{"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=poetry\u0026f%5Bdate_range%5D%5B%5D=1974","last":"https://search.arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=poetry\u0026f%5Bdate_range%5D%5B%5D=1974\u0026page=1"},"meta":{"pages":{"current_page":1,"next_page":null,"prev_page":null,"total_pages":1,"limit_value":10,"offset_value":0,"total_count":4,"first_page?":true,"last_page?":true}},"data":[{"id":"viu_repositories_3_resources_1481","type":"collection","attributes":{"title":"Charles Vandersee papers, 1974/1996","creator":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_1481#creator","type":"document_value","attributes":{"value":"Vandersee, Charles, 1938-2003","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_1481#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis collection contains the papers of Charles Vandersee, compiled during his tenure as a Professor of English at the University of Virginia. Dated content ranges from 1974 to 1996 and includes printed and handwritten poems, type edits of poems for inclusion in Vandersee's published books, correspondence with publishers and other writers on Vandersee's poetic works, handwritten notes, newspaper clippings, and several bound plays written by other authors and annotated by Vandersee.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_1481#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_1481","ead_ssi":"viu_repositories_3_resources_1481","_root_":"viu_repositories_3_resources_1481","_nest_parent_":"viu_repositories_3_resources_1481","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1481.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/159815","title_filing_ssi":"Vandersee, Charles papers","title_ssm":["Charles Vandersee papers"],"title_tesim":["Charles Vandersee papers"],"unitdate_ssm":["1974-1996"],"unitdate_inclusive_ssm":["1974-1996"],"normalized_date_ssm":["1974/1996"],"normalized_title_ssm":["Charles Vandersee papers, 1974/1996"],"text":["Charles Vandersee papers, 1974/1996","MSS 15712","Archival Resource Key","/repositories/3/resources/1481","authors","poetry","Good","This collection has been minimally processed and is open for research.","Charles Andrew Vandersee (1938–2003) was a professor of English at the University of Virginia for thirty-three years and served as the dean of the Echols Scholars Program from 1973 to 1997. Born in Gary, Indiana, on March 25, 1938, he received his B.A. from Valparaiso University in 1960. He then earned his M.A. and Ph.D. from the University of California, Los Angeles, before coming to the University in 1964. Vandersee pursued a career in higher education, including teaching and administrative leadership at UVA's College of Arts and Sciences. The Echols Scholars Program, which he oversaw for nearly twenty-five years, is a selective academic initiative that allows students to pursue a flexible curriculum with fewer distribution requirements. He published numerous poems, and Vandersee's academic interests included American literature. He edited a modern edition of John Hay's 1884 novel, \"The Bread-Winners,\"  and he was an associate editor of the six volumes of The Letters of Henry Adams. He participated in scholarly discussions of Henry Adams, including a 1992 C-SPAN panel appearance. Vandersee was also a Fellow of the Society for Values in Higher Education (SVHE). At a 2002 Festival of Faith and Writing, he participated in a panel organized by SVHE to discuss the significance of writing in liberal education and moral formation. Vandersee died on January 13, 2003, in Albemarle County, Virginia.","References Cited:","C-SPAN. \"Charles Vandersee.\" C-SPAN Video Library. Accessed November 6, 2025. https://www.c-span.org/person/?charlesvandersee.","Find a Grave. \"Charles Andrew Vandersee.\" Find a Grave Memorial. Accessed November 6, 2025.                                     https://www.findagrave.com/memorial/103605417/ch","Goodman, John.\"English professor passes away over holidays.\" The Cavalier Daily [Charlottesville,VA],15 Jan 2003, https://www.cavalierdaily.com/article/2003/01/english-professor-passes-away-over-holidays","This collection contains the papers of Charles Vandersee, compiled during his tenure as a Professor of English at the University of Virginia. 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The library can provide copyright information upon request, but users are responsible for making their own determination about lawful use of collections materials."],"acqinfo_ssim":["This collection was a transfer from Mark Kutney, Architectural Conservator Architect, I  to the Small Special Collections Library, University of Virginia on January 14, 2014.","An addition to this colletion was transferred from Harry Gamble, Professor in the University of Virginia Department of Religion, to the Small Special Collections Library, University of Virginia on 3 February3, 2023."],"access_subjects_ssim":["authors","poetry"],"access_subjects_ssm":["authors","poetry"],"has_online_content_ssim":["false"],"physdesc_tesim":["Good"],"extent_ssm":["2.13 Cubic Feet Two cubic-foot boxes; One large oversized flat file folder"],"extent_tesim":["2.13 Cubic Feet Two cubic-foot boxes; One large oversized flat file folder"],"dimensions_tesim":["Oversize folder: 28 X 22 inches"],"genreform_ssim":["poetry"],"date_range_isim":[1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996],"accessrestrict_html_tesm":["\u003cp\u003eThis collection has been minimally processed and is open for research.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection has been minimally processed and is open for research."],"bioghist_html_tesm":["\u003cp\u003eCharles Andrew Vandersee (1938–2003) was a professor of English at the University of Virginia for thirty-three years and served as the dean of the Echols Scholars Program from 1973 to 1997. 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Accessed November 6, 2025.                                     https://www.findagrave.com/memorial/103605417/ch\u003c/p\u003e","\u003cp\u003eGoodman, John.\"English professor passes away over holidays.\" \u003cemph render=\"italic\"\u003eThe Cavalier Daily\u003c/emph\u003e [Charlottesville,VA],15 Jan 2003, https://www.cavalierdaily.com/article/2003/01/english-professor-passes-away-over-holidays\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical/Historical"],"bioghist_tesim":["Charles Andrew Vandersee (1938–2003) was a professor of English at the University of Virginia for thirty-three years and served as the dean of the Echols Scholars Program from 1973 to 1997. Born in Gary, Indiana, on March 25, 1938, he received his B.A. from Valparaiso University in 1960. He then earned his M.A. and Ph.D. from the University of California, Los Angeles, before coming to the University in 1964. 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Accessed November 6, 2025.                                     https://www.findagrave.com/memorial/103605417/ch","Goodman, John.\"English professor passes away over holidays.\" The Cavalier Daily [Charlottesville,VA],15 Jan 2003, https://www.cavalierdaily.com/article/2003/01/english-professor-passes-away-over-holidays"],"prefercite_html_tesm":["\u003cp\u003e MSS 15712, Charles Vandersee papers, Small Special Collections Library, University of Virginia.\u003c/p\u003e  "],"prefercite_tesim":["MSS 15712, Charles Vandersee papers, Small Special Collections Library, University of Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains the papers of Charles Vandersee, compiled during his tenure as a Professor of English at the University of Virginia. 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At a 2002 Festival of Faith and Writing, he participated in a panel organized by SVHE to discuss the significance of writing in liberal education and moral formation. Vandersee died on January 13, 2003, in Albemarle County, Virginia.","References Cited:","C-SPAN. \"Charles Vandersee.\" C-SPAN Video Library. Accessed November 6, 2025. https://www.c-span.org/person/?charlesvandersee.","Find a Grave. \"Charles Andrew Vandersee.\" Find a Grave Memorial. Accessed November 6, 2025.                                     https://www.findagrave.com/memorial/103605417/ch","Goodman, John.\"English professor passes away over holidays.\" The Cavalier Daily [Charlottesville,VA],15 Jan 2003, https://www.cavalierdaily.com/article/2003/01/english-professor-passes-away-over-holidays","This collection contains the papers of Charles Vandersee, compiled during his tenure as a Professor of English at the University of Virginia. 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Accessed November 6, 2025.                                     https://www.findagrave.com/memorial/103605417/ch\u003c/p\u003e","\u003cp\u003eGoodman, John.\"English professor passes away over holidays.\" \u003cemph render=\"italic\"\u003eThe Cavalier Daily\u003c/emph\u003e [Charlottesville,VA],15 Jan 2003, https://www.cavalierdaily.com/article/2003/01/english-professor-passes-away-over-holidays\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical/Historical"],"bioghist_tesim":["Charles Andrew Vandersee (1938–2003) was a professor of English at the University of Virginia for thirty-three years and served as the dean of the Echols Scholars Program from 1973 to 1997. Born in Gary, Indiana, on March 25, 1938, he received his B.A. from Valparaiso University in 1960. He then earned his M.A. and Ph.D. from the University of California, Los Angeles, before coming to the University in 1964. 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Accessed November 6, 2025.                                     https://www.findagrave.com/memorial/103605417/ch","Goodman, John.\"English professor passes away over holidays.\" The Cavalier Daily [Charlottesville,VA],15 Jan 2003, https://www.cavalierdaily.com/article/2003/01/english-professor-passes-away-over-holidays"],"prefercite_html_tesm":["\u003cp\u003e MSS 15712, Charles Vandersee papers, Small Special Collections Library, University of Virginia.\u003c/p\u003e  "],"prefercite_tesim":["MSS 15712, Charles Vandersee papers, Small Special Collections Library, University of Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains the papers of Charles Vandersee, compiled during his tenure as a Professor of English at the University of Virginia. 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There are also press releases, newspaper clippings, printed items, and scrapbooks about these poets and editors and their colleagues as well as their poetry and the creative writing process.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_881#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_881","ead_ssi":"viu_repositories_3_resources_881","_root_":"viu_repositories_3_resources_881","_nest_parent_":"viu_repositories_3_resources_881","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_881.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/781","title_filing_ssi":"Norfolk Poet's Club records","title_ssm":["Norfolk Poet's Club records"],"title_tesim":["Norfolk Poet's Club records"],"unitdate_ssm":["1896; 1912-1983"],"unitdate_inclusive_ssm":["1896; 1912-1983"],"normalized_date_ssm":["1896/1983"],"normalized_title_ssm":["Norfolk Poet's Club records, 1896/1983"],"text":["Norfolk Poet's Club records, 1896/1983","MSS 14245","Archival Resource Key","/repositories/3/resources/881","letters (correspondence)","Scrapbooks","poetry","clippings (information artifacts)","This collection is open for research use.","This collection is arranged into 5 series. Series 1. Manuscripts; Series 2. Correspondence; Series 3. Press releases, newspaper clippings, and printed items; Series 4. Scrapbooks (and acccount book of poems sold to publications); Series 5. Miscellaneous (hobbies of Josephine Johnson and business receipts from 1896 {Turner Family])","The Norfolk Poet's Club originally consisted of five women: Josephine Johnson, her sister Julia Johnson Davis, Mary Sinton Leach, Virginia Taylor McCormick, and Virginia Lynne Tunstall. In 1921, they sponsored the formation of a literary magazine called \"The Lyric\" (originally edited by John R. Moreland) which has been called \"America's oldest traditional poetry magazine of independent and continuous publication,\" and has operated under different editorships for over 50 years. \nSource:\nDealers notes","Josephine Johnson, one of the outstanding poets in the country, and a sonneteer of note, was awarded first prize for her collection of poems, \"The Unwilling Gypsy,\" in the sixth book publication contest of the Kaleidograph Press, Dallas, Texas in 1936. Miss Johnson was vice-president of the poetry Society of Virginia, and a member of the Poetry Society of America, the Catholic Poetry Society, and the Writers' Club of Norfolk. She was born in Norfolk and attended the University of Virginia and Harvard College. Her poems have appeared in \"The American Mercury\", \"The New Republic\", \"Harpers Magazine\", \"The London Mercury, \"The Commonwealth\", \"The Personalist\", \"The New York Times\", \"The New York Sun\", and the \"Boston Transcript\". Josephine Johnson \"is a poet of a single theme-that of life's challenge to the spirit to endure.z'\nSource:\nScrapbook","William Stanley Braithwaite (1878-1962)was a poet, editor, publisher, and anthologist who was born and raised in Boston, Massachussetts. In 1890 upon his father's death, he had to quit school and educate himself while working as a typesetter in a Boston printing firm. He developed a love of lyric poetry and wrote several poems that were published. Writing a regular column for the \"Boston Transcript\" he brought serious attention to the works of many African American poets and eventually edited \"The Anthology of Magazine Verse\". Throughout the years of compiling the Anthology, he remained committed to the notion that verse should be an expression of spiritual truth and eternal beauty beyond what he conceived of as the limits of merely political or racial concerns. He introduced the general poetry-reading public to a wide range of African American voices they might otherwise never have heard.\nSource:\nDealers notes","Norfolk Poet's Club Records (1912-1983; 2 cubic feet) include manuscripts of Josephine Johnson and Margaret Haley Carpenter; and correspondence of Mary Sinton Leitch, Josephine Johnson, Julia Johnson Davis, and William Stanley Braithwaite. There are also press releases, newspaper clippings, printed items, and scrapbooks about these poets and editors and their colleagues as well as their poetry and the creative writing process.","Albert and Shirley Small Special Collections Library","English"],"collection_title_tesim":["Norfolk Poet's Club records, 1896/1983"],"collection_ssim":["Norfolk Poet's Club records, 1896/1983"],"level_ssm":["collection"],"level_ssim":["File","Collection"],"unitid_ssm":["MSS 14245","Archival Resource Key","/repositories/3/resources/881"],"unitid_tesim":["MSS 14245","Archival Resource Key","/repositories/3/resources/881"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_corpname_ssim":["Albert and Shirley Small Special Collections Library"],"creators_ssim":["Albert and Shirley Small Special Collections Library"],"access_subjects_ssim":["letters (correspondence)","Scrapbooks","poetry","clippings (information artifacts)"],"access_subjects_ssm":["letters (correspondence)","Scrapbooks","poetry","clippings (information artifacts)"],"has_online_content_ssim":["false"],"extent_ssm":["2 Cubic Feet 4 oversize boxes"],"extent_tesim":["2 Cubic Feet 4 oversize boxes"],"physfacet_tesim":["6 scrapbooks"],"genreform_ssim":["letters (correspondence)","Scrapbooks","poetry","clippings (information artifacts)"],"date_range_isim":[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],"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."