy battled depression, alcoholism, and made at least two suicide attempts.\u003c/p\u003e\n","\u003cp\u003eDaisy began her career at Street \u0026amp; Smith in 1926 as the reader for the \u003cemph render=\"italic\"\u003eLove Story\u003c/emph\u003e advice column. Just a few months later, she started writing short stories for the magazine. Daisy became the magazine's editor in 1928 and worked closely with her half-sister and editorial assistant Esther. At the height of its popularity, \u003cemph render=\"italic\"\u003eLove Story\u003c/emph\u003e's weekly circulation reportedly reached 600,000. In addition to \u003cemph render=\"italic\"\u003eLove Story\u003c/emph\u003e and other publications, Daisy edited \u003cemph render=\"italic\"\u003eReal Love\u003c/emph\u003e, \u003cemph render=\"italic\"\u003eAinslee's Smart Love Stories\u003c/emph\u003e, \u003cemph\u003eThe Shadow\u003c/emph\u003e, \u003cemph render=\"italic\"\u003ePocket Love\u003c/emph\u003e, \u003cemph render=\"italic\"\u003eDetective Story Magazine\u003c/emph\u003e, \u003cemph render=\"italic\"\u003eRomantic Range\u003c/emph\u003e, and \u003cemph render=\"italic\"\u003eDoc Savage\u003c/emph\u003e. The publication of \u003cemph render=\"italic\"\u003eLove Story\u003c/emph\u003e ceased with its February 1947 issue though Daisy continued to work at Street \u0026amp; Smith on other pulp titles. Daisy was fired from Street \u0026amp; Smith in April 1949 when the company ended its publication of all pulp fiction magazines except \u003cemph render=\"italic\"\u003eAstounding Stories\u003c/emph\u003e. \u003c/p\u003e\n","\u003cp\u003eAfter leaving Street \u0026amp; Smith, Daisy moved from Manhattan to Port Washington, New York where she continued to write. In 1954, she published \u003cemph render=\"italic\"\u003eLove Story Writer\u003c/emph\u003e, an instruction manual on how to write romance stories. After regaining the copyright to \u003cemph render=\"italic\"\u003eLove Story Writer\u003c/emph\u003e in 1963, Bacon established Gemini Books and republished the book as a paperback under the title \u003cemph render=\"italic\"\u003eLove Story Editor\u003c/emph\u003e. Her manuscript for \"Love Story Diary,\" a Street \u0026amp; Smith tell-all was never published and is not extant. Bacon also kept diaries and dream journals, and their contents often alluded to her personal struggles and complicated relationships.\u003c/p\u003e\n","\u003cp\u003eEsther and Daisy's relationship was strained after they were let go from Street \u0026amp; Smith, but Esther moved in with Daisy after her husband Clarke's death in 1962 and the two became close again. Both Daisy and Esther were cat lovers and were frequently photographed with their feline companions. Daisy Bacon died March 25, 1986 in Port Washington.\u003c/p\u003e\n","\u003cp\u003eResearchers are highly encouraged to review Laurie Powers's biography of Daisy Bacon titled \u003cemph render=\"italic\"\u003eQueen of the Pulps: The Reign of Daisy Bacon and Love Story Magazine\u003c/emph\u003e (2019) as this biographical note is not intended to serve as a comprehensive account of Daisy Bacon's life and career.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Daisy Sarah Bacon (1898-1986) was a writer and editor of Street \u0026 Smith's popular  Love Story Magazine  from 1928 to 1947. She was born in Union City, Pennsylvania to Jessie Holbrook Bacon (1870-1936) and Elmer Bacon (1864-1900). After her father's death on January 1, 1900, Daisy's mother married George Ford (1858-1907). Their daughter Esther Joa Ford (d. 1989) was born in 1906. Esther was Daisy's lifelong friend, confidante, associate, and colleague. The two frequently referred to each other by their respective surnames – Bacon and Ford. In July 1943, Esther married Clarke Robinson, an opera singer, WWI officer, and writer. For a time, Daisy was involved romantically with Henry Wise Miller, a stockbroker who was married to writer Alice Duer Miller. During much of her adulthood, Daisy battled depression, alcoholism, and made at least two suicide attempts.","Daisy began her career at Street \u0026 Smith in 1926 as the reader for the  Love Story  advice column. Just a few months later, she started writing short stories for the magazine. Daisy became the magazine's editor in 1928 and worked closely with her half-sister and editorial assistant Esther. At the height of its popularity,  Love Story 's weekly circulation reportedly reached 600,000. In addition to  Love Story  and other publications, Daisy edited  Real Love ,  Ainslee's Smart Love Stories ,  The Shadow ,  Pocket Love ,  Detective Story Magazine ,  Romantic Range , and  Doc Savage . The publication of  Love Story  ceased with its February 1947 issue though Daisy continued to work at Street \u0026 Smith on other pulp titles. Daisy was fired from Street \u0026 Smith in April 1949 when the company ended its publication of all pulp fiction magazines except  Astounding Stories . ","After leaving Street \u0026 Smith, Daisy moved from Manhattan to Port Washington, New York where she continued to write. In 1954, she published  Love Story Writer , an instruction manual on how to write romance stories. After regaining the copyright to  Love Story Writer  in 1963, Bacon established Gemini Books and republished the book as a paperback under the title  Love Story Editor . Her manuscript for \"Love Story Diary,\" a Street \u0026 Smith tell-all was never published and is not extant. Bacon also kept diaries and dream journals, and their contents often alluded to her personal struggles and complicated relationships.","Esther and Daisy's relationship was strained after they were let go from Street \u0026 Smith, but Esther moved in with Daisy after her husband Clarke's death in 1962 and the two became close again. Both Daisy and Esther were cat lovers and were frequently photographed with their feline companions. Daisy Bacon died March 25, 1986 in Port Washington.","Researchers are highly encouraged to review Laurie Powers's biography of Daisy Bacon titled  Queen of the Pulps: The Reign of Daisy Bacon and Love Story Magazine  (2019) as this biographical note is not intended to serve as a comprehensive account of Daisy Bacon's life and career."],"custodhist_html_tesm":["\u003cp\u003ePer Laurie Powers, either Daisy Bacon or Daisy's sister Esther gave the Haagensons Bacon's papers.