Title: Albert Maltz Papers
Inclusive Dates: 1932-1985

Creator:

• Maltz, Albert, 1908-1985

Call Number: U.S. Mss 17AN; Micro 279; Micro 2009; Tape 1239A

Quantity: 7.2 c.f. (18 archives boxes and 1 flat box), 3 reels of microfilm (35mm), 3 tape recordings, and photographs, posters, and sketches

Repository:

Wisconsin Historical Society Archives / Wisconsin Center for Film and Theater Research
Contact Information

Archival Locations:

COLLECTION MAY BE STORED OFF-SITE: see catalog entry to request materials and for additional information.

Wisconsin Historical Society (Map)

Abstract:

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.

Language: English

URL to cite for this finding aid: http://digital.library.wisc.edu/1711.dl/wiarchives.uw-whs-us0017an

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.

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.

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.

Acquisition 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

Processing Information

Processed by Eleanor Niermann and SHR, 1973; additions processed by Carolyn Mattern, 1991.

	Series: Biographical Information
U.S. Mss 17AN Box   1 Folder   1	Biographical miscellany
WCFTR Name File	Photographs
U.S. Mss 17AN Box   1 Folder   2	Interview, 1940
Micro 2009	Scrapbooks (filmed without a counter)
Reel   1	New Masses controversy, 1946-1957
Reel   1	HUAC, 1947-1950
Reel   1	General, 1938-1960
Reel   1	1959-1963, 1970, Sinatra and the Blacklist
Tape 1239A No.   3	Recording of Maltz funeral service, 1985. Note: Speakers include George Sklar and Norman Corwin.
U.S. Mss 17AN Box   1 Folder   2A	Notes on Maltz manuscripts, n.d.
	Series: Theatre	⇧
	The Black Pit, 1935
Box   1 Folder   3	Typescript by AM, ca. 1955
Box   1 Folder   3A	Publicity Note: See also item A373.
WCFTR Title File	Photographs of foreign and TU production
Poster 2.4.004	Poster for foreign production
U.S. Mss 17AN	The Exile
Box   1 Folder   4	Notes
Box   1 Folder   5	Handwritten scenario, n.d.
Box   1 Folder   6	Handwritten scenario, n.d.
Box   1 Folder   7-8	Handwritten script by AM, May 11, 1958
Box   1 Folder   9	Revisions, May 14-June 11, 1958
Box   1 Folder   10	Typed script (anno.), June 2, 1958
Box   1 Folder   11	Revisions, n.d.
Box   1 Folder   12	Typed script, n.d.
	Merry-Go-Round, 1932
Box   2 Folder   1	Typed script by AM and George Sklar, ca. 1955
WCFTR Title File	Photograph of German production, n.d.
U.S. Mss 17AN	The Morrison Case
Box   2 Folder   2	Mimeo script by AM, 1952
	Peace on Earth
WCFTR Title File	Photographs of London production Note: See also item A373.
U.S. Mss 17AN	Private Hicks, 1936
Box   2 Folder   3	Typed script by AM, ca. 1955
	Rehearsal
Box   2 Folder   4	Notes, n.d.
Box   2 Folder   5	Handwritten script by AM, 1937
Box   2 Folder   6	Typed script, ca. 1955, and advertisement, , 1938
	The Sublime Child
Box   2 Folder   7	Notes re characters, n.d.
Box   2 Folder   8-11	Handwritten script and working notes
	“Portrait of a Man” handwritten script, 1957
Box   2 Folder   12	Acts I & II
Box   3 Folder   1	Acts III & IV
Box   3 Folder   2	Typed script, 1957
	Underground Stream
WCFTR Title File	Photographs, French production
Poster 2.4.003	Poster, French production
U.S. Mss 17AN	Zero Hour (Revised version of Peace on Earth)
Box   3 Folder   3-4	Handwritten script by George Sklar and AM, ca. 1940
Micro 2009	Theatrical clipping scrapbooks
Reel   1	General, 1932-1954
