Summary Information
Albert Maltz Papers
1932-1985
U.S. Mss 17AN; Micro 279; Micro 2009; Tape 1239A
7.2 c.f. (18 archives boxes and 1 flat box), 3 reels of microfilm (35mm), 3 tape recordings, and photographs, posters, and sketches
Wisconsin Historical Society Archives / Wisconsin Center for Film and Theater Research Contact Information
Wisconsin Historical Society (Map)
Papers of a novelist, playwright, screenwriter, and blacklisted member of the Hollywood Ten. The collection emphasizes his screenwriting and consists of variant drafts for early successes (Destination Tokyo, Pride of the Marines, and This Gun for Hire); later works for which he received no credit (Broken Arrow and The Robe) or from which he was fired (Exodus and The Execution of Private Slovik) because of the Blacklist; and numerous unproduced titles. Work for the Theatre Union during the Depression is documented by script drafts (primarily of unproduced plays) and microfilmed clippings. General writings include microfilmed clippings about his short stories and novels, and speeches and statements, many of which concern the Hollywood Ten and related political issues. Also about the Hollywood Ten are minutes and information pertaining to meetings, legal and public relations materials, and recordings of memorial services for Herbert Biberman and Adrian Scott. Correspondence covers the period 1936 to 1985 and provides information on development of some films and writings, Maltz's imprisonment for contempt of HUAC and response to the Blacklist, and his continued relations with other members of the Ten such as Alvah Bessie, Lester Cole, Ring Lardner, Jr., and Dalton Trumbo. Other prominent correspondents include Michael Blankfort, Frank Capra, Raymond Clapper, Howard Fast, Albert Kahn, Robert Kenney, Emmett Lavery, Carey McWilliams, Alexander Meiklejohn, Frank Ross, Frank Sinatra, George Sklar, Philip Van Doren Stern, Shepard Traube, Robert Penn Warren, and Glenway Westcott. Papers of Maltz's first wife, Margaret Larkin Maltz, consist of files collected as executive secretary of the Theatre Union, letters of Maltz while he was in prison, and speeches she made in his defense. Her theatrical files include many press releases about various theatre Union productions (including many Maltz plays and Berthold Brecht's Mother), a financial statement, and other writings about the theater.
English
http://digital.library.wisc.edu/1711.dl/wiarchives.uw-whs-us0017an ↑ Bookmark this ↑
Biography/History
Playwright, novelist and screenwriter Albert Maltz was born on October 28, 1908 in Brooklyn, New York, the son of Polish immigrants. He graduated from high school in 1926 and then attended Columbia University, from which he graduated Phi Beta Kappa in 1930, with a major in philosophy.
An elective course in playwrighting proved more a determinant in Maltz's life than his undergraduate major. He liked the course so much that when he entered Yale University it was to study drama under Professor Baker. George Sklar was a fellow student and the two collaborated on a play, Merry-Go-Round. The play was accepted for production by the Provincetown Playhouse in New York and, consequently, Maltz left Yale and returned to New York to produce the play he and Sklar had written. Merry-Go-Round opened in 1932 and closed after fifty-six performances.
After a brief sojourn in Hollywood when the film rights to Merry-Go-Round were purchased, Maltz and Sklar found themselves again in New York. In November, 1933, the new, leftist Theatre Union, which they helped organize, presented their anti-war play, Peace on Earth, as its first offering. Black Pit (1935), written by Maltz, was also produced by the Theatre Union. He served on the Union's executive board from 1933 to 1937. In 1937 he and Margaret Larkin, the Union's executive secretary, were married.
Before Maltz moved to California in the early forties, he was a playwrighting instructor at New York University's Writing Center, School of Adult Education (1937-1941), playwrighting instructor at the Writers Conference (1939-1940), and editor of Equality magazine.
During the war years Maltz became a successful screenwriter. With W. R. Burnett he wrote the screenplay for This Gun for Hire (1942), and he collaborated with Delmer Daves on the screenplay for Destination Tokyo (1943). Other screen credits include: Moscow Strikes Back (1942), Pride of the Marines (1945), The House I Live In (1945), Cloak and Dagger (1945), and The Naked City (1948). Maltz won a special Academy Award for The House I Live In.