\u003c/p\u003e"],"custodhist_heading_ssm":["Provenance"],"custodhist_tesim":["Per Laurie Powers, either Daisy Bacon or Daisy's sister Esther gave the Haagensons Bacon's papers."],"prefercite_html_tesm":["\u003cp\u003e[identification of item], [box #, folder #], Daisy Bacon Papers, 1857-before March 25, 1986, SC 0304, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA.\u003c/p\u003e"],"prefercite_tesim":["[identification of item], [box #, folder #], Daisy Bacon Papers, 1857-before March 25, 1986, SC 0304, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA."],"processinfo_html_tesm":["\u003cp\u003eLaurie Powers, Daisy Bacon biographer, was actively referencing and using the materials in this collection prior to its transfer to Special Collections. Powers provided descriptions and date ranges for much of the material in this collection including diaries and journals. Powers also removed loose newspaper clippings, notes, and printed ephemera from diaries and arranged them according to date or subject in plastic sleeves. Said clippings and assorted ephemera have been foldered according to Powers' groupings. Any associated labels were retained and transferred to folders and sub-folders. Exceptions have been made for papers with more discrete research potential than newspaper clippings (e.g. correspondence, Daisy Bacon's cat's pedigree chart). \u003c/p\u003e","\u003cp\u003ePlastic covers were removed from three scrapbooks containing \u003cemph render=\"italic\"\u003eLove Story\u003c/emph\u003e covers.\u003c/p\u003e","\u003cp\u003eNon-archival plastic sleeves were removed from personal papers and correspondence.\u003c/p\u003e","\u003cp\u003eThe groupings of newspaper clippings are foldered and subfoldered according to their groupings when donated.\u003c/p\u003e","\u003cp\u003eThe three lacquer (acetate) phonodiscs containing the June 13, 1941 radio program \"The Writer and Your Life\" were reformatted in-house by Kirsten Mlodynia, Digital Projects Specialist. \u003c/p\u003e","\u003cp\u003eThe photograph groupings as arranged by Laurie Powers were largely retained. Exceptions include photographs used for Powers' biography that were separated based solely on their inclusion in \u003cemph render=\"italic\"\u003eQueen of the Pulps\u003c/emph\u003e. Most of these photographs were interfiled with other groupings. \u003c/p\u003e","\u003cp\u003eA portion of the photo negatives are cellulose nitrate, in deteriorating condition, and/or do not have photograph copies. As such, they are likely candidates for future reformatting. The negatives were removed from their paper envelopes and housed in acid-free sleeves in those same groupings. The envelopes are retained as examples of marketing and advertisement for photo development companies.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Laurie Powers, Daisy Bacon biographer, was actively referencing and using the materials in this collection prior to its transfer to Special Collections. Powers provided descriptions and date ranges for much of the material in this collection including diaries and journals. Powers also removed loose newspaper clippings, notes, and printed ephemera from diaries and arranged them according to date or subject in plastic sleeves. Said clippings and assorted ephemera have been foldered according to Powers' groupings. Any associated labels were retained and transferred to folders and sub-folders. Exceptions have been made for papers with more discrete research potential than newspaper clippings (e.g. correspondence, Daisy Bacon's cat's pedigree chart). ","Plastic covers were removed from three scrapbooks containing  Love Story  covers.","Non-archival plastic sleeves were removed from personal papers and correspondence.","The groupings of newspaper clippings are foldered and subfoldered according to their groupings when donated.","The three lacquer (acetate) phonodiscs containing the June 13, 1941 radio program \"The Writer and Your Life\" were reformatted in-house by Kirsten Mlodynia, Digital Projects Specialist. ","The photograph groupings as arranged by Laurie Powers were largely retained. Exceptions include photographs used for Powers' biography that were separated based solely on their inclusion in  Queen of the Pulps . Most of these photographs were interfiled with other groupings. ","A portion of the photo negatives are cellulose nitrate, in deteriorating condition, and/or do not have photograph copies. As such, they are likely candidates for future reformatting. The negatives were removed from their paper envelopes and housed in acid-free sleeves in those same groupings. The envelopes are retained as examples of marketing and advertisement for photo development companies."],"relatedmaterial_html_tesm":["\u003cp\u003eStreet \u0026amp; Smith Records, Special Collections Research Center, Syracuse University Libraries\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Street \u0026 Smith Records, Special Collections Research Center, Syracuse University Libraries"],"scopecontent_html_tesm":["\u003cp\u003eThe Daisy Bacon Papers, 1857-before March 25, 1986, comprise the personal and professional papers, diaries, scrapbooks, printed ephemera, published and unpublished manuscripts, and photographs of Daisy Bacon, longtime editor of \u003cemph render=\"italic\"\u003eLove Story Magazine\u003c/emph\u003e. The papers of select family members are also represented in this collection and include Esther Joa Ford Robinson, Jessie Holbrook Bacon Ford, and Elmer Bacon.