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged into 5 series. Series 1. Manuscripts; Series 2. Correspondence; Series 3. Press releases, newspaper clippings, and printed items; Series 4. Scrapbooks (and acccount book of poems sold to publications); Series 5. Miscellaneous (hobbies of Josephine Johnson and business receipts from 1896 {Turner Family])\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged into 5 series. Series 1. Manuscripts; Series 2. Correspondence; Series 3. Press releases, newspaper clippings, and printed items; Series 4. Scrapbooks (and acccount book of poems sold to publications); Series 5. Miscellaneous (hobbies of Josephine Johnson and business receipts from 1896 {Turner Family])"],"bioghist_html_tesm":["\u003cp\u003eThe Norfolk Poet's Club originally consisted of five women: Josephine Johnson, her sister Julia Johnson Davis, Mary Sinton Leach, Virginia Taylor McCormick, and Virginia Lynne Tunstall. In 1921, they sponsored the formation of a literary magazine called \"The Lyric\" (originally edited by John R. Moreland) which has been called \"America's oldest traditional poetry magazine of independent and continuous publication,\" and has operated under different editorships for over 50 years. \nSource:\nDealers notes\u003c/p\u003e","\u003cp\u003eJosephine Johnson, one of the outstanding poets in the country, and a sonneteer of note, was awarded first prize for her collection of poems, \"The Unwilling Gypsy,\" in the sixth book publication contest of the Kaleidograph Press, Dallas, Texas in 1936. Miss Johnson was vice-president of the poetry Society of Virginia, and a member of the Poetry Society of America, the Catholic Poetry Society, and the Writers' Club of Norfolk. She was born in Norfolk and attended the University of Virginia and Harvard College. Her poems have appeared in \"The American Mercury\", \"The New Republic\", \"Harpers Magazine\", \"The London Mercury, \"The Commonwealth\", \"The Personalist\", \"The New York Times\", \"The New York Sun\", and the \"Boston Transcript\". Josephine Johnson \"is a poet of a single theme-that of life's challenge to the spirit to endure.z'\nSource:\nScrapbook\u003c/p\u003e","\u003cp\u003eWilliam Stanley Braithwaite (1878-1962)was a poet, editor, publisher, and anthologist who was born and raised in Boston, Massachussetts. In 1890 upon his father's death, he had to quit school and educate himself while working as a typesetter in a Boston printing firm. He developed a love of lyric poetry and wrote several poems that were published. Writing a regular column for the \"Boston Transcript\" he brought serious attention to the works of many African American poets and eventually edited \"The Anthology of Magazine Verse\". Throughout the years of compiling the Anthology, he remained committed to the notion that verse should be an expression of spiritual truth and eternal beauty beyond what he conceived of as the limits of merely political or racial concerns. He introduced the general poetry-reading public to a wide range of African American voices they might otherwise never have heard.\nSource:\nDealers notes\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["The Norfolk Poet's Club originally consisted of five women: Josephine Johnson, her sister Julia Johnson Davis, Mary Sinton Leach, Virginia Taylor McCormick, and Virginia Lynne Tunstall. In 1921, they sponsored the formation of a literary magazine called \"The Lyric\" (originally edited by John R. Moreland) which has been called \"America's oldest traditional poetry magazine of independent and continuous publication,\" and has operated under different editorships for over 50 years. \nSource:\nDealers notes","Josephine Johnson, one of the outstanding poets in the country, and a sonneteer of note, was awarded first prize for her collection of poems, \"The Unwilling Gypsy,\" in the sixth book publication contest of the Kaleidograph Press, Dallas, Texas in 1936. Miss Johnson was vice-president of the poetry Society of Virginia, and a member of the Poetry Society of America, the Catholic Poetry Society, and the Writers' Club of Norfolk. She was born in Norfolk and attended the University of Virginia and Harvard College. Her poems have appeared in \"The American Mercury\", \"The New Republic\", \"Harpers Magazine\", \"The London Mercury, \"The Commonwealth\", \"The Personalist\", \"The New York Times\", \"The New York Sun\", and the \"Boston Transcript\". Josephine Johnson \"is a poet of a single theme-that of life's challenge to the spirit to endure.z'\nSource:\nScrapbook","William Stanley Braithwaite (1878-1962)was a poet, editor, publisher, and anthologist who was born and raised in Boston, Massachussetts. In 1890 upon his father's death, he had to quit school and educate himself while working as a typesetter in a Boston printing firm. He developed a love of lyric poetry and wrote several poems that were published. Writing a regular column for the \"Boston Transcript\" he brought serious attention to the works of many African American poets and eventually edited \"The Anthology of Magazine Verse\". Throughout the years of compiling the Anthology, he remained committed to the notion that verse should be an expression of spiritual truth and eternal beauty beyond what he conceived of as the limits of merely political or racial concerns. He introduced the general poetry-reading public to a wide range of African American voices they might otherwise never have heard.\nSource:\nDealers notes"],"prefercite_html_tesm":["\u003cp\u003eMSS 14245 Norfolk Poet's Club records, Albert and Shirley Small Special Collections Library, University of Virginia.\u003c/p\u003e  "],"prefercite_tesim":["MSS 14245 Norfolk Poet's Club records, Albert and Shirley Small Special Collections Library, University of Virginia."],"scopecontent_html_tesm":["\u003cp\u003eNorfolk Poet's Club Records (1912-1983; 2 cubic feet) include manuscripts of Josephine Johnson and Margaret Haley Carpenter; and correspondence of Mary Sinton Leitch, Josephine Johnson, Julia Johnson Davis, and William Stanley Braithwaite. There are also press releases, newspaper clippings, printed items, and scrapbooks about these poets and editors and their colleagues as well as their poetry and the creative writing process.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents Note"],"scopecontent_tesim":["Norfolk Poet's Club Records (1912-1983; 2 cubic feet) include manuscripts of Josephine Johnson and Margaret Haley Carpenter; and correspondence of Mary Sinton Leitch, Josephine Johnson, Julia Johnson Davis, and William Stanley Braithwaite. There are also press releases, newspaper clippings, printed items, and scrapbooks about these poets and editors and their colleagues as well as their poetry and the creative writing process."],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"names_ssim":["Albert and Shirley Small Special Collections Library"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":31,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:54:18.647Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_repositories_3_resources_881","ead_ssi":"viu_repositories_3_resources_881","_root_":"viu_repositories_3_resources_881","_nest_parent_":"viu_repositories_3_resources_881","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_881.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/781","title_filing_ssi":"Norfolk Poet's Club records","title_ssm":["Norfolk Poet's Club records"],"title_tesim":["Norfolk Poet's Club records"],"unitdate_ssm":["1896; 1912-1983"],"unitdate_inclusive_ssm":["1896; 1912-1983"],"normalized_date_ssm":["1896/1983"],"normalized_title_ssm":["Norfolk Poet's Club records, 1896/1983"],"text":["Norfolk Poet's Club records, 1896/1983","MSS 14245","Archival Resource Key","/repositories/3/resources/881","letters (correspondence)","Scrapbooks","poetry","clippings (information artifacts)","This collection is open for research use.","This collection is arranged into 5 series. Series 1. Manuscripts; Series 2. Correspondence; Series 3. Press releases, newspaper clippings, and printed items; Series 4. Scrapbooks (and acccount book of poems sold to publications); Series 5. Miscellaneous (hobbies of Josephine Johnson and business receipts from 1896 {Turner Family])","The Norfolk Poet's Club originally consisted of five women: Josephine Johnson, her sister Julia Johnson Davis, Mary Sinton Leach, Virginia Taylor McCormick, and Virginia Lynne Tunstall. In 1921, they sponsored the formation of a literary magazine called \"The Lyric\" (originally edited by John R. Moreland) which has been called \"America's oldest traditional poetry magazine of independent and continuous publication,\" and has operated under different editorships for over 50 years. \nSource:\nDealers notes","Josephine Johnson, one of the outstanding poets in the country, and a sonneteer of note, was awarded first prize for her collection of poems, \"The Unwilling Gypsy,\" in the sixth book publication contest of the Kaleidograph Press, Dallas, Texas in 1936. Miss Johnson was vice-president of the poetry Society of Virginia, and a member of the Poetry Society of America, the Catholic Poetry Society, and the Writers' Club of Norfolk. She was born in Norfolk and attended the University of Virginia and Harvard College. Her poems have appeared in \"The American Mercury\", \"The New Republic\", \"Harpers Magazine\", \"The London Mercury, \"The Commonwealth\", \"The Personalist\", \"The New York Times\", \"The New York Sun\", and the \"Boston Transcript\". Josephine Johnson \"is a poet of a single theme-that of life's challenge to the spirit to endure.z'\nSource:\nScrapbook","William Stanley Braithwaite (1878-1962)was a poet, editor, publisher, and anthologist who was born and raised in Boston, Massachussetts. In 1890 upon his father's death, he had to quit school and educate himself while working as a typesetter in a Boston printing firm. He developed a love of lyric poetry and wrote several poems that were published. Writing a regular column for the \"Boston Transcript\" he brought serious attention to the works of many African American poets and eventually edited \"The Anthology of Magazine Verse\". Throughout the years of compiling the Anthology, he remained committed to the notion that verse should be an expression of spiritual truth and eternal beauty beyond what he conceived of as the limits of merely political or racial concerns. He introduced the general poetry-reading public to a wide range of African American voices they might otherwise never have heard.\nSource:\nDealers notes","Norfolk Poet's Club Records (1912-1983; 2 cubic feet) include manuscripts of Josephine Johnson and Margaret Haley Carpenter; and correspondence of Mary Sinton Leitch, Josephine Johnson, Julia Johnson Davis, and William Stanley Braithwaite. There are also press releases, newspaper clippings, printed items, and scrapbooks about these poets and editors and their colleagues as well as their poetry and the creative writing process.","Albert and Shirley Small Special Collections Library","English"],"collection_title_tesim":["Norfolk Poet's Club records, 1896/1983"],"collection_ssim":["Norfolk Poet's Club records, 1896/1983"],"level_ssm":["collection"],"level_ssim":["File","Collection"],"unitid_ssm":["MSS 14245","Archival Resource Key","/repositories/3/resources/881"],"unitid_tesim":["MSS 14245","Archival Resource Key","/repositories/3/resources/881"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_corpname_ssim":["Albert and Shirley Small Special Collections Library"],"creators_ssim":["Albert and Shirley Small Special Collections Library"],"access_subjects_ssim":["letters (correspondence)","Scrapbooks","poetry","clippings (information artifacts)"],"access_subjects_ssm":["letters (correspondence)","Scrapbooks","poetry","clippings (information artifacts)"],"has_online_content_ssim":["false"],"extent_ssm":["2 Cubic Feet 4 oversize boxes"],"extent_tesim":["2 Cubic Feet 4 oversize boxes"],"physfacet_tesim":["6 scrapbooks"],"genreform_ssim":["letters (correspondence)","Scrapbooks","poetry","clippings (information artifacts)"],"date_range_isim":[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],"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."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged into 5 series. Series 1. Manuscripts; Series 2. Correspondence; Series 3. Press releases, newspaper clippings, and printed items; Series 4. Scrapbooks (and acccount book of poems sold to publications); Series 5. Miscellaneous (hobbies of Josephine Johnson and business receipts from 1896 {Turner Family])\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged into 5 series. Series 1. Manuscripts; Series 2. Correspondence; Series 3. Press releases, newspaper clippings, and printed items; Series 4. Scrapbooks (and acccount book of poems sold to publications); Series 5. Miscellaneous (hobbies of Josephine Johnson and business receipts from 1896 {Turner Family])"],"bioghist_html_tesm":["\u003cp\u003eThe Norfolk Poet's Club originally consisted of five women: Josephine Johnson, her sister Julia Johnson Davis, Mary Sinton Leach, Virginia Taylor McCormick, and Virginia Lynne Tunstall. In 1921, they sponsored the formation of a literary magazine called \"The Lyric\" (originally edited by John R. Moreland) which has been called \"America's oldest traditional poetry magazine of independent and continuous publication,\" and has operated under different editorships for over 50 years. \nSource:\nDealers notes\u003c/p\u003e","\u003cp\u003eJosephine Johnson, one of the outstanding poets in the country, and a sonneteer of note, was awarded first prize for her collection of poems, \"The Unwilling Gypsy,\" in the sixth book publication contest of the Kaleidograph Press, Dallas, Texas in 1936. Miss Johnson was vice-president of the poetry Society of Virginia, and a member of the Poetry Society of America, the Catholic Poetry Society, and the Writers' Club of Norfolk. She was born in Norfolk and attended the University of Virginia and Harvard College. Her poems have appeared in \"The American Mercury\", \"The New Republic\", \"Harpers Magazine\", \"The London Mercury, \"The Commonwealth\", \"The Personalist\", \"The New York Times\", \"The New York Sun\", and the \"Boston Transcript\". Josephine Johnson \"is a poet of a single theme-that of life's challenge to the spirit to endure.z'\nSource:\nScrapbook\u003c/p\u003e","\u003cp\u003eWilliam Stanley Braithwaite (1878-1962)was a poet, editor, publisher, and anthologist who was born and raised in Boston, Massachussetts. In 1890 upon his father's death, he had to quit school and educate himself while working as a typesetter in a Boston printing firm. He developed a love of lyric poetry and wrote several poems that were published. Writing a regular column for the \"Boston Transcript\" he brought serious attention to the works of many African American poets and eventually edited \"The Anthology of Magazine Verse\". Throughout the years of compiling the Anthology, he remained committed to the notion that verse should be an expression of spiritual truth and eternal beauty beyond what he conceived of as the limits of merely political or racial concerns. He introduced the general poetry-reading public to a wide range of African American voices they might otherwise never have heard.\nSource:\nDealers notes\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["The Norfolk Poet's Club originally consisted of five women: Josephine Johnson, her sister Julia Johnson Davis, Mary Sinton Leach, Virginia Taylor McCormick, and Virginia Lynne Tunstall. In 1921, they sponsored the formation of a literary magazine called \"The Lyric\" (originally edited by John R. Moreland) which has been called \"America's oldest traditional poetry magazine of independent and continuous publication,\" and has operated under different editorships for over 50 years. \nSource:\nDealers notes","Josephine Johnson, one of the outstanding poets in the country, and a sonneteer of note, was awarded first prize for her collection of poems, \"The Unwilling Gypsy,\" in the sixth book publication contest of the Kaleidograph Press, Dallas, Texas in 1936. Miss Johnson was vice-president of the poetry Society of Virginia, and a member of the Poetry Society of America, the Catholic Poetry Society, and the Writers' Club of Norfolk. She was born in Norfolk and attended the University of Virginia and Harvard College. Her poems have appeared in \"The American Mercury\", \"The New Republic\", \"Harpers Magazine\", \"The London Mercury, \"The Commonwealth\", \"The Personalist\", \"The New York Times\", \"The New York Sun\", and the \"Boston Transcript\". Josephine Johnson \"is a poet of a single theme-that of life's challenge to the spirit to endure.z'\nSource:\nScrapbook","William Stanley Braithwaite (1878-1962)was a poet, editor, publisher, and anthologist who was born and raised in Boston, Massachussetts. In 1890 upon his father's death, he had to quit school and educate himself while working as a typesetter in a Boston printing firm. He developed a love of lyric poetry and wrote several poems that were published. Writing a regular column for the \"Boston Transcript\" he brought serious attention to the works of many African American poets and eventually edited \"The Anthology of Magazine Verse\". Throughout the years of compiling the Anthology, he remained committed to the notion that verse should be an expression of spiritual truth and eternal beauty beyond what he conceived of as the limits of merely political or racial concerns. He introduced the general poetry-reading public to a wide range of African American voices they might otherwise never have heard.