In 1947, as part of the investigations of the House Un-American Activities Committee into supposed Communist influence in Hollywood, Maltz was summoned to testify before the Committee. He invoked the First Amendment and, together with other members of “The Hollywood Ten,” was indicated for contempt of Congress. Maltz served a prison term from June 28, 1950 to April 3, 1951, and was subsequently blacklisted by the motion picture industry.
From 1952 until 1962 Maltz chose to live and write in Mexico. He wrote a number of screenplays under pseudonyms during this time. The Robe, for which Maltz had written the screenplay in 1946, was produced during these years; Phillip Dunne was hired to revise Maltz's script and because of the blacklist was given sole screen credit for it. Two attempts to break the blacklist were unsuccessful. In April, 1949, 20th Century-Fox acquired screen rights to Maltz's novel, The Journey of Simon McKeever, and less than two weeks later the project was abandoned because of public disapproval. More than a decade later, in 1960, Frank Sinatra hired Maltz to write a screenplay for The Execution of Private Slovik; again public pressure was brought to bear against Sinatra, and he fired Maltz.
Maltz has also written many published works. His novels include The Underground Stream (1940), The Cross and the Arrow (1944), The Journey of Simon McKeever (1949), A Long Day in a Short Life (1956), and A Tale of One January (1964). His short stories have been collected in three volumes: The Way Things Are (1938), Off Broadway (1960), and Afternoon in the Jungle (1971). A collection of his speeches from 1947 to 1949 appeared in The Citizen Writer (1950). Maltz received the Silver Medal from the Commonwealth Club for The Journey of Simon McKeever; the O'Henry Memorial for his 1938 short story, “The Happiest Man on Earth”; and the 1952 Normandy Pen Award in the short story category.
Among Maltz's professional activities were terms on the Council of the Authors League of America, 1937-1940, and a term as the League's president, 1947-1948.
Maltz and his first wife were divorced in 1963; in 1964 Maltz married Rosemary Wylde.
Albert Maltz died in Los Angeles on April 26, 1985. He was survived by his third wife, Esther Maltz.
Arrangement of the Materials
The collection is arranged as BIOGRAPHICAL INFORMATION; writings for THEATRE, RADIO, and MOTION PICTURES; GENERAL WRITINGS; HOLLYWOOD TEN FILES; CORRESPONDENCE; and MARGARET LARKIN MALTZ FILES.
Scope and Content Note
The papers document Maltz's career as a writer for theatre and motion pictures and his experiences as one of the blacklisted members of the Hollywood Ten. It is not, however, a full record. The correspondence, perhaps the most useful part of the collection, is incomplete, and it bears some evidence of having been selected by the donor (perhaps to meet WCFTR's expressed interest in the Hollywood Ten) from a larger body of material. In addition, except for the prison correspondence between Maltz and his first wife, Margaret Larkin, and a few other isolated items, there is little true personal material in the papers. The most recent item in the collection, a letter from Maltz' estranged daughter to her aunt written after Maltz' death, suggests the degree to which the impact of the Blacklist on his life is undocumented. In addition, the development of many writing projects is incomplete either in draft form or in supplementary correspondence, and some productions are not documented at all. Maltz's notable career as a writer of novels and short stories is documented here primarily through publicity, those drafts having been deposited at Columbia University.
The collection consists of variant script drafts (many entirely handwritten) and other writings, notes, research material, correspondence, minutes, publicity, clippings (some available only on microfilm), and recordings. Photographs received with the papers have been separated to the WCFTR Name and Titles files.
The BIOGRAPHICAL INFORMATION consists of general scrapbooks (available only on microfilm), a transcript of a 1940 interview, some notes prepared by Maltz about the papers, and a recording of his funeral service. The scrapbooks document criticism Maltz experienced from the Left after publishing an article in New Masses concerning the political role of writers, as well as the HUAC trials and his relationship with Frank Sinatra in the scripting of The Execution of Private Slovik. Related to this material is a two-volume oral history interview of Maltz held by the University of California-Los Angeles and a shorter interview concerning the the Theatre Union and the Mercury Theatre held by Columbia University.