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Daisy Bacon Papers, 1857-before March 25, 1986, comprise the personal and professional papers, diaries, scrapbooks, printed ephemera, published and unpublished manuscripts, and photographs of Daisy Bacon, longtime editor of  Love Story Magazine . The papers of select family members are also represented in this collection and include Esther Joa Ford Robinson, Jessie Holbrook Bacon Ford, and Elmer Bacon."],"userestrict_html_tesm":["\u003cp\u003eCopyright is retained by the creator(s) and their heirs for materials they have authored or otherwise produced that reside in this collection. Copyright status for other collection materials is unknown. Transmission or reproduction of materials protected by U.S. Copyright Law (Title 17, U.S.C.) beyond that allowed by fair use requires the written permission of the copyright owners. Works not in the public domain cannot be commercially exploited without permission of the copyright owners. Responsibility for any use rests exclusively with the user. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["Copyright is retained by the creator(s) and their heirs for materials they have authored or otherwise produced that reside in this collection. Copyright status for other collection materials is unknown. Transmission or reproduction of materials protected by U.S. Copyright Law (Title 17, U.S.C.) beyond that allowed by fair use requires the written permission of the copyright owners. Works not in the public domain cannot be commercially exploited without permission of the copyright owners. Responsibility for any use rests exclusively with the user. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu)."],"abstract_html_tesm":["\u003cabstract id=\"aspace_cb7f7f07da2c2707ee74d46d25a929d9\"\u003eThe Daisy Bacon Papers, 1857-before March 25, 1986, comprise the personal and professional papers, diaries, manuscripts, and photographs of Daisy Bacon, longtime editor of \u003cemph render=\"italic\"\u003eLove Story Magazine\u003c/emph\u003e. The papers of select immediate and extended family members are also included in this collection.\u003c/abstract\u003e"],"abstract_tesim":["The Daisy Bacon Papers, 1857-before March 25, 1986, comprise the personal and professional papers, diaries, manuscripts, and photographs of Daisy Bacon, longtime editor of  Love Story Magazine . The papers of select immediate and extended family members are also included in this collection."],"names_ssim":["James Madison University Libraries Special Collections","Belmont Stakes","Bacon, Daisy, 1898-1986","Haagenson, William and Nora","Powers, Laurie (Laurel), 1957-"],"corpname_ssim":["James Madison University Libraries Special Collections","Belmont Stakes"],"names_coll_ssim":["Haagenson, William and Nora","Powers, Laurie (Laurel), 1957-","Bacon, Daisy, 1898-1986"],"persname_ssim":["Bacon, Daisy, 1898-1986","Haagenson, William and Nora","Powers, Laurie (Laurel), 1957-"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":117,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T22:58:37.387Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vihart_repositories_4_resources_636"}},{"id":"viu_repositories_3_resources_1215_c01_c28","type":"File","attributes":{"title":"\"De Alguien a Nadie\"","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_1215_c01_c28#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eHolograph manuscript \"From Someone to No One\" by Jorge Luis Borges, signed in black ink on gridded notebook paper, numbered by Borges. With deletions and interpolations. The manuscript is an essay that first appeared in the march 1950 issue of \u003cem\u003eSur\u003c/em\u003e, reprinted in Borges's \u003cem\u003eOtras Inquisciones\u003c/em\u003e (1952) and \u003cem\u003eAntologia Personal\u003c/em\u003e (1961). It describes the paradox, which applies to gods as well as men, of a consuming ambition which can only be based on personal annihilation.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_1215_c01_c28#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viu_repositories_3_resources_1215_c01_c28","ref_ssm":["viu_repositories_3_resources_1215_c01_c28"],"id":"viu_repositories_3_resources_1215_c01_c28","ead_ssi":"viu_repositories_3_resources_1215","_root_":"viu_repositories_3_resources_1215","_nest_parent_":"viu_repositories_3_resources_1215_c01","parent_ssi":"viu_repositories_3_resources_1215_c01","parent_ssim":["viu_repositories_3_resources_1215","viu_repositories_3_resources_1215_c01"],"parent_ids_ssim":["viu_repositories_3_resources_1215","viu_repositories_3_resources_1215_c01"],"parent_unittitles_ssm":["Jorge Luis Borges papers","Manuscripts"],"parent_unittitles_tesim":["Jorge Luis Borges papers","Manuscripts"],"text":["Jorge Luis Borges papers","Manuscripts","\"De Alguien a Nadie\"","Manuscripts (documents)","Spanish; Castilian","box 1","folder 25","Holograph manuscript \"From Someone to No One\" by Jorge Luis Borges, signed in black ink on gridded notebook paper, numbered by Borges. 