\nSource:\nDealers notes"],"prefercite_html_tesm":["\u003cp\u003eMSS 14245 Norfolk Poet's Club records, Albert and Shirley Small Special Collections Library, University of Virginia.\u003c/p\u003e  "],"prefercite_tesim":["MSS 14245 Norfolk Poet's Club records, Albert and Shirley Small Special Collections Library, University of Virginia."],"scopecontent_html_tesm":["\u003cp\u003eNorfolk Poet's Club Records (1912-1983; 2 cubic feet) include manuscripts of Josephine Johnson and Margaret Haley Carpenter; and correspondence of Mary Sinton Leitch, Josephine Johnson, Julia Johnson Davis, and William Stanley Braithwaite. There are also press releases, newspaper clippings, printed items, and scrapbooks about these poets and editors and their colleagues as well as their poetry and the creative writing process.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents Note"],"scopecontent_tesim":["Norfolk Poet's Club Records (1912-1983; 2 cubic feet) include manuscripts of Josephine Johnson and Margaret Haley Carpenter; and correspondence of Mary Sinton Leitch, Josephine Johnson, Julia Johnson Davis, and William Stanley Braithwaite. There are also press releases, newspaper clippings, printed items, and scrapbooks about these poets and editors and their colleagues as well as their poetry and the creative writing process."],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"names_ssim":["Albert and Shirley Small Special Collections Library"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":31,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:54:18.647Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_881"}},{"id":"viu_repositories_3_resources_996","type":"collection","attributes":{"title":"Petra Vogt papers, 1966/1978","creator":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_996#creator","type":"document_value","attributes":{"value":"Vogt, Petra","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_996#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis collection contains journals, artworks, correspondence, and photographs that illuminate the life and work of Petra Vogt, a poet, actress, artist, and model, known for her involvement with the Living Theatre, Ira Cohen, and the Bardo Matrix Press during the 1960s and 1970s. Of particular interest are thirty-four journals, chiefly by Petra Vogt, with poetry, prose works, diary entries, and intricate rapidograph drawings along with collage, paintings, and other artworks within; about 150 artworks by Vogt, as well as handmade books of Ira Cohen's photographs and collage, 850 photographs by Ira Cohen, including those from his Mylar photography series and 60 pieces of correspondence and post cards addressed to Vogt and Cohen.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_996#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_996","ead_ssi":"viu_repositories_3_resources_996","_root_":"viu_repositories_3_resources_996","_nest_parent_":"viu_repositories_3_resources_996","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_996.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/120842","title_filing_ssi":"Vogt, Petra, papers","title_ssm":["Petra Vogt papers"],"title_tesim":["Petra Vogt papers"],"unitdate_ssm":["1966-1978"],"unitdate_inclusive_ssm":["1966-1978"],"normalized_date_ssm":["1966/1978"],"normalized_title_ssm":["Petra Vogt papers, 1966/1978"],"text":["Petra Vogt papers, 1966/1978","MSS .16480","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","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","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/996","Living Theatre (New York, N.Y.)","Kathmandu (Nepal)","Spirituality--Hinduism","Spirituality--Buddhism","Bardo Matrix (Firm)","Counterculture","Photographers","collage","small presses","hippies","prints","poetry","Black-and-white photographs","drawings (visual works)","diaries","Good. Collection apparently stored in a basement but no active mold. Some oversize materials were folded but these have been put in oversize folders or boxes and a few had preservation attention. Mylar L-sleeves have been used to protect some fragile materials.","Most of the collection is open for research. The single exception is a bank book for an account owned by Petra Vogt.","The bank book belonging to Petra Vogt, 1977-1978, has been removed and restricted until her death. It has been placed in the control folder for this collection in a sealed envelope. The bank book is from the Bayerische Hypotheken- und Wechsel-Bank (short form: Hypo-Bank).","Materials arrived organized by the dealer into the following four series and additional subseries: Series I. Correspondence; Series II. Petra Vogt files; Subseries II.1 Notebooks; Subseries II.2 Artworks and artist files; Subseries II.3 Collage files Series III. Ira Cohen and Bardo Matrix; Subseries III.1 Ira Cohen materials; Subseries III.2 Bardo Matrix publications; Subseries III.3 Flyers, ephemera, broadsides; Series IV Photographs.","This arrangement has been simplified into three series, 1) Volumes, Journals and Notebooks, chiefly by Petra Vogt; 2) Correspondence, Artwork and Topical Files; and 3) Photographs, chiefly by Ira Cohen. These series contain oversize materials that have been placed in more appropriate containers but are listed in the appropriate series.","Much of this biographical and historical information was taken from the dealer description of the collection.","Petra Vogt was born in Berlin, Germany, in 1943, during a particularly devastating year of World War Two airstrikes on the city. She took acting classes in Munich and then returned to Berlin, where she saw The Living Theatre for the first time and decided to join the group in 1962. She traveled and performed extensively with The Living Theatre, including in the performance, \"Paradise Now.\" She met Ira Cohen at its New Haven show (phone conversation between Ira Cohen and Carey Loren, which was transcribed on \"Blastitude, Eternity Blast Special,\" no. 13. August 2002).","In 1971, Vogt and Cohen finally landed in Kathmandu, after extensive traveling through Morocco, Tunisia, Afghanistan, and India. Living in Kathmandu from around 1972 to 1978, Vogt was an artistic, photographic, and social muse to partner Cohen, as well as Nepali hippies including Jimmy Thapa and Trilochan Shrestha.  While in Nepal, she produced numerous notebooks of poetry, diaries, and artworks, while illustrating Bardo Matrix Starstreams publications, as well as Cohen's work, including \"Poems from the Cosmic Crypt.\"","While Vogt is peripherally featured in the archives of Ira Cohen, Angus MacLise, Dana Young, and other Bardo Matrix collaborators, her own contributions to this important facet of the countercultural poetics scene are significantly understudied. While Mark Liechty's \"Far Out: Countercultural Seekers and the Tourist Encounter in Nepal\" (University of Chicago Press, 2017), acknowledges her centrality to the scene and describes her role in organizing events, performances, and generally contributing to the dramatically-dressed scene in Kathmandu, no further articles or monographs solidify the contributions of her writings, artworks, or aesthetic.","During the 1970s, Vogt was known for her foreboding dark outfits and makeup; her aesthetic marks her as an unheralded progenitor of goth style, which began to be codified in music scenes around the same time. Photographs of her from her time in Nepal in the 1970s were featured in a recent Photo Kathmandu festival in 2018. She continues to write and make art under a different name in Germany.","Ira Cohen (1935–2011) was a noted poet, publisher, filmmaker, and photographer, known especially for his Mylar photographs, which he created between 1968 and 1971 in New York City. These works were inspired by Jack Smith and Bill Devore's black light experimentation, and required subjects to enter his \"Mylar Chamber,\" a makeshift room comprised of the reflective film, which Cohen would then photograph to produce distorted and psychedelic images of his subjects.","This produced iconic images that Life magazine in 1969 said captured the \"euphoric distortions of hallucinogenics\" during the countercultural era, with participants such as Jimi Hendrix, William Burroughs, Jack Smith, Brion Gysin, Angus MacLise, Paul Bowles, and Petra Vogt, among many others. These photographs have been exhibited in the 2006 \"Summer of Love\" exhibition organized by the Tate Liverpool and featured at the Whitney Museum, and are the subject of a new book, \"Ira Cohen: Into the Mylar Chamber\" which was published by Fulgar Press in 2019 with text by Ira Cohen, Timothy Baum, Ian MacFadyen, Alice Farley, Ira Landgarten, and Thurston Moore, and edited by Allan Graubard.","Kathmandu, Nepal, held a vibrant expatriate community of poets, musicians, artists, and spiritual seekers in the 1970s, in large part due to the Bardo Matrix collective — a group that began in Boulder, Colorado as The Experimental Cinema Group, and initially included Angus MacLise, John Chick, Dana Young, and Ira Cohen. Bardo Matrix Press, and especially the Starstreams Poetry Series, created collaborations with Beat and countercultural poets and local artisans to produce books informed by traditional Nepali and Tibetan traditions, sharing new poetic ideas.","Before 1971, when Ira Cohen and Petra Vogt arrived, a small group of expatriates had already become involved making woodblock prints to sell to tourists. Cohen recounts the presence of Ian Alsop, Francis Brooks, and Simon White, who \"were to play an important role in the development of small press publications by myself, my old friend and comrade, poet-calligrapher, Angus MacLise, and other poets who quickly formed a community in the Kathmandu Valley.\"","MacLise's work with Piero Heliczer on Dead Language Press, \"making unique books from tree bark or fashioning long horizontal handmade books after the Tibetan or Indian style,\" proved influential: it was Angus who, \"working with local craftsmen and woodblock artists, really began the great rice paper adventure.\" (Ira Cohen, \"The Great Rice Paper Adventure: Kathmandu, 1971–1977.\" New Observations no. 106, May/June 1995. Online at Big Bridge, no. 5.)","In Kathmandu, on so-called \"Freak Street\" or Jhocchen Tole, John Chick opened a bookshop named \"The Spirit Catcher.\" The shop was open around 1972–1979, and provided a weekly forum for poetry readings, music, and community. This shop cemented the centrality of the roles of Vogt, Cohen, Chick, and MacLise in the countercultural community abroad, and became both a tourist and local destination (Prawash Gautam, \"How a used bookstore in Kathmandu's Jhochhen captured the spirit of the hippie movement,\" \"The Kathmandu Post,\" December 18, 2018).","This collection contains journals, artworks, correspondence, and photographs that illuminate the life and work of Petra Vogt, a poet, actress, artist, and model, known for her involvement with the Living Theatre, Ira Cohen, and the Bardo Matrix Press during the 1960s and 1970s. Of particular interest are thirty-four journals, chiefly by Petra Vogt, with poetry, prose works, diary entries, and intricate rapidograph drawings along with collage, paintings, and other artworks within; about 150 artworks by Vogt, as well as handmade books of Ira Cohen's photographs and collage, 850 photographs by Ira Cohen, including those from his Mylar photography series and 60 pieces of correspondence and post cards addressed to Vogt and Cohen.","Albert and Shirley Small Special Collections Library","Bardo Matrix (Firm)","Vogt, Petra","Cohen, Ira","English\n      Nepali\n      German"],"collection_title_tesim":["Petra Vogt papers, 1966/1978"],"collection_ssim":["Petra Vogt papers, 1966/1978"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS .16480","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","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","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/996"],"unitid_tesim":["MSS .16480","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","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","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/996"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"geogname_ssm":["Living Theatre (New York, N.Y.)","Kathmandu (Nepal)","Spirituality--Hinduism","Spirituality--Buddhism","Bardo Matrix (Firm)"],"geogname_ssim":["Living Theatre (New York, N.Y.)","Kathmandu (Nepal)","Spirituality--Hinduism","Spirituality--Buddhism","Bardo Matrix (Firm)"],"places_ssim":["Living Theatre (New York, N.Y.)","Kathmandu (Nepal)","Spirituality--Hinduism","Spirituality--Buddhism","Bardo Matrix (Firm)"],"creator_ssm":["Vogt, Petra","Cohen, Ira","Bardo Matrix (Firm)"],"creator_ssim":["Vogt, Petra","Cohen, Ira","Bardo Matrix (Firm)"],"creator_persname_ssim":["Vogt, Petra","Cohen, Ira"],"creator_corpname_ssim":["Albert and Shirley Small Special Collections Library","Bardo Matrix (Firm)"],"creators_ssim":["Vogt, Petra","Cohen, Ira","Albert and Shirley Small Special Collections Library","Bardo Matrix (Firm)"],"acqinfo_ssim":["The Petra Vogt papers were purchased by the University of Virginia Special Collections Library from Granary Books, Inc. on September 21, 2020."],"access_subjects_ssim":["Counterculture","Photographers","collage","small presses","hippies","prints","poetry","Black-and-white photographs","drawings (visual works)","diaries"],"access_subjects_ssm":["Counterculture","Photographers","collage","small presses","hippies","prints","poetry","Black-and-white photographs","drawings (visual works)","diaries"],"has_online_content_ssim":["false"],"physdesc_tesim":["Good. Collection apparently stored in a basement but no active mold. Some oversize materials were folded but these have been put in oversize folders or boxes and a few had preservation attention. Mylar L-sleeves have been used to protect some fragile materials."],"extent_ssm":["4.09 Cubic Feet 5 legal document boxes, 2 letter document boxes, 2 oversize folders (2 x 3 feet and 14 x 18 inches), and 2 oversized boxes."],"extent_tesim":["4.09 Cubic Feet 5 legal document boxes, 2 letter document boxes, 2 oversize folders (2 x 3 feet and 14 x 18 inches), and 2 oversized boxes."],"genreform_ssim":["poetry","Black-and-white photographs","drawings (visual works)","diaries"],"date_range_isim":[1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978],"accessrestrict_html_tesm":["\u003cp\u003eMost of the collection is open for research. The single exception is a bank book for an account owned by Petra Vogt.\u003c/p\u003e","\u003cp\u003eThe bank book belonging to Petra Vogt, 1977-1978, has been removed and restricted until her death. It has been placed in the control folder for this collection in a sealed envelope. The bank book is from the Bayerische Hypotheken- und Wechsel-Bank (short form: Hypo-Bank). \u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Most of the collection is open for research. The single exception is a bank book for an account owned by Petra Vogt.","The bank book belonging to Petra Vogt, 1977-1978, has been removed and restricted until her death. It has been placed in the control folder for this collection in a sealed envelope. The bank book is from the Bayerische Hypotheken- und Wechsel-Bank (short form: Hypo-Bank)."],"arrangement_html_tesm":["\u003cp\u003eMaterials arrived organized by the dealer into the following four series and additional subseries: Series I. Correspondence; Series II. Petra Vogt files; Subseries II.1 Notebooks; Subseries II.2 Artworks and artist files; Subseries II.3 Collage files Series III. Ira Cohen and Bardo Matrix; Subseries III.1 Ira Cohen materials; Subseries III.2 Bardo Matrix publications; Subseries III.3 Flyers, ephemera, broadsides; Series IV Photographs.\u003c/p\u003e","\u003cp\u003eThis arrangement has been simplified into three series, 1) Volumes, Journals and Notebooks, chiefly by Petra Vogt; 2) Correspondence, Artwork and Topical Files; and 3) Photographs, chiefly by Ira Cohen. These series contain oversize materials that have been placed in more appropriate containers but are listed in the appropriate series.