The THEATRE materials, which are arranged alphabetically by title, were reevaluated and rearranged when additions to the collection were incorporated in 1991. Because the publicity about the Theatre Union originally filed in this section of the papers was tied by internal evidence to Margaret Larkin's career as executive secretary for TU these files were rearranged in a separate series of her papers.
Disappointingly, the scripts for Maltz's most important Theatre Union productions are not original drafts dating from the 1930's but clean typescripts made years later when Maltz resided in Mexico. Important contemporary playwrighting material, however, is present for unstaged plays he wrote for the Theatre Union including Rehearsal and Zero Hour, which was an effort by Maltz and George Sklar to revise Peace on Earth in 1940. There are also extensive files for several unproduced plays written during the 1950's. Photographs of The Black Pit and of several foreign productions of Maltz's TU plays are available in the WCFTR Title file. Available only on microfilm are clippings, primarily foreign and domestic reviews, concerning these productions.
Writing for RADIO is documented by variant script drafts for Red Head Baker, a play produced by CBS in 1937.
MOTION PICTURES represent the largest and most important aspect of Maltz's career documented in the collection. This series is arranged alphabetically by production title. Included are variant drafts, often beginning with very extensive handwritten notes reflecting Maltz's research and his careful development of the story and characters, complete handwritten drafts, and finally typed and/or mimeographed scripts. The collection documents both produced and unproduced works and includes files on several important productions such as Broken Arrow and The Robe, for which he received no credit because of the Blacklist, and several productions (Exodus and Execution of Private Slovik) from which he was fired because of the Blacklist. From his early film career there are files on Destination Tokyo, Pride of the Marines, and This Gun For Hire.
The GENERAL WRITINGS have been subdivided into short stories, novels, speeches, other writings and statements, and writing done for others. About Maltz's fiction, which is more substantially documented in a 22-box collection at Columbia University, there are microfilmed scrapbooks of reviews. The chronologically-arranged speech files cover the period 1947 to 1974. They primarily relate to the Hollywood Ten, the Blacklist, and other political matters. Also included here is a complete transcript of the Stop Censorship Committee meeting in 1948 which Maltz addressed.
The majority of Maltz's writing on the Hollywood Ten is contained in the category entitled “Other writings and statements.” Unfortunately, much of this material was received from the donor as badly deteriorated photocopies. They were recopied on archival bond paper in 1991 to prevent further deterioration, but in many cases Maltz's handwriting had already become difficult to read. This section contains copies of a few items later published by Maltz in The Citizen Writer. (A copy of The Citizen Writer is available in the SHSW library.) Also here are several speeches he prepared for Edward G. Robinson.
The HOLLYWOOD TEN FILES contain examples of publicity developed to support the case; notes on legal and financial strategy meetings, 1947-1949; legal information; and recordings of memorial services for Herbert Biberman and Adrian Scott.
CORRESPONDENCE AND NOTES document the period 1936 to 1985 but coverage is uneven, and even within the well-covered periods, consists largely of incoming mail, with only a few carbons of outgoing letters. The development of many writing projects is consequently only fragmentarily covered, if at all.
In addition to information about the impact of the Blacklist on Maltz, this section of the collection contains many letters from other members of the Ten including Alvah Bessie, Lester Cole, Dalton Trumbo, and Ring Lardner, Jr., both during and after the HUAC trial, that provide good information about their experiences. This correspondence also documents well their differing views as they later sought to come to terms with the meaning of the experience. The collection also documents the varying impact of the Blacklist on other individuals such as writer Howard Fast, Maxim Lieber (Maltz's literary agent who sought exile first in Mexico and then in Poland), and screenwriter Michael Blankfort, who disavowed his earlier left-wing political views during the 1950's.