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Manfred, Mr. Cohen, Macedonio Fernandez, and Jorge Luis Borges.\u003c/p\u003e\n","\u003cp\u003eAlso included is a lecture by Jorge Luis Borges on Shakespeare's birthday (1976) and a photograph of Jorge Luis Borges from 1931.\u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["New collection of eleven manuscripts by writer Jorge Luis Borges which have been combined with the Borges collection. The new acquisitions include Herrera y Reissig; Soneta Para un Tango en la Nochecita; La Cabala (1943), Los Espejos Velados; Prologo a Mester de Juderia, de Carlos Grunberg;El Milagro Secreto; Nota Sobre la Paz; De Alguien a Nadie; La Biblioteca Total; El Dios y el Rey; and Prose Poems for I. J.","Other Borges manuscripts include : Juderia, Ciudad, Calle Desconocida, Villa Mazzini, Trincheras, La Vuelta a Buenos Aires (and letter), Essay on Flaubert, La Pampa y el Suburbio son Dioses, A la Doctrina de Pasion de Tu Voz, La Cabala (1930), A Mia Padre, El Muerto, La Casa de Asterion, Viejo Habito Argentino, Plaza San Martin (and letter), S. S. Poem, Manual de Zoologica Fantastica, The Mirror and the Mask, and La Fundacion Mitologica de Buenos Aires.","Correspondents include Carlo Mastronardi, Ever Mendez, Ramon Sopena, Atillo Rossi,Ernest T. Manfred, Mr. Cohen, Macedonio Fernandez, and Jorge Luis Borges.","Also included is a lecture by Jorge Luis Borges on Shakespeare's birthday (1976) and a photograph of Jorge Luis Borges from 1931."],"names_ssim":["Albert and Shirley Small Special Collections Library"],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"language_ssim":["Spanish; Castilian English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":53,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T22:52:26.689Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_1215_c01_c28"}},{"id":"vihart_repositories_4_resources_545","type":"collection","attributes":{"title":"Edna Frederikson Papers","creator":{"id":"https://search.arvasarchive.org/catalog/vihart_repositories_4_resources_545#creator","type":"document_value","attributes":{"value":"Frederikson, Edna, 1904-1998","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vihart_repositories_4_resources_545#abstract_or_scope","type":"document_value","attributes":{"value":"These papers give insight into the life of former James Madison University English professor Edna T. Frederikson in her later years as an author and poet. The papers consist of two boxes containing one bound diary and three unpublished manuscripts, all created between 1972 and 1992.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vihart_repositories_4_resources_545#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vihart_repositories_4_resources_545","ead_ssi":"vihart_repositories_4_resources_545","_root_":"vihart_repositories_4_resources_545","_nest_parent_":"vihart_repositories_4_resources_545","ead_source_url_ssi":"data/oai/JMU/repositories_4_resources_545.xml","title_ssm":["Edna Frederikson Papers"],"title_tesim":["Edna Frederikson Papers"],"unitdate_ssm":["1972-1992"],"unitdate_inclusive_ssm":["1972-1992"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC 0278"],"text":["SC 0278","Edna Frederikson Papers","Literature, Modern -- 20th century","American poetry -- 20th century","Authors, American -- 20th century -- Diaries","Diaries","Manuscripts (documents)","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.","The papers are arranged in chronological order.","Edna Frederikson papers, Special Collections, University of Maryland Libraries.","\"Edna Mattie Tutt Frederikson.\" findagrave, 1 Nov. 2012, https://www.findagrave.com/memorial/99989614/edna-mattie-frederikson. Accessed 21 Nov. 2018.","Otto and Edna Frederikson papers, Kansas Collection, RH MS 674, Kenneth Spencer Research Library, University of Kansas.","Edna Mattie Tutt was born in Everton, Kansas on January 23, 1904. After receiving her bachelor's degree in sociology at Parsons College in Iowa and her doctorate from the University of Kansas in 1931, she moved to Harrisonburg to teach with her husband, Otto Frederikson (1892-1973) at James Madison University. She taught English at JMU from 1931 to 1941. Throughout her time as a teacher and student she was already working on her first manuscript, titled  Three Parts Earth , the first in an already planned anthology series she planned to call  The Idea of Love . The books that would comprise this would involve the evolution of a young woman as she struggles to get her manuscripts published, while simultaneously exploring and refining her own views on life and relationships. After Otto retired in 1957, the couple traveled extensively until Otto's death in 1973. Long after settling down in Harrisonburg, Edna released a collection of poetry entitled  Never Tomorrow , published in 1988. Before she could finish her anthology series, Edna passed away on February 7, 1998.","The manuscripts, initially housed in a three-ring binder, were disbound and re-foldered accordingly. All loose pages and items inside the diary have been left as they were found.","Edna Frederikson papers, Special Collections, University of Maryland Libraries.","Otto and Edna Frederikson papers, Kansas Collection, RH MS 674, Kenneth Spencer Research Library, University of Kansas.","The Edna Frederikson Papers encompass one bound diary and 3 unpublished