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Materials arrived organized by the dealer into the following four series and additional subseries: Series I. Correspondence; Series II. Petra Vogt files; Subseries II.1 Notebooks; Subseries II.2 Artworks and artist files; Subseries II.3 Collage files Series III. Ira Cohen and Bardo Matrix; Subseries III.1 Ira Cohen materials; Subseries III.2 Bardo Matrix publications; Subseries III.3 Flyers, ephemera, broadsides; Series IV Photographs.","This arrangement has been simplified into three series, 1) Volumes, Journals and Notebooks, chiefly by Petra Vogt; 2) Correspondence, Artwork and Topical Files; and 3) Photographs, chiefly by Ira Cohen. These series contain oversize materials that have been placed in more appropriate containers but are listed in the appropriate series."],"bioghist_html_tesm":["\u003cp\u003eMuch of this biographical and historical information was taken from the dealer description of the collection. \u003c/p\u003e","\u003cp\u003ePetra Vogt was born in Berlin, Germany, in 1943, during a particularly devastating year of World War Two airstrikes on the city. She took acting classes in Munich and then returned to Berlin, where she saw The Living Theatre for the first time and decided to join the group in 1962. She traveled and performed extensively with The Living Theatre, including in the performance, \"Paradise Now.\" She met Ira Cohen at its New Haven show (phone conversation between Ira Cohen and Carey Loren, which was transcribed on \"Blastitude, Eternity Blast Special,\" no. 13. August 2002). \u003c/p\u003e","\u003cp\u003eIn 1971, Vogt and Cohen finally landed in Kathmandu, after extensive traveling through Morocco, Tunisia, Afghanistan, and India. Living in Kathmandu from around 1972 to 1978, Vogt was an artistic, photographic, and social muse to partner Cohen, as well as Nepali hippies including Jimmy Thapa and Trilochan Shrestha.  While in Nepal, she produced numerous notebooks of poetry, diaries, and artworks, while illustrating Bardo Matrix Starstreams publications, as well as Cohen's work, including \"Poems from the Cosmic Crypt.\"\u003c/p\u003e","\u003cp\u003eWhile Vogt is peripherally featured in the archives of Ira Cohen, Angus MacLise, Dana Young, and other Bardo Matrix collaborators, her own contributions to this important facet of the countercultural poetics scene are significantly understudied. While Mark Liechty's \"Far Out: Countercultural Seekers and the Tourist Encounter in Nepal\" (University of Chicago Press, 2017), acknowledges her centrality to the scene and describes her role in organizing events, performances, and generally contributing to the dramatically-dressed scene in Kathmandu, no further articles or monographs solidify the contributions of her writings, artworks, or aesthetic. \u003c/p\u003e","\u003cp\u003eDuring the 1970s, Vogt was known for her foreboding dark outfits and makeup; her aesthetic marks her as an unheralded progenitor of goth style, which began to be codified in music scenes around the same time. Photographs of her from her time in Nepal in the 1970s were featured in a recent Photo Kathmandu festival in 2018. She continues to write and make art under a different name in Germany.  \u003c/p\u003e","\u003cp\u003eIra Cohen (1935–2011) was a noted poet, publisher, filmmaker, and photographer, known especially for his Mylar photographs, which he created between 1968 and 1971 in New York City. These works were inspired by Jack Smith and Bill Devore's black light experimentation, and required subjects to enter his \"Mylar Chamber,\" a makeshift room comprised of the reflective film, which Cohen would then photograph to produce distorted and psychedelic images of his subjects. \u003c/p\u003e","\u003cp\u003eThis produced iconic images that Life magazine in 1969 said captured the \"euphoric distortions of hallucinogenics\" during the countercultural era, with participants such as Jimi Hendrix, William Burroughs, Jack Smith, Brion Gysin, Angus MacLise, Paul Bowles, and Petra Vogt, among many others. These photographs have been exhibited in the 2006 \"Summer of Love\" exhibition organized by the Tate Liverpool and featured at the Whitney Museum, and are the subject of a new book, \"Ira Cohen: Into the Mylar Chamber\" which was published by Fulgar Press in 2019 with text by Ira Cohen, Timothy Baum, Ian MacFadyen, Alice Farley, Ira Landgarten, and Thurston Moore, and edited by Allan Graubard. \u003c/p\u003e","\u003cp\u003eKathmandu, Nepal, held a vibrant expatriate community of poets, musicians, artists, and spiritual seekers in the 1970s, in large part due to the Bardo Matrix collective — a group that began in Boulder, Colorado as The Experimental Cinema Group, and initially included Angus MacLise, John Chick, Dana Young, and Ira Cohen. Bardo Matrix Press, and especially the Starstreams Poetry Series, created collaborations with Beat and countercultural poets and local artisans to produce books informed by traditional Nepali and Tibetan traditions, sharing new poetic ideas.\u003c/p\u003e","\u003cp\u003eBefore 1971, when Ira Cohen and Petra Vogt arrived, a small group of expatriates had already become involved making woodblock prints to sell to tourists. Cohen recounts the presence of Ian Alsop, Francis Brooks, and Simon White, who \"were to play an important role in the development of small press publications by myself, my old friend and comrade, poet-calligrapher, Angus MacLise, and other poets who quickly formed a community in the Kathmandu Valley.\" \u003c/p\u003e","\u003cp\u003eMacLise's work with Piero Heliczer on Dead Language Press, \"making unique books from tree bark or fashioning long horizontal handmade books after the Tibetan or Indian style,\" proved influential: it was Angus who, \"working with local craftsmen and woodblock artists, really began the great rice paper adventure.\" (Ira Cohen, \"The Great Rice Paper Adventure: Kathmandu, 1971–1977.\" New Observations no. 106, May/June 1995. Online at Big Bridge, no. 5.)\u003c/p\u003e","\u003cp\u003eIn Kathmandu, on so-called \"Freak Street\" or Jhocchen Tole, John Chick opened a bookshop named \"The Spirit Catcher.\" The shop was open around 1972–1979, and provided a weekly forum for poetry readings, music, and community. This shop cemented the centrality of the roles of Vogt, Cohen, Chick, and MacLise in the countercultural community abroad, and became both a tourist and local destination (Prawash Gautam, \"How a used bookstore in Kathmandu's Jhochhen captured the spirit of the hippie movement,\" \"The Kathmandu Post,\" December 18, 2018).\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Much of this biographical and historical information was taken from the dealer description of the collection.","Petra Vogt was born in Berlin, Germany, in 1943, during a particularly devastating year of World War Two airstrikes on the city. She took acting classes in Munich and then returned to Berlin, where she saw The Living Theatre for the first time and decided to join the group in 1962. She traveled and performed extensively with The Living Theatre, including in the performance, \"Paradise Now.\" She met Ira Cohen at its New Haven show (phone conversation between Ira Cohen and Carey Loren, which was transcribed on \"Blastitude, Eternity Blast Special,\" no. 13. August 2002).","In 1971, Vogt and Cohen finally landed in Kathmandu, after extensive traveling through Morocco, Tunisia, Afghanistan, and India. Living in Kathmandu from around 1972 to 1978, Vogt was an artistic, photographic, and social muse to partner Cohen, as well as Nepali hippies including Jimmy Thapa and Trilochan Shrestha.  While in Nepal, she produced numerous notebooks of poetry, diaries, and artworks, while illustrating Bardo Matrix Starstreams publications, as well as Cohen's work, including \"Poems from the Cosmic Crypt.\"","While Vogt is peripherally featured in the archives of Ira Cohen, Angus MacLise, Dana Young, and other Bardo Matrix collaborators, her own contributions to this important facet of the countercultural poetics scene are significantly understudied. While Mark Liechty's \"Far Out: Countercultural Seekers and the Tourist Encounter in Nepal\" (University of Chicago Press, 2017), acknowledges her centrality to the scene and describes her role in organizing events, performances, and generally contributing to the dramatically-dressed scene in Kathmandu, no further articles or monographs solidify the contributions of her writings, artworks, or aesthetic.","During the 1970s, Vogt was known for her foreboding dark outfits and makeup; her aesthetic marks her as an unheralded progenitor of goth style, which began to be codified in music scenes around the same time. Photographs of her from her time in Nepal in the 1970s were featured in a recent Photo Kathmandu festival in 2018. She continues to write and make art under a different name in Germany.","Ira Cohen (1935–2011) was a noted poet, publisher, filmmaker, and photographer, known especially for his Mylar photographs, which he created between 1968 and 1971 in New York City. These works were inspired by Jack Smith and Bill Devore's black light experimentation, and required subjects to enter his \"Mylar Chamber,\" a makeshift room comprised of the reflective film, which Cohen would then photograph to produce distorted and psychedelic images of his subjects.","This produced iconic images that Life magazine in 1969 said captured the \"euphoric distortions of hallucinogenics\" during the countercultural era, with participants such as Jimi Hendrix, William Burroughs, Jack Smith, Brion Gysin, Angus MacLise, Paul Bowles, and Petra Vogt, among many others. These photographs have been exhibited in the 2006 \"Summer of Love\" exhibition organized by the Tate Liverpool and featured at the Whitney Museum, and are the subject of a new book, \"Ira Cohen: Into the Mylar Chamber\" which was published by Fulgar Press in 2019 with text by Ira Cohen, Timothy Baum, Ian MacFadyen, Alice Farley, Ira Landgarten, and Thurston Moore, and edited by Allan Graubard.","Kathmandu, Nepal, held a vibrant expatriate community of poets, musicians, artists, and spiritual seekers in the 1970s, in large part due to the Bardo Matrix collective — a group that began in Boulder, Colorado as The Experimental Cinema Group, and initially included Angus MacLise, John Chick, Dana Young, and Ira Cohen. Bardo Matrix Press, and especially the Starstreams Poetry Series, created collaborations with Beat and countercultural poets and local artisans to produce books informed by traditional Nepali and Tibetan traditions, sharing new poetic ideas.","Before 1971, when Ira Cohen and Petra Vogt arrived, a small group of expatriates had already become involved making woodblock prints to sell to tourists. Cohen recounts the presence of Ian Alsop, Francis Brooks, and Simon White, who \"were to play an important role in the development of small press publications by myself, my old friend and comrade, poet-calligrapher, Angus MacLise, and other poets who quickly formed a community in the Kathmandu Valley.\"","MacLise's work with Piero Heliczer on Dead Language Press, \"making unique books from tree bark or fashioning long horizontal handmade books after the Tibetan or Indian style,\" proved influential: it was Angus who, \"working with local craftsmen and woodblock artists, really began the great rice paper adventure.\" (Ira Cohen, \"The Great Rice Paper Adventure: Kathmandu, 1971–1977.\" New Observations no. 106, May/June 1995. Online at Big Bridge, no. 5.)","In Kathmandu, on so-called \"Freak Street\" or Jhocchen Tole, John Chick opened a bookshop named \"The Spirit Catcher.\" The shop was open around 1972–1979, and provided a weekly forum for poetry readings, music, and community. This shop cemented the centrality of the roles of Vogt, Cohen, Chick, and MacLise in the countercultural community abroad, and became both a tourist and local destination (Prawash Gautam, \"How a used bookstore in Kathmandu's Jhochhen captured the spirit of the hippie movement,\" \"The Kathmandu Post,\" December 18, 2018)."],"prefercite_html_tesm":["\u003cp\u003ePetra Vogt papers, MSS 16480, 1966-1978, Special Collections, University of Virginia Library, Charlottesville, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Petra Vogt papers, MSS 16480, 1966-1978, Special Collections, University of Virginia Library, Charlottesville, Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains journals, artworks, correspondence, and photographs that illuminate the life and work of Petra Vogt, a poet, actress, artist, and model, known for her involvement with the Living Theatre, Ira Cohen, and the Bardo Matrix Press during the 1960s and 1970s. Of particular interest are thirty-four journals, chiefly by Petra Vogt, with poetry, prose works, diary entries, and intricate rapidograph drawings along with collage, paintings, and other artworks within; about 150 artworks by Vogt, as well as handmade books of Ira Cohen's photographs and collage, 850 photographs by Ira Cohen, including those from his Mylar photography series and 60 pieces of correspondence and post cards addressed to Vogt and Cohen.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["This collection contains journals, artworks, correspondence, and photographs that illuminate the life and work of Petra Vogt, a poet, actress, artist, and model, known for her involvement with the Living Theatre, Ira Cohen, and the Bardo Matrix Press during the 1960s and 1970s. Of particular interest are thirty-four journals, chiefly by Petra Vogt, with poetry, prose works, diary entries, and intricate rapidograph drawings along with collage, paintings, and other artworks within; about 150 artworks by Vogt, as well as handmade books of Ira Cohen's photographs and collage, 850 photographs by Ira Cohen, including those from his Mylar photography series and 60 pieces of correspondence and post cards addressed to Vogt and Cohen."],"corpname_ssim":["Albert and Shirley Small Special Collections Library","Bardo Matrix (Firm)"],"persname_ssim":["Vogt, Petra","Cohen, Ira"],"names_coll_ssim":["Vogt, Petra","Cohen, Ira"],"names_ssim":["Albert and Shirley Small Special Collections Library","Bardo Matrix (Firm)","Vogt, Petra","Cohen, Ira"],"language_ssim":["English\n      Nepali\n      German"],"total_component_count_is":81,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:54:27.406Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_repositories_3_resources_996","ead_ssi":"viu_repositories_3_resources_996","_root_":"viu_repositories_3_resources_996","_nest_parent_":"viu_repositories_3_resources_996","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_996.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/120842","title_filing_ssi":"Vogt, Petra, papers","title_ssm":["Petra Vogt papers"],"title_tesim":["Petra Vogt papers"],"unitdate_ssm":["1966-1978"],"unitdate_inclusive_ssm":["1966-1978"],"normalized_date_ssm":["1966/1978"],"normalized_title_ssm":["Petra Vogt papers, 1966/1978"],"text":["Petra Vogt papers, 1966/1978","MSS .16480","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","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","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/996","Living Theatre (New York, N.Y.)","Kathmandu (Nepal)","Spirituality--Hinduism","Spirituality--Buddhism","Bardo Matrix (Firm)","Counterculture","Photographers","collage","small presses","hippies","prints","poetry","Black-and-white photographs","drawings (visual works)","diaries","Good. Collection apparently stored in a basement but no active mold. Some oversize materials were folded but these have been put in oversize folders or boxes and a few had preservation attention. Mylar L-sleeves have been used to protect some fragile materials.","Most of the collection is open for research. The single exception is a bank book for an account owned by Petra Vogt.","The bank book belonging to Petra Vogt, 1977-1978, has been removed and restricted until her death. It has been placed in the control folder for this collection in a sealed envelope. The bank book is from the Bayerische Hypotheken- und Wechsel-Bank (short form: Hypo-Bank).","Materials arrived organized by the dealer into the following four series and additional subseries: Series I. Correspondence; Series II. Petra Vogt files; Subseries II.1 Notebooks; Subseries II.2 Artworks and artist files; Subseries II.3 Collage files Series III. Ira Cohen and Bardo Matrix; Subseries III.1 Ira Cohen materials; Subseries III.2 Bardo Matrix publications; Subseries III.3 Flyers, ephemera, broadsides; Series IV Photographs.","This arrangement has been simplified into three series, 1) Volumes, Journals and Notebooks, chiefly by Petra Vogt; 2) Correspondence, Artwork and Topical Files; and 3) Photographs, chiefly by Ira Cohen. These series contain oversize materials that have been placed in more appropriate containers but are listed in the appropriate series.","Much of this biographical and historical information was taken from the dealer description of the collection.","Petra Vogt was born in Berlin, Germany, in 1943, during a particularly devastating year of World War Two airstrikes on the city. She took acting classes in Munich and then returned to Berlin, where she saw The Living Theatre for the first time and decided to join the group in 1962. She traveled and performed extensively with The Living Theatre, including in the performance, \"Paradise Now.