The early correspondence contains only fragmentary reference to Maltz's playwrighting career during the 1930's or to his association with the Theatre Union in New York City. There is, however, a 1936 letter from Clifford Odets responding to a letter asking for aid for the Theatre Union. Correspondence after Maltz went to Hollywood is somewhat more complete, although there are virtually no outgoing letters, and as a consequence little concerning work on particular films. An exception is a letter to Robert Penn Warren concerning his leave to work on a Civil War novel. Among Maltz's correspondents during this period are Frank Capra, Raymond Clapper, Albert Deutsch, Albert Kahn, Emmett Lavery, Philip Van Doren Stern, and Shepard Traube. In view of their later relationship, the letters to and from Frank Sinatra concerning Pride of the Marines and their mutual opposition to fascism are interesting. Among the incoming correspondence for 1946 are numerous letters (largely leftist writers such as Howard Fast and Alvah Bessie) received in response to a piece that appeared in New Masses in 1946.
The period of the Hollywood Ten trial contains extensive documentation on Maltz's involvement in the planning of the opposition to HUAC. Included are letters to and from other members of the Ten, Glenway Westcott of the Author's Guild, attorney Robert Kenny, and Carey McWilliams and Alexander Meiklejohn
(mainly concerning the amicus curiae brief). For the period of his imprisonment the collection includes every letter written by Maltz to his wife. (Her letters to him are filed in the MARGARET LARKIN MALTZ series.) Because of the limitation on the number of his outgoing letters she served as his spokesman during this period. As a result, these letters are much more than personal correspondence. For this period the collection also contains letters from George Sklar and Edward Maltz.
The post-prison correspondence contains numerous references to the development and implications of the Blacklist. Here are useful letters from Michael Blankfort, Howard Fast (largely regarding his novel Spartacus), Frank Ross (re compensation for work on The Robe), and Herman Wouk. Correspondence dating from the late 1950's concerns harassment experienced by Maltz and others while residing in Mexico or travelling abroad. This period is also represented by letters concerning the extensive research work in which Maltz engaged during his involvement with Exodus. There is also material on his firing by Sinatra from the Execution of Private Slovik project.
Later correspondence, while mainly concerned with differences with Trumbo and Lardner over the Hollywood Ten experience, also contains an interesting correspondence in 1967 concerning his recollection of the production of Berthold Brecht's play Mother by the Theatre Union and publicity he received in 1968 when he offered financial aid to Solzhenitzen. Other correspondence deals with Maltz's declining health and work on various unproduced works.
At the end of the chronological correspondence are several special subject files, as well as notes prepared by Maltz concerning the correspondence. Among these are letters regarding Cross and Arrow received by the editor of the Daily Worker; correspondence lent to WCFTR for microfilming by Little, Brown, and Co.; and a file of letters concerning william Stevenson, who may have been the inspiration for the Journey of Simon McKeever. The Little, Brown correspondence documents Maltz's relationship with his publisher during the development and publication of Cross and Arrow and the blacklisting of the Journal of Simon McKeever, which began even before his conviction. The file entitled “Mexican witch hunt” contains clippings and a statement concerning harassment experienced in Mexico by other expatriated Americans.
The files of Maltz's first wife, MARGARET LARKIN MALTZ, consist of her side of the prison correspondence, speeches she made while Maltz was in prison, and files collected as a result of her responsibility as executive secretary of the Theatre Union. Most notable among the TU materials are extensive files of press releases. In addition to a few releases she prepared herself there are larger files written by press representatives Martha Dreiblatt and Ruth Pearse. These releases were individually crafted for various publications and are informative both with regard to the staging of the productions and the actors who appeared in them. In addition to Maltz plays such as Bitterstream, Marching Song, Peace on Earth, and Stevedore, there is also a file on the TU production of Berthold Brecht's Mother. Her papers also include a few posters and handbills, a history of the Theatre Union, a commentary on the New Theatre Movement, and a 1937 financial statement.
Administrative/Restriction Information
Presented by Albert Maltz and Esther Maltz, Los Angeles, California, and by Janet Stevenson, Hammond, Oregon, 1961-1988. Accession Number: MCHC61-046, MCHC61-048, MCHC61-051, MCHC61-061, MCHC61-063, MCHC61-068, MCHC66-106, MCHC68-078, MCHC68-137, MCHC69-141, M86-289, M86-486, M88-095
Processed by Eleanor Niermann and SHR, 1973; additions processed by Carolyn Mattern, 1991.