manuscripts, all created between 1972 and 1992. The diary focuses primarily on Edna's day-to-day thoughts concerning her manuscripts and her own personal musings. The three typed manuscripts are titled  The Burning Ice ,  A Pilgrim of the Heart , and  The Idea of Love , and follows the story of Nancy Western, a fictional character who navigates the trials and tribulations of becoming a published author and realizing her true self in the twentieth century.","Edna's diary, spanning from 1972 to 1992, follows the day-to-day musings of its author. Within these pages, Edna attaches correspondence from family, friends, book publishers, editors, and other business relations. The diary can be read almost as a story, with personal interjections and context for any article that she decides to put in. Some items of note include a letter from acclaimed poet Katherine Anne Porter regarding one of Edna's works, letters and personal correspondence between herself and close friend Paul Pines as well as Irma Friedrich, scattered letters regarding her manuscripts (both lauding and critical), and assorted poetry.","The manuscripts are organized as an anthology, following the character of Nancy Western as she struggles with her personal relationships and her work as an author working to get a book published. Although pure speculation, many parallels can be drawn between Nancy's life and Edna's, and can potentially read as Edna's reflection on her own life. The manuscripts were meant to be read as a larger narrative, titled  The Idea of Love , but were separated into smaller \"books\" after unsuccessful attempts to get the entire anthology published.","A paperback copy of Frederikson's novel  Three Parts Earth  was removed and catalogued separately.","The copyright interests in this collection have not been transferred to the James Madison University Special Collections Library. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","These papers give insight into the life of former James Madison University English professor Edna T. Frederikson in her later years as an author and poet. The papers consist of two boxes containing one bound diary and three unpublished manuscripts, all created between 1972 and 1992.","James Madison University Libraries Special Collections","Frederikson, Edna, 1904-1998","English, French"],"unitid_tesim":["SC 0278"],"normalized_title_ssm":["Edna Frederikson Papers"],"collection_title_tesim":["Edna Frederikson Papers"],"collection_ssim":["Edna Frederikson Papers"],"repository_ssm":["James Madison University"],"repository_ssim":["James Madison University"],"creator_ssm":["Frederikson, Edna, 1904-1998"],"creator_ssim":["Frederikson, Edna, 1904-1998"],"creator_persname_ssim":["Frederikson, Edna, 1904-1998"],"creators_ssim":["Frederikson, Edna, 1904-1998"],"access_terms_ssm":["The copyright interests in this collection have not 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":["Donated to Massanutten Regional Library by David Hudson, Edna's nephew and literary executor. With permission, Massanutten Regional Library donated materials to JMU."],"access_subjects_ssim":["Literature, Modern -- 20th century","American poetry -- 20th century","Authors, American -- 20th century -- Diaries","Diaries","Manuscripts (documents)"],"access_subjects_ssm":["Literature, Modern -- 20th century","American poetry -- 20th century","Authors, American -- 20th century -- Diaries","Diaries","Manuscripts (documents)"],"has_online_content_ssim":["false"],"extent_ssm":["0.57 cubic feet 2 boxes"],"extent_tesim":["0.57 cubic feet 2 boxes"],"genreform_ssim":["Diaries","Manuscripts (documents)"],"date_range_isim":[1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992],"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."],"arrangement_html_tesm":["\u003cp\u003eThe papers are arranged in chronological order.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The papers are arranged in chronological order."],"bibliography_html_tesm":["\u003cbibref\u003eEdna Frederikson papers, Special Collections, University of Maryland Libraries.\u003c/bibref\u003e","\u003cbibref\u003e\"Edna Mattie Tutt Frederikson.\" findagrave, 1 Nov. 2012, https://www.findagrave.com/memorial/99989614/edna-mattie-frederikson. Accessed 21 Nov. 2018.\u003c/bibref\u003e","\u003cbibref\u003eOtto and Edna Frederikson papers, Kansas Collection, RH MS 674, Kenneth Spencer Research Library, University of Kansas.\u003c/bibref\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Edna Frederikson papers, Special Collections, University of Maryland Libraries.","\"Edna Mattie Tutt Frederikson.\" findagrave, 1 Nov. 2012, https://www.findagrave.com/memorial/99989614/edna-mattie-frederikson. Accessed 21 Nov. 2018.","Otto and Edna Frederikson papers, Kansas Collection, RH MS 674, Kenneth Spencer Research Library, University of Kansas."],"bioghist_html_tesm":["\u003cp\u003eEdna Mattie Tutt was born in Everton, Kansas on January 23, 1904. After receiving her bachelor's degree in sociology at Parsons College in Iowa and her doctorate from the University of Kansas in 1931, she moved to Harrisonburg to teach with her husband, Otto Frederikson (1892-1973) at James Madison University. She taught English at JMU from 1931 to 1941. Throughout her time as a teacher and student she was already working on her first manuscript, titled \u003cemph render=\"italic\"\u003eThree Parts Earth\u003c/emph\u003e, the first in an already planned anthology series she planned to call \u003cemph render=\"italic\"\u003eThe Idea of Love\u003c/emph\u003e. The books that would comprise this would involve the evolution of a young woman as she struggles to get her manuscripts published, while simultaneously exploring and refining her own views on life and relationships. After Otto retired in 1957, the couple traveled extensively until Otto's death in 1973. Long after settling down in Harrisonburg, Edna released a collection of poetry entitled \u003cemph render=\"italic\"\u003eNever Tomorrow\u003c/emph\u003e, published in 1988. Before she could finish her anthology series, Edna passed away on February 7, 1998.