\" She met Ira Cohen at its New Haven show (phone conversation between Ira Cohen and Carey Loren, which was transcribed on \"Blastitude, Eternity Blast Special,\" no. 13. August 2002).","In 1971, Vogt and Cohen finally landed in Kathmandu, after extensive traveling through Morocco, Tunisia, Afghanistan, and India. Living in Kathmandu from around 1972 to 1978, Vogt was an artistic, photographic, and social muse to partner Cohen, as well as Nepali hippies including Jimmy Thapa and Trilochan Shrestha.  While in Nepal, she produced numerous notebooks of poetry, diaries, and artworks, while illustrating Bardo Matrix Starstreams publications, as well as Cohen's work, including \"Poems from the Cosmic Crypt.\"","While Vogt is peripherally featured in the archives of Ira Cohen, Angus MacLise, Dana Young, and other Bardo Matrix collaborators, her own contributions to this important facet of the countercultural poetics scene are significantly understudied. While Mark Liechty's \"Far Out: Countercultural Seekers and the Tourist Encounter in Nepal\" (University of Chicago Press, 2017), acknowledges her centrality to the scene and describes her role in organizing events, performances, and generally contributing to the dramatically-dressed scene in Kathmandu, no further articles or monographs solidify the contributions of her writings, artworks, or aesthetic.","During the 1970s, Vogt was known for her foreboding dark outfits and makeup; her aesthetic marks her as an unheralded progenitor of goth style, which began to be codified in music scenes around the same time. Photographs of her from her time in Nepal in the 1970s were featured in a recent Photo Kathmandu festival in 2018. She continues to write and make art under a different name in Germany.","Ira Cohen (1935–2011) was a noted poet, publisher, filmmaker, and photographer, known especially for his Mylar photographs, which he created between 1968 and 1971 in New York City. These works were inspired by Jack Smith and Bill Devore's black light experimentation, and required subjects to enter his \"Mylar Chamber,\" a makeshift room comprised of the reflective film, which Cohen would then photograph to produce distorted and psychedelic images of his subjects.","This produced iconic images that Life magazine in 1969 said captured the \"euphoric distortions of hallucinogenics\" during the countercultural era, with participants such as Jimi Hendrix, William Burroughs, Jack Smith, Brion Gysin, Angus MacLise, Paul Bowles, and Petra Vogt, among many others. These photographs have been exhibited in the 2006 \"Summer of Love\" exhibition organized by the Tate Liverpool and featured at the Whitney Museum, and are the subject of a new book, \"Ira Cohen: Into the Mylar Chamber\" which was published by Fulgar Press in 2019 with text by Ira Cohen, Timothy Baum, Ian MacFadyen, Alice Farley, Ira Landgarten, and Thurston Moore, and edited by Allan Graubard.","Kathmandu, Nepal, held a vibrant expatriate community of poets, musicians, artists, and spiritual seekers in the 1970s, in large part due to the Bardo Matrix collective — a group that began in Boulder, Colorado as The Experimental Cinema Group, and initially included Angus MacLise, John Chick, Dana Young, and Ira Cohen. Bardo Matrix Press, and especially the Starstreams Poetry Series, created collaborations with Beat and countercultural poets and local artisans to produce books informed by traditional Nepali and Tibetan traditions, sharing new poetic ideas.","Before 1971, when Ira Cohen and Petra Vogt arrived, a small group of expatriates had already become involved making woodblock prints to sell to tourists. Cohen recounts the presence of Ian Alsop, Francis Brooks, and Simon White, who \"were to play an important role in the development of small press publications by myself, my old friend and comrade, poet-calligrapher, Angus MacLise, and other poets who quickly formed a community in the Kathmandu Valley.\"","MacLise's work with Piero Heliczer on Dead Language Press, \"making unique books from tree bark or fashioning long horizontal handmade books after the Tibetan or Indian style,\" proved influential: it was Angus who, \"working with local craftsmen and woodblock artists, really began the great rice paper adventure.\" (Ira Cohen, \"The Great Rice Paper Adventure: Kathmandu, 1971–1977.\" New Observations no. 106, May/June 1995. Online at Big Bridge, no. 5.)","In Kathmandu, on so-called \"Freak Street\" or Jhocchen Tole, John Chick opened a bookshop named \"The Spirit Catcher.\" The shop was open around 1972–1979, and provided a weekly forum for poetry readings, music, and community. This shop cemented the centrality of the roles of Vogt, Cohen, Chick, and MacLise in the countercultural community abroad, and became both a tourist and local destination (Prawash Gautam, \"How a used bookstore in Kathmandu's Jhochhen captured the spirit of the hippie movement,\" \"The Kathmandu Post,\" December 18, 2018).","This collection contains journals, artworks, correspondence, and photographs that illuminate the life and work of Petra Vogt, a poet, actress, artist, and model, known for her involvement with the Living Theatre, Ira Cohen, and the Bardo Matrix Press during the 1960s and 1970s. Of particular interest are thirty-four journals, chiefly by Petra Vogt, with poetry, prose works, diary entries, and intricate rapidograph drawings along with collage, paintings, and other artworks within; about 150 artworks by Vogt, as well as handmade books of Ira Cohen's photographs and collage, 850 photographs by Ira Cohen, including those from his Mylar photography series and 60 pieces of correspondence and post cards addressed to Vogt and Cohen.","Albert and Shirley Small Special Collections Library","Bardo Matrix (Firm)","Vogt, Petra","Cohen, Ira","English\n      Nepali\n      German"],"collection_title_tesim":["Petra Vogt papers, 1966/1978"],"collection_ssim":["Petra Vogt papers, 1966/1978"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS .16480","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","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","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/996"],"unitid_tesim":["MSS .16480","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","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","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/996"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"geogname_ssm":["Living Theatre (New York, N.Y.)","Kathmandu (Nepal)","Spirituality--Hinduism","Spirituality--Buddhism","Bardo Matrix (Firm)"],"geogname_ssim":["Living Theatre (New York, N.Y.)","Kathmandu (Nepal)","Spirituality--Hinduism","Spirituality--Buddhism","Bardo Matrix (Firm)"],"places_ssim":["Living Theatre (New York, N.Y.)","Kathmandu (Nepal)","Spirituality--Hinduism","Spirituality--Buddhism","Bardo Matrix (Firm)"],"creator_ssm":["Vogt, Petra","Cohen, Ira","Bardo Matrix (Firm)"],"creator_ssim":["Vogt, Petra","Cohen, Ira","Bardo Matrix (Firm)"],"creator_persname_ssim":["Vogt, Petra","Cohen, Ira"],"creator_corpname_ssim":["Albert and Shirley Small Special Collections Library","Bardo Matrix (Firm)"],"creators_ssim":["Vogt, Petra","Cohen, Ira","Albert and Shirley Small Special Collections Library","Bardo Matrix (Firm)"],"acqinfo_ssim":["The Petra Vogt papers were purchased by the University of Virginia Special Collections Library from Granary Books, Inc. on September 21, 2020."],"access_subjects_ssim":["Counterculture","Photographers","collage","small presses","hippies","prints","poetry","Black-and-white photographs","drawings (visual works)","diaries"],"access_subjects_ssm":["Counterculture","Photographers","collage","small presses","hippies","prints","poetry","Black-and-white photographs","drawings (visual works)","diaries"],"has_online_content_ssim":["false"],"physdesc_tesim":["Good. Collection apparently stored in a basement but no active mold. Some oversize materials were folded but these have been put in oversize folders or boxes and a few had preservation attention. Mylar L-sleeves have been used to protect some fragile materials."],"extent_ssm":["4.09 Cubic Feet 5 legal document boxes, 2 letter document boxes, 2 oversize folders (2 x 3 feet and 14 x 18 inches), and 2 oversized boxes."],"extent_tesim":["4.09 Cubic Feet 5 legal document boxes, 2 letter document boxes, 2 oversize folders (2 x 3 feet and 14 x 18 inches), and 2 oversized boxes."],"genreform_ssim":["poetry","Black-and-white photographs","drawings (visual works)","diaries"],"date_range_isim":[1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978],"accessrestrict_html_tesm":["\u003cp\u003eMost of the collection is open for research. The single exception is a bank book for an account owned by Petra Vogt.\u003c/p\u003e","\u003cp\u003eThe bank book belonging to Petra Vogt, 1977-1978, has been removed and restricted until her death. It has been placed in the control folder for this collection in a sealed envelope. The bank book is from the Bayerische Hypotheken- und Wechsel-Bank (short form: Hypo-Bank). \u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Most of the collection is open for research. The single exception is a bank book for an account owned by Petra Vogt.","The bank book belonging to Petra Vogt, 1977-1978, has been removed and restricted until her death. It has been placed in the control folder for this collection in a sealed envelope. The bank book is from the Bayerische Hypotheken- und Wechsel-Bank (short form: Hypo-Bank)."],"arrangement_html_tesm":["\u003cp\u003eMaterials arrived organized by the dealer into the following four series and additional subseries: Series I. Correspondence; Series II. Petra Vogt files; Subseries II.1 Notebooks; Subseries II.2 Artworks and artist files; Subseries II.3 Collage files Series III. Ira Cohen and Bardo Matrix; Subseries III.1 Ira Cohen materials; Subseries III.2 Bardo Matrix publications; Subseries III.3 Flyers, ephemera, broadsides; Series IV Photographs.\u003c/p\u003e","\u003cp\u003eThis arrangement has been simplified into three series, 1) Volumes, Journals and Notebooks, chiefly by Petra Vogt; 2) Correspondence, Artwork and Topical Files; and 3) Photographs, chiefly by Ira Cohen. These series contain oversize materials that have been placed in more appropriate containers but are listed in the appropriate series.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Materials arrived organized by the dealer into the following four series and additional subseries: Series I. Correspondence; Series II. Petra Vogt files; Subseries II.1 Notebooks; Subseries II.2 Artworks and artist files; Subseries II.3 Collage files Series III. Ira Cohen and Bardo Matrix; Subseries III.1 Ira Cohen materials; Subseries III.2 Bardo Matrix publications; Subseries III.3 Flyers, ephemera, broadsides; Series IV Photographs.","This arrangement has been simplified into three series, 1) Volumes, Journals and Notebooks, chiefly by Petra Vogt; 2) Correspondence, Artwork and Topical Files; and 3) Photographs, chiefly by Ira Cohen. These series contain oversize materials that have been placed in more appropriate containers but are listed in the appropriate series."],"bioghist_html_tesm":["\u003cp\u003eMuch of this biographical and historical information was taken from the dealer description of the collection. \u003c/p\u003e","\u003cp\u003ePetra Vogt was born in Berlin, Germany, in 1943, during a particularly devastating year of World War Two airstrikes on the city. She took acting classes in Munich and then returned to Berlin, where she saw The Living Theatre for the first time and decided to join the group in 1962. She traveled and performed extensively with The Living Theatre, including in the performance, \"Paradise Now.\" She met Ira Cohen at its New Haven show (phone conversation between Ira Cohen and Carey Loren, which was transcribed on \"Blastitude, Eternity Blast Special,\" no. 13. August 2002). \u003c/p\u003e","\u003cp\u003eIn 1971, Vogt and Cohen finally landed in Kathmandu, after extensive traveling through Morocco, Tunisia, Afghanistan, and India. Living in Kathmandu from around 1972 to 1978, Vogt was an artistic, photographic, and social muse to partner Cohen, as well as Nepali hippies including Jimmy Thapa and Trilochan Shrestha.  While in Nepal, she produced numerous notebooks of poetry, diaries, and artworks, while illustrating Bardo Matrix Starstreams publications, as well as Cohen's work, including \"Poems from the Cosmic Crypt.\"\u003c/p\u003e","\u003cp\u003eWhile Vogt is peripherally featured in the archives of Ira Cohen, Angus MacLise, Dana Young, and other Bardo Matrix collaborators, her own contributions to this important facet of the countercultural poetics scene are significantly understudied. While Mark Liechty's \"Far Out: Countercultural Seekers and the Tourist Encounter in Nepal\" (University of Chicago Press, 2017), acknowledges her centrality to the scene and describes her role in organizing events, performances, and generally contributing to the dramatically-dressed scene in Kathmandu, no further articles or monographs solidify the contributions of her writings, artworks, or aesthetic. \u003c/p\u003e","\u003cp\u003eDuring the 1970s, Vogt was known for her foreboding dark outfits and makeup; her aesthetic marks her as an unheralded progenitor of goth style, which began to be codified in music scenes around the same time. Photographs of her from her time in Nepal in the 1970s were featured in a recent Photo Kathmandu festival in 2018. She continues to write and make art under a different name in Germany.  \u003c/p\u003e","\u003cp\u003eIra Cohen (1935–2011) was a noted poet, publisher, filmmaker, and photographer, known especially for his Mylar photographs, which he created between 1968 and 1971 in New York City. These works were inspired by Jack Smith and Bill Devore's black light experimentation, and required subjects to enter his \"Mylar Chamber,\" a makeshift room comprised of the reflective film, which Cohen would then photograph to produce distorted and psychedelic images of his subjects. \u003c/p\u003e","\u003cp\u003eThis produced iconic images that Life magazine in 1969 said captured the \"euphoric distortions of hallucinogenics\" during the countercultural era, with participants such as Jimi Hendrix, William Burroughs, Jack Smith, Brion Gysin, Angus MacLise, Paul Bowles, and Petra Vogt, among many others. These photographs have been exhibited in the 2006 \"Summer of Love\" exhibition organized by the Tate Liverpool and featured at the Whitney Museum, and are the subject of a new book, \"Ira Cohen: Into the Mylar Chamber\" which was published by Fulgar Press in 2019 with text by Ira Cohen, Timothy Baum, Ian MacFadyen, Alice Farley, Ira Landgarten, and Thurston Moore, and edited by Allan Graubard. \u003c/p\u003e","\u003cp\u003eKathmandu, Nepal, held a vibrant expatriate community of poets, musicians, artists, and spiritual seekers in the 1970s, in large part due to the Bardo Matrix collective — a group that began in Boulder, Colorado as The Experimental Cinema Group, and initially included Angus MacLise, John Chick, Dana Young, and Ira Cohen. Bardo Matrix Press, and especially the Starstreams Poetry Series, created collaborations with Beat and countercultural poets and local artisans to produce books informed by traditional Nepali and Tibetan traditions, sharing new poetic ideas.\u003c/p\u003e","\u003cp\u003eBefore 1971, when Ira Cohen and Petra Vogt arrived, a small group of expatriates had already become involved making woodblock prints to sell to tourists. Cohen recounts the presence of Ian Alsop, Francis Brooks, and Simon White, who \"were to play an important role in the development of small press publications by myself, my old friend and comrade, poet-calligrapher, Angus MacLise, and other poets who quickly formed a community in the Kathmandu Valley.\" \u003c/p\u003e","\u003cp\u003eMacLise's work with Piero Heliczer on Dead Language Press, \"making unique books from tree bark or fashioning long horizontal handmade books after the Tibetan or Indian style,\" proved influential: it was Angus who, \"working with local craftsmen and woodblock artists, really began the great rice paper adventure.\" (Ira Cohen, \"The Great Rice Paper Adventure: Kathmandu, 1971–1977.\" New Observations no. 106, May/June 1995. Online at Big Bridge, no. 5.)\u003c/p\u003e","\u003cp\u003eIn Kathmandu, on so-called \"Freak Street\" or Jhocchen Tole, John Chick opened a bookshop named \"The Spirit Catcher.