Contents List
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Series: Biographical Information
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U.S. Mss 17AN
Box
1
Folder
1
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Biographical miscellany
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WCFTR Name File
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Photographs
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U.S. Mss 17AN
Box
1
Folder
2
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Interview, 1940
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Micro 2009
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Scrapbooks (filmed without a counter)
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Reel
1
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New Masses controversy, 1946-1957
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Reel
1
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HUAC, 1947-1950
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Reel
1
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General, 1938-1960
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Reel
1
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1959-1963, 1970, Sinatra and the Blacklist
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Tape 1239A
No.
3
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Recording of Maltz funeral service, 1985.
: Speakers include George Sklar and Norman Corwin.
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U.S. Mss 17AN
Box
1
Folder
2A
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Notes on Maltz manuscripts, n.d.
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Series: Theatre
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The Black Pit, 1935
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Box
1
Folder
3
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Typescript by AM, ca. 1955
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Box
1
Folder
3A
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Publicity
: See also item A373.
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WCFTR Title File
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Photographs of foreign and TU production
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Poster 2.4.004
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Poster for foreign production
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U.S. Mss 17AN
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The Exile
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Box
1
Folder
4
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Notes
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Box
1
Folder
5
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Handwritten scenario, n.d.
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Box
1
Folder
6
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Handwritten scenario, n.d.
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Box
1
Folder
7-8
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Handwritten script by AM, May 11, 1958
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Box
1
Folder
9
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Revisions, May 14-June 11, 1958
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Box
1
Folder
10
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Typed script (anno.), June 2, 1958
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Box
1
Folder
11
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Revisions, n.d.
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Box
1
Folder
12
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Typed script, n.d.
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Merry-Go-Round, 1932
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Box
2
Folder
1
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Typed script by AM and George Sklar, ca. 1955
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WCFTR Title File
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Photograph of German production, n.d.
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U.S. Mss 17AN
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The Morrison Case
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Box
2
Folder
2
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Mimeo script by AM, 1952
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Peace on Earth
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WCFTR Title File
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Photographs of London production
: See also item A373.
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U.S. Mss 17AN
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Private Hicks, 1936
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Box
2
Folder
3
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Typed script by AM, ca. 1955
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Rehearsal
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Box
2
Folder
4
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Notes, n.d.
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Box
2
Folder
5
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Handwritten script by AM, 1937
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Box
2
Folder
6
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Typed script, ca. 1955, and advertisement, , 1938
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The Sublime Child
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Box
2
Folder
7
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Notes re characters, n.d.
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Box
2
Folder
8-11
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Handwritten script and working notes
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“Portrait of a Man” handwritten script, 1957
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Box
2
Folder
12
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Acts I & II
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Box
3
Folder
1
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Acts III & IV
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Box
3
Folder
2
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Typed script, 1957
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Underground Stream
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WCFTR Title File
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Photographs, French production
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Poster 2.4.003
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Poster, French production
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U.S. Mss 17AN
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Zero Hour (Revised version of Peace on Earth)
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Box
3
Folder
3-4
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Handwritten script by George Sklar and AM, ca. 1940
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Micro 2009
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Theatrical clipping scrapbooks
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Reel
1
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General, 1932-1954
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Reel
1
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Foreign productions, 1948-1954
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Series: Radio
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U.S. Mss 17AN
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Red Head Baker, 1937
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Box
3
Folder
5
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Notes, n.d.
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Box
3
Folder
6
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Handwritten script (incomplete), n.d.
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Box
3
Folder
6
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Typed script (anno.) by AM, n.d.
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Box
3
Folder
6
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Typed script (anno.), n.d.
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Box
3
Folder
7
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Typed script, n.d.
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Box
3
Folder
7
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Mimeo script (anno.) June 20, 1937
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Series: Motion Pictures
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Broken Arrow
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Box
3
Folder
8
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“Blood Brother,” typed script (anno.) by AM, n.d.
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Charly, 1968
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Box
3
Folder
9
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Notes, n.d.