\u003c/p\u003e"],"bioghist_heading_ssm":["Bio/Historical Note"],"bioghist_tesim":["Edna Mattie Tutt was born in Everton, Kansas on January 23, 1904. After receiving her bachelor's degree in sociology at Parsons College in Iowa and her doctorate from the University of Kansas in 1931, she moved to Harrisonburg to teach with her husband, Otto Frederikson (1892-1973) at James Madison University. She taught English at JMU from 1931 to 1941. Throughout her time as a teacher and student she was already working on her first manuscript, titled  Three Parts Earth , the first in an already planned anthology series she planned to call  The Idea of Love . The books that would comprise this would involve the evolution of a young woman as she struggles to get her manuscripts published, while simultaneously exploring and refining her own views on life and relationships. After Otto retired in 1957, the couple traveled extensively until Otto's death in 1973. Long after settling down in Harrisonburg, Edna released a collection of poetry entitled  Never Tomorrow , published in 1988. Before she could finish her anthology series, Edna passed away on February 7, 1998."],"prefercite_html_tesm":["\u003cp\u003e[identification of item], [box #, folder #], Edna Frederikson Papers, 1972-1992, SC 0278, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA.\u003c/p\u003e"],"prefercite_tesim":["[identification of item], [box #, folder #], Edna Frederikson Papers, 1972-1992, SC 0278, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA."],"processinfo_html_tesm":["\u003cp\u003eThe manuscripts, initially housed in a three-ring binder, were disbound and re-foldered accordingly. All loose pages and items inside the diary have been left as they were found.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The manuscripts, initially housed in a three-ring binder, were disbound and re-foldered accordingly. All loose pages and items inside the diary have been left as they were found."],"relatedmaterial_html_tesm":["\u003cp\u003eEdna Frederikson papers, Special Collections, University of Maryland Libraries.\u003c/p\u003e","\u003cp\u003eOtto and Edna Frederikson papers, Kansas Collection, RH MS 674, Kenneth Spencer Research Library, University of Kansas.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Edna Frederikson papers, Special Collections, University of Maryland Libraries.","Otto and Edna Frederikson papers, Kansas Collection, RH MS 674, Kenneth Spencer Research Library, University of Kansas."],"scopecontent_html_tesm":["\u003cp\u003eThe Edna Frederikson Papers encompass one bound diary and 3 unpublished manuscripts, all created between 1972 and 1992. The diary focuses primarily on Edna's day-to-day thoughts concerning her manuscripts and her own personal musings. The three typed manuscripts are titled \u003cemph render=\"italic\"\u003eThe Burning Ice\u003c/emph\u003e, \u003cemph render=\"italic\"\u003eA Pilgrim of the Heart\u003c/emph\u003e, and \u003cemph render=\"italic\"\u003eThe Idea of Love\u003c/emph\u003e, and follows the story of Nancy Western, a fictional character who navigates the trials and tribulations of becoming a published author and realizing her true self in the twentieth century.\u003c/p\u003e\n","\u003cp\u003eEdna's diary, spanning from 1972 to 1992, follows the day-to-day musings of its author. Within these pages, Edna attaches correspondence from family, friends, book publishers, editors, and other business relations. The diary can be read almost as a story, with personal interjections and context for any article that she decides to put in. Some items of note include a letter from acclaimed poet Katherine Anne Porter regarding one of Edna's works, letters and personal correspondence between herself and close friend Paul Pines as well as Irma Friedrich, scattered letters regarding her manuscripts (both lauding and critical), and assorted poetry.\u003c/p\u003e\n","\u003cp\u003eThe manuscripts are organized as an anthology, following the character of Nancy Western as she struggles with her personal relationships and her work as an author working to get a book published. Although pure speculation, many parallels can be drawn between Nancy's life and Edna's, and can potentially read as Edna's reflection on her own life. The manuscripts were meant to be read as a larger narrative, titled \u003cemph render=\"italic\"\u003eThe Idea of Love\u003c/emph\u003e, but were separated into smaller \"books\" after unsuccessful attempts to get the entire anthology published.