\" The shop was open around 1972–1979, and provided a weekly forum for poetry readings, music, and community. This shop cemented the centrality of the roles of Vogt, Cohen, Chick, and MacLise in the countercultural community abroad, and became both a tourist and local destination (Prawash Gautam, \"How a used bookstore in Kathmandu's Jhochhen captured the spirit of the hippie movement,\" \"The Kathmandu Post,\" December 18, 2018).\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Much of this biographical and historical information was taken from the dealer description of the collection.","Petra Vogt was born in Berlin, Germany, in 1943, during a particularly devastating year of World War Two airstrikes on the city. She took acting classes in Munich and then returned to Berlin, where she saw The Living Theatre for the first time and decided to join the group in 1962. She traveled and performed extensively with The Living Theatre, including in the performance, \"Paradise Now.\" She met Ira Cohen at its New Haven show (phone conversation between Ira Cohen and Carey Loren, which was transcribed on \"Blastitude, Eternity Blast Special,\" no. 13. August 2002).","In 1971, Vogt and Cohen finally landed in Kathmandu, after extensive traveling through Morocco, Tunisia, Afghanistan, and India. Living in Kathmandu from around 1972 to 1978, Vogt was an artistic, photographic, and social muse to partner Cohen, as well as Nepali hippies including Jimmy Thapa and Trilochan Shrestha.  While in Nepal, she produced numerous notebooks of poetry, diaries, and artworks, while illustrating Bardo Matrix Starstreams publications, as well as Cohen's work, including \"Poems from the Cosmic Crypt.\"","While Vogt is peripherally featured in the archives of Ira Cohen, Angus MacLise, Dana Young, and other Bardo Matrix collaborators, her own contributions to this important facet of the countercultural poetics scene are significantly understudied. While Mark Liechty's \"Far Out: Countercultural Seekers and the Tourist Encounter in Nepal\" (University of Chicago Press, 2017), acknowledges her centrality to the scene and describes her role in organizing events, performances, and generally contributing to the dramatically-dressed scene in Kathmandu, no further articles or monographs solidify the contributions of her writings, artworks, or aesthetic.","During the 1970s, Vogt was known for her foreboding dark outfits and makeup; her aesthetic marks her as an unheralded progenitor of goth style, which began to be codified in music scenes around the same time. Photographs of her from her time in Nepal in the 1970s were featured in a recent Photo Kathmandu festival in 2018. She continues to write and make art under a different name in Germany.","Ira Cohen (1935–2011) was a noted poet, publisher, filmmaker, and photographer, known especially for his Mylar photographs, which he created between 1968 and 1971 in New York City. These works were inspired by Jack Smith and Bill Devore's black light experimentation, and required subjects to enter his \"Mylar Chamber,\" a makeshift room comprised of the reflective film, which Cohen would then photograph to produce distorted and psychedelic images of his subjects.","This produced iconic images that Life magazine in 1969 said captured the \"euphoric distortions of hallucinogenics\" during the countercultural era, with participants such as Jimi Hendrix, William Burroughs, Jack Smith, Brion Gysin, Angus MacLise, Paul Bowles, and Petra Vogt, among many others. These photographs have been exhibited in the 2006 \"Summer of Love\" exhibition organized by the Tate Liverpool and featured at the Whitney Museum, and are the subject of a new book, \"Ira Cohen: Into the Mylar Chamber\" which was published by Fulgar Press in 2019 with text by Ira Cohen, Timothy Baum, Ian MacFadyen, Alice Farley, Ira Landgarten, and Thurston Moore, and edited by Allan Graubard.","Kathmandu, Nepal, held a vibrant expatriate community of poets, musicians, artists, and spiritual seekers in the 1970s, in large part due to the Bardo Matrix collective — a group that began in Boulder, Colorado as The Experimental Cinema Group, and initially included Angus MacLise, John Chick, Dana Young, and Ira Cohen. Bardo Matrix Press, and especially the Starstreams Poetry Series, created collaborations with Beat and countercultural poets and local artisans to produce books informed by traditional Nepali and Tibetan traditions, sharing new poetic ideas.","Before 1971, when Ira Cohen and Petra Vogt arrived, a small group of expatriates had already become involved making woodblock prints to sell to tourists. Cohen recounts the presence of Ian Alsop, Francis Brooks, and Simon White, who \"were to play an important role in the development of small press publications by myself, my old friend and comrade, poet-calligrapher, Angus MacLise, and other poets who quickly formed a community in the Kathmandu Valley.\"","MacLise's work with Piero Heliczer on Dead Language Press, \"making unique books from tree bark or fashioning long horizontal handmade books after the Tibetan or Indian style,\" proved influential: it was Angus who, \"working with local craftsmen and woodblock artists, really began the great rice paper adventure.\" (Ira Cohen, \"The Great Rice Paper Adventure: Kathmandu, 1971–1977.\" New Observations no. 106, May/June 1995. Online at Big Bridge, no. 5.)","In Kathmandu, on so-called \"Freak Street\" or Jhocchen Tole, John Chick opened a bookshop named \"The Spirit Catcher.\" The shop was open around 1972–1979, and provided a weekly forum for poetry readings, music, and community. This shop cemented the centrality of the roles of Vogt, Cohen, Chick, and MacLise in the countercultural community abroad, and became both a tourist and local destination (Prawash Gautam, \"How a used bookstore in Kathmandu's Jhochhen captured the spirit of the hippie movement,\" \"The Kathmandu Post,\" December 18, 2018)."],"prefercite_html_tesm":["\u003cp\u003ePetra Vogt papers, MSS 16480, 1966-1978, Special Collections, University of Virginia Library, Charlottesville, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Petra Vogt papers, MSS 16480, 1966-1978, Special Collections, University of Virginia Library, Charlottesville, Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains journals, artworks, correspondence, and photographs that illuminate the life and work of Petra Vogt, a poet, actress, artist, and model, known for her involvement with the Living Theatre, Ira Cohen, and the Bardo Matrix Press during the 1960s and 1970s. Of particular interest are thirty-four journals, chiefly by Petra Vogt, with poetry, prose works, diary entries, and intricate rapidograph drawings along with collage, paintings, and other artworks within; about 150 artworks by Vogt, as well as handmade books of Ira Cohen's photographs and collage, 850 photographs by Ira Cohen, including those from his Mylar photography series and 60 pieces of correspondence and post cards addressed to Vogt and Cohen.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["This collection contains journals, artworks, correspondence, and photographs that illuminate the life and work of Petra Vogt, a poet, actress, artist, and model, known for her involvement with the Living Theatre, Ira Cohen, and the Bardo Matrix Press during the 1960s and 1970s. Of particular interest are thirty-four journals, chiefly by Petra Vogt, with poetry, prose works, diary entries, and intricate rapidograph drawings along with collage, paintings, and other artworks within; about 150 artworks by Vogt, as well as handmade books of Ira Cohen's photographs and collage, 850 photographs by Ira Cohen, including those from his Mylar photography series and 60 pieces of correspondence and post cards addressed to Vogt and Cohen."],"corpname_ssim":["Albert and Shirley Small Special Collections Library","Bardo Matrix (Firm)"],"persname_ssim":["Vogt, Petra","Cohen, Ira"],"names_coll_ssim":["Vogt, Petra","Cohen, Ira"],"names_ssim":["Albert and Shirley Small Special Collections Library","Bardo Matrix (Firm)","Vogt, Petra","Cohen, Ira"],"language_ssim":["English\n      Nepali\n      German"],"total_component_count_is":81,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:54:27.406Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_996"}},{"id":"viu_repositories_3_resources_1828","type":"collection","attributes":{"title":"Robert Anbian papers, 1974/2022","creator":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_1828#creator","type":"document_value","attributes":{"value":"Anbian, Robert","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_1828#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis collection contains the papers of poet, author, publisher, and political activist Robert White Anbian (1949-2022). Anbian graduated from the University of Virginia in 1971, after which he spent three years in Niger with the Peace Corps from 1974 to 1977. He then relocated to San Francisco, where he worked as a writer and poet until his death. From 1985 to 1996, Robert served as the editor of the monthly Film Arts Foundation magazine, Release Print, and the publicist for an independent filmmaker education and advocacy group. He founded his own publishing house, Night Horn Books. Anbian published three poetry collections: WE Parts 1 \u0026amp; 2 (Night Horn Books, 1999), Antinostalgia (Ruddy Duck Press, 1992), and Bohemian Airs \u0026amp; Other Kêfs (Night Horn Books, 1982). \u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_1828#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_1828","ead_ssi":"viu_repositories_3_resources_1828","_root_":"viu_repositories_3_resources_1828","_nest_parent_":"viu_repositories_3_resources_1828","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1828.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/230328","title_filing_ssi":"Anbian, Robert papers","title_ssm":["Robert Anbian papers"],"title_tesim":["Robert Anbian papers"],"unitdate_ssm":["1974-2022"],"unitdate_inclusive_ssm":["1974-2022"],"normalized_date_ssm":["1974/2022"],"normalized_title_ssm":["Robert Anbian papers, 1974/2022"],"text":["Robert Anbian papers, 1974/2022","MSS 16922","Archival Resource Key","/repositories/3/resources/1828","United States -- Politics and government -- 2001-2009","Central America -- Politics and government -- 1979-","Poets","University of Virginia -- Alumni","Poverty","poetry","American literature","This collection is open for research.","The collection is arranged by type of material and then by date. Series 1. Sketchbooks, Notebooks and manuscripts, Series 2. Correspondence, Series 3. Publications, Series 4. Reviews, Series 5. Burlington County Herald newspaper","\"Robert Anbian (June 27, 1949 - February 23, 2022) wrote about sex, politics, seas and oceans, city streets, deserts, war, love, music, highways, petty larceny, ecstasy, childhood, death, and memories. His poems and stories are populated with the poor, lost, exiled, angry, crazy in love, and intoxicated... His syntax is mangled, his narrative a montage. He had little use for metaphor. He means exactly what he says. His texts are homespun, esoteric, oddly familiar and strange. He's discovering the music in language, in thought, in the cortex of consciousness. He's funny.","That Anbian, a leading voice in the San Francisco poetry underground, isn't more widely known is as much a tribute to his \"odd man out\" obstinacy as to the usual reluctance of society to deal with its critics. Yet obstinacy has a point. Anbian writes a poetry that won't surrender an inch of imaginative freedom to love, hate, or ideology – his own above all. With I NOT I (EDT4072), the word comes from the poet himself in a writer's voice – that is, in a language demotic, impassioned, and little peculiar. Included in this powerful follow-up to the 2007 poetry and jazz CD, Robert Anbian and the Unidentified Flying Quartet, also on Edgetone Records (EDT4052), is a sweeping selection from Anbian's epochal WE series, in a new sequence enacting the poems' contingent, open-ended form. This is an important recording for anyone interested in poetry, spoken word, literature, anti-literature, and the troubled junctures of culture and politics.","Robert Anbian published three poetry collections, WE Parts 1 \u0026 2 (Night Horn Books 1999), Antinostalgia (Ruddy Duck Press 1992) and Bohemian Airs \u0026 Other Kêfs (Night Horn Books, 1982). His most recent publication is the chapbook, Blame the Powerful: Political Poems (War\u0026Peace Press 2004). His work has appeared in the anthologies, Beyond Lament: Poets of the World Confront the Holocaust (Northwestern) and Practicing Angels: A Contemporary Anthology of San Francisco Bay Area Poetry (Seismograph), at www.newversenews.com, and in the literary periodicals City Lights Review, North Coast Literary Review, Oxygen, Left Curve, Oro Madre, Compages, and the electronic journal, Rif/t. From 1978-82, he edited the literary review, Oboe.\"","A native of New Jersey and graduate of the University of Virginia, and following his work in the Peace Corps, Anbian lived and worked as a journalist and editor in San Francisco. He graduated from the University of Virginia in 1971, after which he spent three years in Niger with the Peace Corps from 1974 to 1977. He then relocated to San Francisco, where he worked as a writer and poet until his death. From 1985 to 1996, Robert served as the editor of the monthly Film Arts Foundation magazine, Release Print, and the publicist for an independent filmmaker education and advocacy group. He founded his own publishing house, Night Horn Books. Anbian published three poetry collections: WE Parts 1 \u0026 2 (Night Horn Books, 1999), Antinostalgia (Ruddy Duck Press, 1992), and Bohemian Airs \u0026 Other Kêfs (Night Horn Books, 1982).","Source:\n\"Robert Anbian\" Edgetone Records website. Accessed 10/2/25\nhttps://www.edgetonerecords.com/anbian.html","This collection contains the papers of poet, author, publisher, and political activist Robert White Anbian (1949-2022). Anbian graduated from the University of Virginia in 1971, after which he spent three years in Niger with the Peace Corps from 1974 to 1977. He then relocated to San Francisco, where he worked as a writer and poet until his death. From 1985 to 1996, Robert served as the editor of the monthly Film Arts Foundation magazine, Release Print, and the publicist for an independent filmmaker education and advocacy group. He founded his own publishing house, Night Horn Books. Anbian published three poetry collections: WE Parts 1 \u0026 2 (Night Horn Books, 1999), Antinostalgia (Ruddy Duck Press, 1992), and Bohemian Airs \u0026 Other Kêfs (Night Horn Books, 1982).","The collection contains sketchbooks, journals, handwritten and printed drafts of poems, screenplays, short stories, and longer works, notes, newspaper clippings, articles, printed publications, posters, pamphlets, resumes, an astrological chart, artworks, photographs, correspondence, ephemera, and publications published by Night Horn Books.","The papers span from 1974 to 2022 and document his work as a writer and publisher. Materials include his journals and sketchbooks from 1974 to 2019, which include his artwork, notes, and poetry. There are synopses, drafts, notebooks, and notes of two of his novels, \"The Glittering Zero\" and \"Deep Blue Sea,\" as well as his poetry, short stories, and screenplays.","Aside from his written work, the collection contains correspondence between Anbian and other poets, personal handwritten notes, postcards to friends and family members, resumes, photographs, and artwork by Anbian. Works published by Wilderness Press and Night Horn Book, authored by Anbian and others, are also included. See External Documents for a detailed box-folder inventory of the collection's contents.","Albert and Shirley Small Special Collections Library","Anbian, Robert","English\n      French\n      Greek, Modern (1453-)"],"collection_title_tesim":["Robert Anbian papers, 1974/2022"],"collection_ssim":["Robert Anbian papers, 1974/2022"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16922","Archival Resource Key","/repositories/3/resources/1828"],"unitid_tesim":["MSS 16922","Archival Resource Key","/repositories/3/resources/1828"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"geogname_ssm":["United States -- Politics and government -- 2001-2009","Central America -- Politics and government -- 1979-"],"geogname_ssim":["United States -- Politics and government -- 2001-2009","Central America -- Politics and government -- 1979-"],"places_ssim":["United States -- Politics and government -- 2001-2009","Central America -- Politics and government -- 1979-"],"creator_ssm":["Anbian, Robert"],"creator_ssim":["Anbian, Robert"],"creator_persname_ssim":["Anbian, Robert"],"creator_corpname_ssim":["Albert and Shirley Small Special Collections Library"],"creators_ssim":["Anbian, Robert","Albert and Shirley Small Special Collections Library"],"acqinfo_ssim":["This collection was a gift from Patricia McLaughlin to the Small Special Collections Library at the University of Virginia Library on 19 December 2024."],"access_subjects_ssim":["Poets","University of Virginia -- Alumni","Poverty","poetry","American literature"],"access_subjects_ssm":["Poets","University of Virginia -- Alumni","Poverty","poetry","American literature"],"has_online_content_ssim":["false"],"extent_ssm":["5.35 Cubic Feet 13 document boxes, one medium oversized flat box"],"extent_tesim":["5.35 Cubic Feet 13 document boxes, one medium oversized flat box"],"genreform_ssim":["poetry","American literature"],"date_range_isim":[1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020,2021,2022],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for research.