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Destination Tokyo, 1943
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Box
3
Folder
10
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Award, 1944
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Box
3
Folder
11
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Handwritten scenario and notes, n.d.
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Box
3
Folder
12
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Mimeo script by Delmer Daves, May 14, 1943
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Typed script by Delmer Daves (handwritten annotations by AM), post May 14, 1943
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Box
3
Folder
13
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Part I
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Box
4
Folder
1
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Part II
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Box
4
Folder
2
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Typed script, n.d.
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Dounia Ourisson's Escape
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Box
4
Folder
3
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Typed scenario, 1961
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Execution of Private Slovik
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Box
4
Folder
4
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Notes, n.d.
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Exodus
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Box
4
Folder
5-7
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Typed script, n.d.
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Box
4
Folder
8
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Notes for rewrite, n.d.
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Box
4
Folder
9
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Research, n.d.
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Great Bank Robbery, 1969
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Box
4
Folder
10
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Notes, n.d.
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Box
5
Folder
1
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Typed scenario by Frank O'Rourke, n.d.
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His Eye Is on the Sparrow
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Box
5
Folder
2
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Notes, 1968
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The House I Live In, 1945
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Box
5
Folder
3
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Handwritten script, ca 1945
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Box
5
Folder
4
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Awards
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Long Shadow
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Box
5
Folder
5
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Notes, n.d.
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Box
5
Folder
6
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Notes and outline, n.d.
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Box
5
Folder
7-8
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Handwritten draft, n.d.
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Box
5
Folder
9
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“Count Seven” typed script (anno.), n.d.
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Box
5
Folder
10
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Typed script by John Wexley and AM, ca. 1958
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Box
6
Folder
1
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Miscellaneous revised pages, n.d.
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Box
6
Folder
2
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“Short Weekend” mimeo script by James W. Tinicum (AM, Wesley, and Dalton Trumbo), 1958, ca. April
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Box
6
Folder
3
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Mimeo script (anno.), n.d.
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Box
6
Folder
4
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Mimeo script by Tinicum, January 20, 1959
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Box
6
Folder
5
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Typed script (incomplete), n.d.
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Moscow Strikes Back
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WCFTR Title File
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Photographs and advertising brochure
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U.S. Mss 17AN
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Naked City, 1948
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Box
6
Folder
6-7
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Handwritten script, n.d.
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Box
6
Folder
8
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Mimeo script by AM and Malvin Wald, May 22, 1947
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Box
7
Folder
1
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Award, 1948
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WCFTR Title File
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Photographs
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U.S. Mss 17AN
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Pride of the Marines, 1945
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Box
7
Folder
2-3
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Handwritten script (incomplete), n.d.
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Box
7
Folder
4
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“This Love of Ours” mimeo script by AM (incomplete), n.d.
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Box
7
Folder
5
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Award, 1945
: Original in Item file, A373.
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WCFTR Title File
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Photographs
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U.S. Mss 17AN
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The Robe, 1953
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Box
7
Folder
6
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Notes, 1945
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Box
7
Folder
7-8
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Mimeo script by AM, August 3, 1945
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Box
7
Folder
9
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Typed and handwritten revisions, September 20, 1946
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Box
8
Folder
1
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Typewritten script by AM (anno.), November 11, 1945
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Box
8
Folder
2
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Typed and mimeo script, December 11, 1946
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Tape 1239A
No.
1
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David Talbot, April 29, 1978, speaking on the role of Phil Dunne and AM in scripting The Robe
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U.S. Mss 17AN
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Seven File
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Box
8
Folder
3
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Notes re characters, n.d.
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Box
8
Folder
4
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Notes re breakdown of novels, scenario
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Box
8
Folder
5
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Notes re dialogue and ending
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Box
8
Folder
6
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Notes re scene development
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Handwritten script, n.d.