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Edna Frederikson Papers encompass one bound diary and 3 unpublished manuscripts, all created between 1972 and 1992. The diary focuses primarily on Edna's day-to-day thoughts concerning her manuscripts and her own personal musings. The three typed manuscripts are titled  The Burning Ice ,  A Pilgrim of the Heart , and  The Idea of Love , and follows the story of Nancy Western, a fictional character who navigates the trials and tribulations of becoming a published author and realizing her true self in the twentieth century.","Edna's diary, spanning from 1972 to 1992, follows the day-to-day musings of its author. Within these pages, Edna attaches correspondence from family, friends, book publishers, editors, and other business relations. The diary can be read almost as a story, with personal interjections and context for any article that she decides to put in. Some items of note include a letter from acclaimed poet Katherine Anne Porter regarding one of Edna's works, letters and personal correspondence between herself and close friend Paul Pines as well as Irma Friedrich, scattered letters regarding her manuscripts (both lauding and critical), and assorted poetry.","The manuscripts are organized as an anthology, following the character of Nancy Western as she struggles with her personal relationships and her work as an author working to get a book published. Although pure speculation, many parallels can be drawn between Nancy's life and Edna's, and can potentially read as Edna's reflection on her own life. The manuscripts were meant to be read as a larger narrative, titled  The Idea of Love , but were separated into smaller \"books\" after unsuccessful attempts to get the entire anthology published."],"separatedmaterial_html_tesm":["\u003cp\u003eA paperback copy of Frederikson's novel \u003cemph render=\"italic\"\u003eThree Parts Earth\u003c/emph\u003e was removed and catalogued separately.\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Material"],"separatedmaterial_tesim":["A paperback copy of Frederikson's novel  Three Parts Earth  was removed and catalogued separately."],"userestrict_html_tesm":["\u003cp\u003eThe copyright interests in this collection have not been transferred to the James Madison University Special Collections Library. 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Throughout her time as a teacher and student she was already working on her first manuscript, titled  Three Parts Earth , the first in an already planned anthology series she planned to call  The Idea of Love . The books that would comprise this would involve the evolution of a young woman as she struggles to get her manuscripts published, while simultaneously exploring and refining her own views on life and relationships. After Otto retired in 1957, the couple traveled extensively until Otto's death in 1973. Long after settling down in Harrisonburg, Edna released a collection of poetry entitled  Never Tomorrow , published in 1988. Before she could finish her anthology series, Edna passed away on February 7, 1998.","The manuscripts, initially housed in a three-ring binder, were disbound and re-foldered accordingly. 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The manuscripts were meant to be read as a larger narrative, titled  The Idea of Love , but were separated into smaller \"books\" after unsuccessful attempts to get the entire anthology published.","A paperback copy of Frederikson's novel  Three Parts Earth  was removed and catalogued separately.","The copyright interests in this collection have not been transferred to the James Madison University Special Collections Library. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","These papers give insight into the life of former James Madison University English professor Edna T. Frederikson in her later years as an author and poet. 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Accessed 21 Nov. 2018.\u003c/bibref\u003e","\u003cbibref\u003eOtto and Edna Frederikson papers, Kansas Collection, RH MS 674, Kenneth Spencer Research Library, University of Kansas.\u003c/bibref\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Edna Frederikson papers, Special Collections, University of Maryland Libraries.","\"Edna Mattie Tutt Frederikson.\" findagrave, 1 Nov. 2012, https://www.findagrave.com/memorial/99989614/edna-mattie-frederikson. Accessed 21 Nov. 2018.","Otto and Edna Frederikson papers, Kansas Collection, RH MS 674, Kenneth Spencer Research Library, University of Kansas."],"bioghist_html_tesm":["\u003cp\u003eEdna Mattie Tutt was born in Everton, Kansas on January 23, 1904. After receiving her bachelor's degree in sociology at Parsons College in Iowa and her doctorate from the University of Kansas in 1931, she moved to Harrisonburg to teach with her husband, Otto Frederikson (1892-1973) at James Madison University. She taught English at JMU from 1931 to 1941. Throughout her time as a teacher and student she was already working on her first manuscript, titled \u003cemph render=\"italic\"\u003eThree Parts Earth\u003c/emph\u003e, the first in an already planned anthology series she planned to call \u003cemph render=\"italic\"\u003eThe Idea of Love\u003c/emph\u003e. The books that would comprise this would involve the evolution of a young woman as she struggles to get her manuscripts published, while simultaneously exploring and refining her own views on life and relationships. After Otto retired in 1957, the couple traveled extensively until Otto's death in 1973. Long after settling down in Harrisonburg, Edna released a collection of poetry entitled \u003cemph render=\"italic\"\u003eNever Tomorrow\u003c/emph\u003e, published in 1988. Before she could finish her anthology series, Edna passed away on February 7, 1998.