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged by type of material and then by date. Series 1. Sketchbooks, Notebooks and manuscripts, Series 2. Correspondence, Series 3. Publications, Series 4. Reviews, Series 5. Burlington County Herald newspaper\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged by type of material and then by date. Series 1. Sketchbooks, Notebooks and manuscripts, Series 2. Correspondence, Series 3. Publications, Series 4. Reviews, Series 5. Burlington County Herald newspaper"],"bioghist_html_tesm":["\u003cp\u003e \"Robert Anbian (June 27, 1949 - February 23, 2022) wrote about sex, politics, seas and oceans, city streets, deserts, war, love, music, highways, petty larceny, ecstasy, childhood, death, and memories. His poems and stories are populated with the poor, lost, exiled, angry, crazy in love, and intoxicated... His syntax is mangled, his narrative a montage. He had little use for metaphor. He means exactly what he says. His texts are homespun, esoteric, oddly familiar and strange. He's discovering the music in language, in thought, in the cortex of consciousness. He's funny.\u003c/p\u003e","\u003cp\u003eThat Anbian, a leading voice in the San Francisco poetry underground, isn't more widely known is as much a tribute to his \"odd man out\" obstinacy as to the usual reluctance of society to deal with its critics. Yet obstinacy has a point. Anbian writes a poetry that won't surrender an inch of imaginative freedom to love, hate, or ideology – his own above all. With I NOT I (EDT4072), the word comes from the poet himself in a writer's voice – that is, in a language demotic, impassioned, and little peculiar. Included in this powerful follow-up to the 2007 poetry and jazz CD, Robert Anbian and the Unidentified Flying Quartet, also on Edgetone Records (EDT4052), is a sweeping selection from Anbian's epochal WE series, in a new sequence enacting the poems' contingent, open-ended form. This is an important recording for anyone interested in poetry, spoken word, literature, anti-literature, and the troubled junctures of culture and politics.\u003c/p\u003e","\u003cp\u003eRobert Anbian published three poetry collections, WE Parts 1 \u0026amp; 2 (Night Horn Books 1999), Antinostalgia (Ruddy Duck Press 1992) and Bohemian Airs \u0026amp; Other Kêfs (Night Horn Books, 1982). His most recent publication is the chapbook, Blame the Powerful: Political Poems (War\u0026amp;Peace Press 2004). His work has appeared in the anthologies, Beyond Lament: Poets of the World Confront the Holocaust (Northwestern) and Practicing Angels: A Contemporary Anthology of San Francisco Bay Area Poetry (Seismograph), at www.newversenews.com, and in the literary periodicals City Lights Review, North Coast Literary Review, Oxygen, Left Curve, Oro Madre, Compages, and the electronic journal, Rif/t. From 1978-82, he edited the literary review, Oboe.\" \u003c/p\u003e","\u003cp\u003eA native of New Jersey and graduate of the University of Virginia, and following his work in the Peace Corps, Anbian lived and worked as a journalist and editor in San Francisco. He graduated from the University of Virginia in 1971, after which he spent three years in Niger with the Peace Corps from 1974 to 1977. He then relocated to San Francisco, where he worked as a writer and poet until his death. From 1985 to 1996, Robert served as the editor of the monthly Film Arts Foundation magazine, Release Print, and the publicist for an independent filmmaker education and advocacy group. He founded his own publishing house, Night Horn Books. Anbian published three poetry collections: WE Parts 1 \u0026amp; 2 (Night Horn Books, 1999), Antinostalgia (Ruddy Duck Press, 1992), and Bohemian Airs \u0026amp; Other Kêfs (Night Horn Books, 1982). \u003c/p\u003e","\u003cp\u003e\nSource:\n\"Robert Anbian\" Edgetone Records website. Accessed 10/2/25\nhttps://www.edgetonerecords.com/anbian.html\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["\"Robert Anbian (June 27, 1949 - February 23, 2022) wrote about sex, politics, seas and oceans, city streets, deserts, war, love, music, highways, petty larceny, ecstasy, childhood, death, and memories. His poems and stories are populated with the poor, lost, exiled, angry, crazy in love, and intoxicated... His syntax is mangled, his narrative a montage. He had little use for metaphor. He means exactly what he says. His texts are homespun, esoteric, oddly familiar and strange. He's discovering the music in language, in thought, in the cortex of consciousness. He's funny.","That Anbian, a leading voice in the San Francisco poetry underground, isn't more widely known is as much a tribute to his \"odd man out\" obstinacy as to the usual reluctance of society to deal with its critics. Yet obstinacy has a point. Anbian writes a poetry that won't surrender an inch of imaginative freedom to love, hate, or ideology – his own above all. With I NOT I (EDT4072), the word comes from the poet himself in a writer's voice – that is, in a language demotic, impassioned, and little peculiar. Included in this powerful follow-up to the 2007 poetry and jazz CD, Robert Anbian and the Unidentified Flying Quartet, also on Edgetone Records (EDT4052), is a sweeping selection from Anbian's epochal WE series, in a new sequence enacting the poems' contingent, open-ended form. This is an important recording for anyone interested in poetry, spoken word, literature, anti-literature, and the troubled junctures of culture and politics.","Robert Anbian published three poetry collections, WE Parts 1 \u0026 2 (Night Horn Books 1999), Antinostalgia (Ruddy Duck Press 1992) and Bohemian Airs \u0026 Other Kêfs (Night Horn Books, 1982). His most recent publication is the chapbook, Blame the Powerful: Political Poems (War\u0026Peace Press 2004). His work has appeared in the anthologies, Beyond Lament: Poets of the World Confront the Holocaust (Northwestern) and Practicing Angels: A Contemporary Anthology of San Francisco Bay Area Poetry (Seismograph), at www.newversenews.com, and in the literary periodicals City Lights Review, North Coast Literary Review, Oxygen, Left Curve, Oro Madre, Compages, and the electronic journal, Rif/t. From 1978-82, he edited the literary review, Oboe.\"","A native of New Jersey and graduate of the University of Virginia, and following his work in the Peace Corps, Anbian lived and worked as a journalist and editor in San Francisco. He graduated from the University of Virginia in 1971, after which he spent three years in Niger with the Peace Corps from 1974 to 1977. He then relocated to San Francisco, where he worked as a writer and poet until his death. From 1985 to 1996, Robert served as the editor of the monthly Film Arts Foundation magazine, Release Print, and the publicist for an independent filmmaker education and advocacy group. He founded his own publishing house, Night Horn Books. Anbian published three poetry collections: WE Parts 1 \u0026 2 (Night Horn Books, 1999), Antinostalgia (Ruddy Duck Press, 1992), and Bohemian Airs \u0026 Other Kêfs (Night Horn Books, 1982).","Source:\n\"Robert Anbian\" Edgetone Records website. Accessed 10/2/25\nhttps://www.edgetonerecords.com/anbian.html"],"prefercite_html_tesm":["\u003cp\u003eMSS 16922, Robert Anbian papers, Albert and Shirley Small Special Collections Library, University of Virginia Library.\u003c/p\u003e  "],"prefercite_tesim":["MSS 16922, Robert Anbian papers, Albert and Shirley Small Special Collections Library, University of Virginia Library."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains the papers of poet, author, publisher, and political activist Robert White Anbian (1949-2022). Anbian graduated from the University of Virginia in 1971, after which he spent three years in Niger with the Peace Corps from 1974 to 1977. He then relocated to San Francisco, where he worked as a writer and poet until his death. From 1985 to 1996, Robert served as the editor of the monthly Film Arts Foundation magazine, Release Print, and the publicist for an independent filmmaker education and advocacy group. He founded his own publishing house, Night Horn Books. Anbian published three poetry collections: WE Parts 1 \u0026amp; 2 (Night Horn Books, 1999), Antinostalgia (Ruddy Duck Press, 1992), and Bohemian Airs \u0026amp; Other Kêfs (Night Horn Books, 1982). \u003c/p\u003e","\u003cp\u003eThe collection contains sketchbooks, journals, handwritten and printed drafts of poems, screenplays, short stories, and longer works, notes, newspaper clippings, articles, printed publications, posters, pamphlets, resumes, an astrological chart, artworks, photographs, correspondence, ephemera, and publications published by Night Horn Books. \u003c/p\u003e","\u003cp\u003eThe papers span from 1974 to 2022 and document his work as a writer and publisher. Materials include his journals and sketchbooks from 1974 to 2019, which include his artwork, notes, and poetry. There are synopses, drafts, notebooks, and notes of two of his novels, \"The Glittering Zero\" and \"Deep Blue Sea,\" as well as his poetry, short stories, and screenplays. \u003c/p\u003e","\u003cp\u003eAside from his written work, the collection contains correspondence between Anbian and other poets, personal handwritten notes, postcards to friends and family members, resumes, photographs, and artwork by Anbian. Works published by Wilderness Press and Night Horn Book, authored by Anbian and others, are also included. See External Documents for a detailed box-folder inventory of the collection's contents. \u003c/p\u003e  "],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["This collection contains the papers of poet, author, publisher, and political activist Robert White Anbian (1949-2022). Anbian graduated from the University of Virginia in 1971, after which he spent three years in Niger with the Peace Corps from 1974 to 1977. He then relocated to San Francisco, where he worked as a writer and poet until his death. From 1985 to 1996, Robert served as the editor of the monthly Film Arts Foundation magazine, Release Print, and the publicist for an independent filmmaker education and advocacy group. He founded his own publishing house, Night Horn Books. Anbian published three poetry collections: WE Parts 1 \u0026 2 (Night Horn Books, 1999), Antinostalgia (Ruddy Duck Press, 1992), and Bohemian Airs \u0026 Other Kêfs (Night Horn Books, 1982).","The collection contains sketchbooks, journals, handwritten and printed drafts of poems, screenplays, short stories, and longer works, notes, newspaper clippings, articles, printed publications, posters, pamphlets, resumes, an astrological chart, artworks, photographs, correspondence, ephemera, and publications published by Night Horn Books.","The papers span from 1974 to 2022 and document his work as a writer and publisher. Materials include his journals and sketchbooks from 1974 to 2019, which include his artwork, notes, and poetry. There are synopses, drafts, notebooks, and notes of two of his novels, \"The Glittering Zero\" and \"Deep Blue Sea,\" as well as his poetry, short stories, and screenplays.","Aside from his written work, the collection contains correspondence between Anbian and other poets, personal handwritten notes, postcards to friends and family members, resumes, photographs, and artwork by Anbian. Works published by Wilderness Press and Night Horn Book, authored by Anbian and others, are also included. See External Documents for a detailed box-folder inventory of the collection's contents."],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"persname_ssim":["Anbian, Robert"],"names_ssim":["Albert and Shirley Small Special Collections Library","Anbian, Robert"],"language_ssim":["English\n      French\n      Greek, Modern (1453-)"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":96,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:53:58.310Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_repositories_3_resources_1828","ead_ssi":"viu_repositories_3_resources_1828","_root_":"viu_repositories_3_resources_1828","_nest_parent_":"viu_repositories_3_resources_1828","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1828.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/230328","title_filing_ssi":"Anbian, Robert papers","title_ssm":["Robert Anbian papers"],"title_tesim":["Robert Anbian papers"],"unitdate_ssm":["1974-2022"],"unitdate_inclusive_ssm":["1974-2022"],"normalized_date_ssm":["1974/2022"],"normalized_title_ssm":["Robert Anbian papers, 1974/2022"],"text":["Robert Anbian papers, 1974/2022","MSS 16922","Archival Resource Key","/repositories/3/resources/1828","United States -- Politics and government -- 2001-2009","Central America -- Politics and government -- 1979-","Poets","University of Virginia -- Alumni","Poverty","poetry","American literature","This collection is open for research.","The collection is arranged by type of material and then by date. Series 1. Sketchbooks, Notebooks and manuscripts, Series 2. Correspondence, Series 3. Publications, Series 4. Reviews, Series 5. Burlington County Herald newspaper","\"Robert Anbian (June 27, 1949 - February 23, 2022) wrote about sex, politics, seas and oceans, city streets, deserts, war, love, music, highways, petty larceny, ecstasy, childhood, death, and memories. His poems and stories are populated with the poor, lost, exiled, angry, crazy in love, and intoxicated... His syntax is mangled, his narrative a montage. He had little use for metaphor. He means exactly what he says. His texts are homespun, esoteric, oddly familiar and strange. He's discovering the music in language, in thought, in the cortex of consciousness. He's funny.","That Anbian, a leading voice in the San Francisco poetry underground, isn't more widely known is as much a tribute to his \"odd man out\" obstinacy as to the usual reluctance of society to deal with its critics. Yet obstinacy has a point. Anbian writes a poetry that won't surrender an inch of imaginative freedom to love, hate, or ideology – his own above all. With I NOT I (EDT4072), the word comes from the poet himself in a writer's voice – that is, in a language demotic, impassioned, and little peculiar. Included in this powerful follow-up to the 2007 poetry and jazz CD, Robert Anbian and the Unidentified Flying Quartet, also on Edgetone Records (EDT4052), is a sweeping selection from Anbian's epochal WE series, in a new sequence enacting the poems' contingent, open-ended form. This is an important recording for anyone interested in poetry, spoken word, literature, anti-literature, and the troubled junctures of culture and politics.","Robert Anbian published three poetry collections, WE Parts 1 \u0026 2 (Night Horn Books 1999), Antinostalgia (Ruddy Duck Press 1992) and Bohemian Airs \u0026 Other Kêfs (Night Horn Books, 1982). His most recent publication is the chapbook, Blame the Powerful: Political Poems (War\u0026Peace Press 2004). His work has appeared in the anthologies, Beyond Lament: Poets of the World Confront the Holocaust (Northwestern) and Practicing Angels: A Contemporary Anthology of San Francisco Bay Area Poetry (Seismograph), at www.newversenews.com, and in the literary periodicals City Lights Review, North Coast Literary Review, Oxygen, Left Curve, Oro Madre, Compages, and the electronic journal, Rif/t. From 1978-82, he edited the literary review, Oboe.