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Box
8
Folder
7-9
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Pages 1-231
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Box
9
Folder
1
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Pages 232-322
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Box
9
Folder
2-3
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Pages and working notes not used in first draft
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Box
9
Folder
4
|
Typewritten script (anno.), n.d.
|
|
|
Box
9
Folder
5
|
Notes re second draft
|
|
|
Box
9
Folder
6
|
Pages discarded from second draft, 1964, March
|
|
|
Box
9
Folder
7
|
Typed outline for third draft (anno.)
|
|
|
Box
9
Folder
8-9
|
Typed script (anno.), 1964, April
|
|
|
Box
10
Folder
1
|
Notes for third draft
|
|
|
Box
10
Folder
2
|
Pages discarded in third draft
|
|
|
Box
10
Folder
3
|
Typed script (anno.) by AM, May 15, 1965
|
|
|
Silver Nutmeg
|
|
|
Box
10
Folder
4
|
Notes re budget, 1966
|
|
|
Box
10
Folder
5
|
Treatment by David Miller, Bernard Smith, and AM, February 14, 1966
|
|
|
Box
10
Folder
6
|
Notes for revision of treatment
|
|
|
Box
10
Folder
7-12
|
Notes
|
|
|
Box
10
Folder
13
|
Research
|
|
|
Box
10
Folder
14
|
Typed revisions before first draft, 1959, February-March
|
|
|
Box
11
Folder
1-3
|
Handwritten script by AM, April 1959
|
|
|
Box
11
Folder
4-5
|
Typewritten script (anno.), April 1959
|
|
|
Box
11
Folder
6
|
Revisions of second draft, Discarded, n.d.
|
|
|
Box
12
Folder
1-2
|
Notes, June 1962
|
|
|
Box
12
Folder
3
|
Notes, December, 1962-January, 1963
|
|
|
Box
12
Folder
4-5
|
Typed script (anno.) by AM, January 22, 1963
|
|
|
Box
12
Folder
6
|
Notes, November-December, 1963
|
|
|
Handwritten script, December, 1963
|
|
|
Box
12
Folder
7
|
Pages 1-172
|
|
|
Box
13
Folder
1-3
|
Pages 173-564
|
|
|
Simon Bolivar
|
|
|
Box
13
Folder
4
|
Notes, 1966
|
|
|
Story of Varney (Based on A Long Day in a Short Life)
|
|
|
Box
13
Folder
5
|
Notes, 1967-1968
|
|
|
Box
13
Folder
6
|
Treatments, 1968, n.d.
|
|
|
Box
13
Folder
7
|
Mimeo script by AM, n.d.
|
|
|
This Gun for Hire, 1942
|
|
|
Box
13
Folder
8
|
Notes on character development
|
|
|
Box
14
Folder
1-2
|
Handwritten script, n.d.
|
|
|
Box
14
Folder
3
|
Notes, 1941, October 16
|
|
|
Box
14
Folder
4
|
Mimeo script, October 25, 1941
|
|
|
Box
14
Folder
5
|
Mimeo script (anno.) [November 9, 1941]
|
|
|
Item A31
|
Sketches by Len Ward
|
|
|
Series: General Writings
|
|
|
Short stories
|
|
|
Micro 2009
|
Scrapbooks
|
|
|
Reel
1
|
1938-1952
|
|
|
Reel
1
|
The Way Things Are, Foreign reviews, 1949-1960
|
|
|
U.S. Mss 17AN
Box
14
Folder
6
|
Miscellany
|
|
|
Novels
|
|
|
Micro 2009
|
Scrapbooks
|
|
|
Reel
1
|
Underground Steam, 1940
|
|
|
Reel
2
|
Cross and Arrow, Foreign reviews, 1947-1956
|
|
|
Reel
2
|
Journey of Simon McKeever, 1948-1956
|
|
|
Reel
2
|
Long Day in a Short Life, 1957-1958
|
|
|
Reel
2
|
Tale of One January
|
|
|
U.S. Mss 17AN
Box
14
Folder
7
|
Historical notes and reviews of Journey of Simon McKeever
|
|
|
Speeches
|
|
|
Box
14
Folder
12
|
1947
|
|
|
Box
15
Folder
1
|
1948 Stop Censorship Committee meeting transcript
|
|
|
Box
15
Folder
2
|
1948-1959
|
|
|
Box
15
Folder
3
|
1959 Prison lecture notes and publicity
|
|
|
Box
15
Folder
4-6
|
1961-1964, 1975, n.d.