\u003c/p\u003e"],"bioghist_heading_ssm":["Bio/Historical Note"],"bioghist_tesim":["Edna Mattie Tutt was born in Everton, Kansas on January 23, 1904. After receiving her bachelor's degree in sociology at Parsons College in Iowa and her doctorate from the University of Kansas in 1931, she moved to Harrisonburg to teach with her husband, Otto Frederikson (1892-1973) at James Madison University. She taught English at JMU from 1931 to 1941. Throughout her time as a teacher and student she was already working on her first manuscript, titled  Three Parts Earth , the first in an already planned anthology series she planned to call  The Idea of Love . The books that would comprise this would involve the evolution of a young woman as she struggles to get her manuscripts published, while simultaneously exploring and refining her own views on life and relationships. After Otto retired in 1957, the couple traveled extensively until Otto's death in 1973. Long after settling down in Harrisonburg, Edna released a collection of poetry entitled  Never Tomorrow , published in 1988. Before she could finish her anthology series, Edna passed away on February 7, 1998."],"prefercite_html_tesm":["\u003cp\u003e[identification of item], [box #, folder #], Edna Frederikson Papers, 1972-1992, SC 0278, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA.\u003c/p\u003e"],"prefercite_tesim":["[identification of item], [box #, folder #], Edna Frederikson Papers, 1972-1992, SC 0278, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA."],"processinfo_html_tesm":["\u003cp\u003eThe manuscripts, initially housed in a three-ring binder, were disbound and re-foldered accordingly. 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The three typed manuscripts are titled \u003cemph render=\"italic\"\u003eThe Burning Ice\u003c/emph\u003e, \u003cemph render=\"italic\"\u003eA Pilgrim of the Heart\u003c/emph\u003e, and \u003cemph render=\"italic\"\u003eThe Idea of Love\u003c/emph\u003e, and follows the story of Nancy Western, a fictional character who navigates the trials and tribulations of becoming a published author and realizing her true self in the twentieth century.\u003c/p\u003e\n","\u003cp\u003eEdna's diary, spanning from 1972 to 1992, follows the day-to-day musings of its author. Within these pages, Edna attaches correspondence from family, friends, book publishers, editors, and other business relations. The diary can be read almost as a story, with personal interjections and context for any article that she decides to put in. Some items of note include a letter from acclaimed poet Katherine Anne Porter regarding one of Edna's works, letters and personal correspondence between herself and close friend Paul Pines as well as Irma Friedrich, scattered letters regarding her manuscripts (both lauding and critical), and assorted poetry.\u003c/p\u003e\n","\u003cp\u003eThe manuscripts are organized as an anthology, following the character of Nancy Western as she struggles with her personal relationships and her work as an author working to get a book published. Although pure speculation, many parallels can be drawn between Nancy's life and Edna's, and can potentially read as Edna's reflection on her own life. The manuscripts were meant to be read as a larger narrative, titled \u003cemph render=\"italic\"\u003eThe Idea of Love\u003c/emph\u003e, but were separated into smaller \"books\" after unsuccessful attempts to get the entire anthology published.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Edna Frederikson Papers encompass one bound diary and 3 unpublished manuscripts, all created between 1972 and 1992. The diary focuses primarily on Edna's day-to-day thoughts concerning her manuscripts and her own personal musings. The three typed manuscripts are titled  The Burning Ice ,  A Pilgrim of the Heart , and  The Idea of Love , and follows the story of Nancy Western, a fictional character who navigates the trials and tribulations of becoming a published author and realizing her true self in the twentieth century.","Edna's diary, spanning from 1972 to 1992, follows the day-to-day musings of its author. Within these pages, Edna attaches correspondence from family, friends, book publishers, editors, and other business relations. The diary can be read almost as a story, with personal interjections and context for any article that she decides to put in. Some items of note include a letter from acclaimed poet Katherine Anne Porter regarding one of Edna's works, letters and personal correspondence between herself and close friend Paul Pines as well as Irma Friedrich, scattered letters regarding her manuscripts (both lauding and critical), and assorted poetry.","The manuscripts are organized as an anthology, following the character of Nancy Western as she struggles with her personal relationships and her work as an author working to get a book published. Although pure speculation, many parallels can be drawn between Nancy's life and Edna's, and can potentially read as Edna's reflection on her own life. The manuscripts were meant to be read as a larger narrative, titled  The Idea of Love , but were separated into smaller \"books\" after unsuccessful attempts to get the entire anthology published."],"separatedmaterial_html_tesm":["\u003cp\u003eA paperback copy of Frederikson's novel \u003cemph render=\"italic\"\u003eThree Parts Earth\u003c/emph\u003e was removed and catalogued separately.\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Material"],"separatedmaterial_tesim":["A paperback copy of Frederikson's novel  Three Parts Earth  was removed and catalogued separately."],"userestrict_html_tesm":["\u003cp\u003eThe copyright interests in this collection have not been transferred to the James Madison University Special Collections Library. 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