Reel   1	Foreign productions, 1948-1954
	Series: Radio	⇧
U.S. Mss 17AN	Red Head Baker, 1937
Box   3 Folder   5	Notes, n.d.
Box   3 Folder   6	Handwritten script (incomplete), n.d.
Box   3 Folder   6	Typed script (anno.) by AM, n.d.
Box   3 Folder   6	Typed script (anno.), n.d.
Box   3 Folder   7	Typed script, n.d.
Box   3 Folder   7	Mimeo script (anno.) June 20, 1937
	Series: Motion Pictures	⇧
	Broken Arrow
Box   3 Folder   8	“Blood Brother,” typed script (anno.) by AM, n.d.
	Charly, 1968
Box   3 Folder   9	Notes, n.d.
	Destination Tokyo, 1943
Box   3 Folder   10	Award, 1944
Box   3 Folder   11	Handwritten scenario and notes, n.d.
Box   3 Folder   12	Mimeo script by Delmer Daves, May 14, 1943
	Typed script by Delmer Daves (handwritten annotations by AM), post May 14, 1943
Box   3 Folder   13	Part I
Box   4 Folder   1	Part II
Box   4 Folder   2	Typed script, n.d.
	Dounia Ourisson's Escape
Box   4 Folder   3	Typed scenario, 1961
	Execution of Private Slovik
Box   4 Folder   4	Notes, n.d.
	Exodus
Box   4 Folder   5-7	Typed script, n.d.
Box   4 Folder   8	Notes for rewrite, n.d.
Box   4 Folder   9	Research, n.d.
	Great Bank Robbery, 1969
Box   4 Folder   10	Notes, n.d.
Box   5 Folder   1	Typed scenario by Frank O'Rourke, n.d.
	His Eye Is on the Sparrow
Box   5 Folder   2	Notes, 1968
	The House I Live In, 1945
Box   5 Folder   3	Handwritten script, ca 1945
Box   5 Folder   4	Awards
	Long Shadow
Box   5 Folder   5	Notes, n.d.
Box   5 Folder   6	Notes and outline, n.d.
Box   5 Folder   7-8	Handwritten draft, n.d.
Box   5 Folder   9	“Count Seven” typed script (anno.), n.d.
Box   5 Folder   10	Typed script by John Wexley and AM, ca. 1958
Box   6 Folder   1	Miscellaneous revised pages, n.d.
Box   6 Folder   2	“Short Weekend” mimeo script by James W. Tinicum (AM, Wesley, and Dalton Trumbo), 1958, ca. April
Box   6 Folder   3	Mimeo script (anno.), n.d.
Box   6 Folder   4	Mimeo script by Tinicum, January 20, 1959
Box   6 Folder   5	Typed script (incomplete), n.d.
	Moscow Strikes Back
WCFTR Title File	Photographs and advertising brochure
U.S. Mss 17AN	Naked City, 1948
Box   6 Folder   6-7	Handwritten script, n.d.
Box   6 Folder   8	Mimeo script by AM and Malvin Wald, May 22, 1947
Box   7 Folder   1	Award, 1948
WCFTR Title File	Photographs
U.S. Mss 17AN	Pride of the Marines, 1945
Box   7 Folder   2-3	Handwritten script (incomplete), n.d.
Box   7 Folder   4	“This Love of Ours” mimeo script by AM (incomplete), n.d.
Box   7 Folder   5	Award, 1945 Note: Original in Item file, A373.
WCFTR Title File	Photographs
U.S. Mss 17AN	The Robe, 1953
Box   7 Folder   6	Notes, 1945
Box   7 Folder   7-8	Mimeo script by AM, August 3, 1945
Box   7 Folder   9	Typed and handwritten revisions, September 20, 1946
Box   8 Folder   1	Typewritten script by AM (anno.), November 11, 1945
Box   8 Folder   2	Typed and mimeo script, December 11, 1946
Tape 1239A No.   1	David Talbot, April 29, 1978, speaking on the role of Phil Dunne and AM in scripting The Robe
U.S. Mss 17AN	Seven File
Box   8 Folder   3	Notes re characters, n.d.
Box   8 Folder   4	Notes re breakdown of novels, scenario
Box   8 Folder   5	Notes re dialogue and ending
Box   8 Folder   6	Notes re scene development
	Handwritten script, n.d.
Box   8 Folder   7-9	Pages 1-231
Box   9 Folder   1	Pages 232-322
Box   9 Folder   2-3	Pages and working notes not used in first draft
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 Note: 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