|
|
|
Other writings and statements
|
|
|
General
|
|
|
Box
14
Folder
8
|
ca. 1935
|
|
|
Box
14
Folder
9-10
|
1939-1947, 1977-1980, n.d.
|
|
|
Box
14
Folder
11
|
Hollywood Ten writings
|
|
|
Box
15
Folder
7
|
Writings for others, 1947-1950, n.d.
|
|
|
Series: Hollywood Ten Files
|
|
|
Tape 1239A
No.
2
Side
1
|
Herbert Biberman memorial service, August 15, 1971
|
|
|
U.S. Mss 17AN
Box
15
Folder
8
|
Legal miscellany
|
|
|
Notes
|
|
|
Box
15
Folder
9
|
Amicus Curiae brief for Hollywood Ten
|
|
|
Box
15
Folder
10
|
Meetings of the Hollywood Ten, 1947-1949, n.d.
|
|
|
Box
15
Folder
11
|
Publicity
|
|
|
Box
19
|
Oversize publicity
|
|
|
Box
15
Folder
12
|
Questionnaire, 1969-1970
|
|
|
Tape 1239A
No.
2
Side
2
|
Adrian Scott memorial service, December 30, 1972
: Includes remarks by Maltz.
|
|
|
Series: Correspondence
|
|
|
U.S. Mss 17AN
|
General
|
|
|
Box
15
Folder
13-15
|
1936-1947
|
|
|
Box
16
|
1948-1973
|
|
|
Box
17
Folder
1-2
|
1974-1985, n.d.
|
|
|
Subject files and notes
|
|
|
Box
17
Folder
3
|
Cross and Arrow correspondence to Daily Worker, 1945
|
|
|
Box
17
Folder
4
|
Lardner correspondence notes, n.d.
|
|
|
Micro 279
Reel
1
|
Little, Brown & Co. correspondence
|
|
|
U.S. Mss 17AN
Box
17
Folder
4A
|
Mexican “witch hunt” statement and clippings, 1958
|
|
|
Box
17
Folder
5
|
New Masses notes, n.d.
|
|
|
Box
17
Folder
6
|
Solzhenitzen notes, n.d.
|
|
|
Box
17
Folder
7
|
William Stevenson, 1947-1950
|
|
|
Box
17
Folder
8
|
Trumbo notes, n.d.
|
|
|
Series: Margaret Maltz Papers
|
|
|
Box
17
Folder
9-11
|
Prison letters, 1950-1951
|
|
|
Box
17
Folder
12
|
Hollywood Ten speeches, 1948-1950, n.d.
|
|
|
Theatre Union
|
|
|
Box
17
Folder
13
|
Article on history
|
|
|
Box
17
Folder
14
|
Article on New Theatre Movement, 1939
|
|
|
Box
17
Folder
15
|
General publicity, n.d.
|
|
|
Box
17
Folder
16
|
Financial statement, 1937
|
|
|
Bitterstream
|
|
|
Box
18
Folder
1
|
Martha Dreiblatt press releases, n.d.
|
|
|
Box
18
Folder
2-3
|
Black Pit and miscellaneous correspondence, 1935-1937
|
|
|
Marching Song
|
|
|
Box
18
Folder
4
|
Correspondence, 1937
|
|
|
Box
18
Folder
5
|
Handbill
|
|
|
Box
18
Folder
6
|
Ruth Pearse press releases, 1937, n.d.
|
|
|
Mother
|
|
|
Box
18
Folder
7
|
Dreiblatt press releases, 1935
|
|
|
Box
18
Folder
8
|
Notes on musical score, n.d.
|
|
|
Peace on Earth
|
|
|
Box
18
Folder
9
|
Press releases, n.d.
|
|
|
Box
18
Folder
10
|
Posters
|
|
|
Stevedore
|
|
|
Box
18
Folder
11
|
Press releases, 1934
|
|
|
Box
18
Folder
12
|
Handbill
|
|
|