\"","A native of New Jersey and graduate of the University of Virginia, and following his work in the Peace Corps, Anbian lived and worked as a journalist and editor in San Francisco. He graduated from the University of Virginia in 1971, after which he spent three years in Niger with the Peace Corps from 1974 to 1977. He then relocated to San Francisco, where he worked as a writer and poet until his death. From 1985 to 1996, Robert served as the editor of the monthly Film Arts Foundation magazine, Release Print, and the publicist for an independent filmmaker education and advocacy group. He founded his own publishing house, Night Horn Books. Anbian published three poetry collections: WE Parts 1 \u0026 2 (Night Horn Books, 1999), Antinostalgia (Ruddy Duck Press, 1992), and Bohemian Airs \u0026 Other Kêfs (Night Horn Books, 1982).","Source:\n\"Robert Anbian\" Edgetone Records website. Accessed 10/2/25\nhttps://www.edgetonerecords.com/anbian.html","This collection contains the papers of poet, author, publisher, and political activist Robert White Anbian (1949-2022). Anbian graduated from the University of Virginia in 1971, after which he spent three years in Niger with the Peace Corps from 1974 to 1977. He then relocated to San Francisco, where he worked as a writer and poet until his death. From 1985 to 1996, Robert served as the editor of the monthly Film Arts Foundation magazine, Release Print, and the publicist for an independent filmmaker education and advocacy group. He founded his own publishing house, Night Horn Books. Anbian published three poetry collections: WE Parts 1 \u0026 2 (Night Horn Books, 1999), Antinostalgia (Ruddy Duck Press, 1992), and Bohemian Airs \u0026 Other Kêfs (Night Horn Books, 1982).","The collection contains sketchbooks, journals, handwritten and printed drafts of poems, screenplays, short stories, and longer works, notes, newspaper clippings, articles, printed publications, posters, pamphlets, resumes, an astrological chart, artworks, photographs, correspondence, ephemera, and publications published by Night Horn Books.","The papers span from 1974 to 2022 and document his work as a writer and publisher. Materials include his journals and sketchbooks from 1974 to 2019, which include his artwork, notes, and poetry. There are synopses, drafts, notebooks, and notes of two of his novels, \"The Glittering Zero\" and \"Deep Blue Sea,\" as well as his poetry, short stories, and screenplays.","Aside from his written work, the collection contains correspondence between Anbian and other poets, personal handwritten notes, postcards to friends and family members, resumes, photographs, and artwork by Anbian. Works published by Wilderness Press and Night Horn Book, authored by Anbian and others, are also included. See External Documents for a detailed box-folder inventory of the collection's contents.","Albert and Shirley Small Special Collections Library","Anbian, Robert","English\n      French\n      Greek, Modern (1453-)"],"collection_title_tesim":["Robert Anbian papers, 1974/2022"],"collection_ssim":["Robert Anbian papers, 1974/2022"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16922","Archival Resource Key","/repositories/3/resources/1828"],"unitid_tesim":["MSS 16922","Archival Resource Key","/repositories/3/resources/1828"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"geogname_ssm":["United States -- Politics and government -- 2001-2009","Central America -- Politics and government -- 1979-"],"geogname_ssim":["United States -- Politics and government -- 2001-2009","Central America -- Politics and government -- 1979-"],"places_ssim":["United States -- Politics and government -- 2001-2009","Central America -- Politics and government -- 1979-"],"creator_ssm":["Anbian, Robert"],"creator_ssim":["Anbian, Robert"],"creator_persname_ssim":["Anbian, Robert"],"creator_corpname_ssim":["Albert and Shirley Small Special Collections Library"],"creators_ssim":["Anbian, Robert","Albert and Shirley Small Special Collections Library"],"acqinfo_ssim":["This collection was a gift from Patricia McLaughlin to the Small Special Collections Library at the University of Virginia Library on 19 December 2024."],"access_subjects_ssim":["Poets","University of Virginia -- Alumni","Poverty","poetry","American literature"],"access_subjects_ssm":["Poets","University of Virginia -- Alumni","Poverty","poetry","American literature"],"has_online_content_ssim":["false"],"extent_ssm":["5.35 Cubic Feet 13 document boxes, one medium oversized flat box"],"extent_tesim":["5.35 Cubic Feet 13 document boxes, one medium oversized flat box"],"genreform_ssim":["poetry","American literature"],"date_range_isim":[1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020,2021,2022],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for research.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged by type of material and then by date. Series 1. Sketchbooks, Notebooks and manuscripts, Series 2. Correspondence, Series 3. Publications, Series 4. Reviews, Series 5. Burlington County Herald newspaper\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged by type of material and then by date. Series 1. Sketchbooks, Notebooks and manuscripts, Series 2. Correspondence, Series 3. Publications, Series 4. Reviews, Series 5. Burlington County Herald newspaper"],"bioghist_html_tesm":["\u003cp\u003e \"Robert Anbian (June 27, 1949 - February 23, 2022) wrote about sex, politics, seas and oceans, city streets, deserts, war, love, music, highways, petty larceny, ecstasy, childhood, death, and memories. His poems and stories are populated with the poor, lost, exiled, angry, crazy in love, and intoxicated... His syntax is mangled, his narrative a montage. He had little use for metaphor. He means exactly what he says. His texts are homespun, esoteric, oddly familiar and strange. He's discovering the music in language, in thought, in the cortex of consciousness. He's funny.\u003c/p\u003e","\u003cp\u003eThat Anbian, a leading voice in the San Francisco poetry underground, isn't more widely known is as much a tribute to his \"odd man out\" obstinacy as to the usual reluctance of society to deal with its critics. Yet obstinacy has a point. Anbian writes a poetry that won't surrender an inch of imaginative freedom to love, hate, or ideology – his own above all. With I NOT I (EDT4072), the word comes from the poet himself in a writer's voice – that is, in a language demotic, impassioned, and little peculiar. Included in this powerful follow-up to the 2007 poetry and jazz CD, Robert Anbian and the Unidentified Flying Quartet, also on Edgetone Records (EDT4052), is a sweeping selection from Anbian's epochal WE series, in a new sequence enacting the poems' contingent, open-ended form. This is an important recording for anyone interested in poetry, spoken word, literature, anti-literature, and the troubled junctures of culture and politics.\u003c/p\u003e","\u003cp\u003eRobert Anbian published three poetry collections, WE Parts 1 \u0026amp; 2 (Night Horn Books 1999), Antinostalgia (Ruddy Duck Press 1992) and Bohemian Airs \u0026amp; Other Kêfs (Night Horn Books, 1982). His most recent publication is the chapbook, Blame the Powerful: Political Poems (War\u0026amp;Peace Press 2004). His work has appeared in the anthologies, Beyond Lament: Poets of the World Confront the Holocaust (Northwestern) and Practicing Angels: A Contemporary Anthology of San Francisco Bay Area Poetry (Seismograph), at www.newversenews.com, and in the literary periodicals City Lights Review, North Coast Literary Review, Oxygen, Left Curve, Oro Madre, Compages, and the electronic journal, Rif/t. From 1978-82, he edited the literary review, Oboe.\" \u003c/p\u003e","\u003cp\u003eA native of New Jersey and graduate of the University of Virginia, and following his work in the Peace Corps, Anbian lived and worked as a journalist and editor in San Francisco. He graduated from the University of Virginia in 1971, after which he spent three years in Niger with the Peace Corps from 1974 to 1977. He then relocated to San Francisco, where he worked as a writer and poet until his death. From 1985 to 1996, Robert served as the editor of the monthly Film Arts Foundation magazine, Release Print, and the publicist for an independent filmmaker education and advocacy group. He founded his own publishing house, Night Horn Books. Anbian published three poetry collections: WE Parts 1 \u0026amp; 2 (Night Horn Books, 1999), Antinostalgia (Ruddy Duck Press, 1992), and Bohemian Airs \u0026amp; Other Kêfs (Night Horn Books, 1982). \u003c/p\u003e","\u003cp\u003e\nSource:\n\"Robert Anbian\" Edgetone Records website. Accessed 10/2/25\nhttps://www.edgetonerecords.com/anbian.html\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["\"Robert Anbian (June 27, 1949 - February 23, 2022) wrote about sex, politics, seas and oceans, city streets, deserts, war, love, music, highways, petty larceny, ecstasy, childhood, death, and memories. His poems and stories are populated with the poor, lost, exiled, angry, crazy in love, and intoxicated... His syntax is mangled, his narrative a montage. He had little use for metaphor. He means exactly what he says. His texts are homespun, esoteric, oddly familiar and strange. He's discovering the music in language, in thought, in the cortex of consciousness. He's funny.","That Anbian, a leading voice in the San Francisco poetry underground, isn't more widely known is as much a tribute to his \"odd man out\" obstinacy as to the usual reluctance of society to deal with its critics. Yet obstinacy has a point. Anbian writes a poetry that won't surrender an inch of imaginative freedom to love, hate, or ideology – his own above all. With I NOT I (EDT4072), the word comes from the poet himself in a writer's voice – that is, in a language demotic, impassioned, and little peculiar. Included in this powerful follow-up to the 2007 poetry and jazz CD, Robert Anbian and the Unidentified Flying Quartet, also on Edgetone Records (EDT4052), is a sweeping selection from Anbian's epochal WE series, in a new sequence enacting the poems' contingent, open-ended form. This is an important recording for anyone interested in poetry, spoken word, literature, anti-literature, and the troubled junctures of culture and politics.","Robert Anbian published three poetry collections, WE Parts 1 \u0026 2 (Night Horn Books 1999), Antinostalgia (Ruddy Duck Press 1992) and Bohemian Airs \u0026 Other Kêfs (Night Horn Books, 1982). His most recent publication is the chapbook, Blame the Powerful: Political Poems (War\u0026Peace Press 2004). His work has appeared in the anthologies, Beyond Lament: Poets of the World Confront the Holocaust (Northwestern) and Practicing Angels: A Contemporary Anthology of San Francisco Bay Area Poetry (Seismograph), at www.newversenews.com, and in the literary periodicals City Lights Review, North Coast Literary Review, Oxygen, Left Curve, Oro Madre, Compages, and the electronic journal, Rif/t. From 1978-82, he edited the literary review, Oboe.\"","A native of New Jersey and graduate of the University of Virginia, and following his work in the Peace Corps, Anbian lived and worked as a journalist and editor in San Francisco. He graduated from the University of Virginia in 1971, after which he spent three years in Niger with the Peace Corps from 1974 to 1977. He then relocated to San Francisco, where he worked as a writer and poet until his death. From 1985 to 1996, Robert served as the editor of the monthly Film Arts Foundation magazine, Release Print, and the publicist for an independent filmmaker education and advocacy group. He founded his own publishing house, Night Horn Books. Anbian published three poetry collections: WE Parts 1 \u0026 2 (Night Horn Books, 1999), Antinostalgia (Ruddy Duck Press, 1992), and Bohemian Airs \u0026 Other Kêfs (Night Horn Books, 1982).","Source:\n\"Robert Anbian\" Edgetone Records website. Accessed 10/2/25\nhttps://www.edgetonerecords.com/anbian.html"],"prefercite_html_tesm":["\u003cp\u003eMSS 16922, Robert Anbian papers, Albert and Shirley Small Special Collections Library, University of Virginia Library.\u003c/p\u003e  "],"prefercite_tesim":["MSS 16922, Robert Anbian papers, Albert and Shirley Small Special Collections Library, University of Virginia Library."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains the papers of poet, author, publisher, and political activist Robert White Anbian (1949-2022). Anbian graduated from the University of Virginia in 1971, after which he spent three years in Niger with the Peace Corps from 1974 to 1977. He then relocated to San Francisco, where he worked as a writer and poet until his death. From 1985 to 1996, Robert served as the editor of the monthly Film Arts Foundation magazine, Release Print, and the publicist for an independent filmmaker education and advocacy group. He founded his own publishing house, Night Horn Books. Anbian published three poetry collections: WE Parts 1 \u0026amp; 2 (Night Horn Books, 1999), Antinostalgia (Ruddy Duck Press, 1992), and Bohemian Airs \u0026amp; Other Kêfs (Night Horn Books, 1982). \u003c/p\u003e","\u003cp\u003eThe collection contains sketchbooks, journals, handwritten and printed drafts of poems, screenplays, short stories, and longer works, notes, newspaper clippings, articles, printed publications, posters, pamphlets, resumes, an astrological chart, artworks, photographs, correspondence, ephemera, and publications published by Night Horn Books. \u003c/p\u003e","\u003cp\u003eThe papers span from 1974 to 2022 and document his work as a writer and publisher. Materials include his journals and sketchbooks from 1974 to 2019, which include his artwork, notes, and poetry. There are synopses, drafts, notebooks, and notes of two of his novels, \"The Glittering Zero\" and \"Deep Blue Sea,\" as well as his poetry, short stories, and screenplays. \u003c/p\u003e","\u003cp\u003eAside from his written work, the collection contains correspondence between Anbian and other poets, personal handwritten notes, postcards to friends and family members, resumes, photographs, and artwork by Anbian. Works published by Wilderness Press and Night Horn Book, authored by Anbian and others, are also included. See External Documents for a detailed box-folder inventory of the collection's contents. \u003c/p\u003e  "],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["This collection contains the papers of poet, author, publisher, and political activist Robert White Anbian (1949-2022). Anbian graduated from the University of Virginia in 1971, after which he spent three years in Niger with the Peace Corps from 1974 to 1977. He then relocated to San Francisco, where he worked as a writer and poet until his death. From 1985 to 1996, Robert served as the editor of the monthly Film Arts Foundation magazine, Release Print, and the publicist for an independent filmmaker education and advocacy group. He founded his own publishing house, Night Horn Books. Anbian published three poetry collections: WE Parts 1 \u0026 2 (Night Horn Books, 1999), Antinostalgia (Ruddy Duck Press, 1992), and Bohemian Airs \u0026 Other Kêfs (Night Horn Books, 1982).","The collection contains sketchbooks, journals, handwritten and printed drafts of poems, screenplays, short stories, and longer works, notes, newspaper clippings, articles, printed publications, posters, pamphlets, resumes, an astrological chart, artworks, photographs, correspondence, ephemera, and publications published by Night Horn Books.","The papers span from 1974 to 2022 and document his work as a writer and publisher. Materials include his journals and sketchbooks from 1974 to 2019, which include his artwork, notes, and poetry. There are synopses, drafts, notebooks, and notes of two of his novels, \"The Glittering Zero\" and \"Deep Blue Sea,\" as well as his poetry, short stories, and screenplays.","Aside from his written work, the collection contains correspondence between Anbian and other poets, personal handwritten notes, postcards to friends and family members, resumes, photographs, and artwork by Anbian. Works published by Wilderness Press and Night Horn Book, authored by Anbian and others, are also included. See External Documents for a detailed box-folder inventory of the collection's contents."],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"persname_ssim":["Anbian, Robert"],"names_ssim":["Albert and Shirley Small Special Collections Library","Anbian, Robert"],"language_ssim":["English\n      French\n      Greek, Modern (1453-)"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":96,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:53:58.310Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_1828"}}],"included":[{"type":"facet","id":"repository_ssim","attributes":{"label":"Repository","items":[{"attributes":{"label":"University of Virginia, Special Collections Dept.","value":"University of Virginia, Special Collections 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