Includes mostly correspondence along with copies of writings and articles, and writing submissions, including some with revisions.

Consists of two album pages with six photographs mounted recto and verso, one to three per side (21.2 x 26.8 cm) Images depict general views of the Princes' Islands and Chalkē (Heybeli (İstanbul İli)); regattas in the Princes' Islands; and four portraits with traditional costumes. Captions, number and signature in negative or cardboard in French. Signed: B. Kargopoulo, Phot.

Consists of (90) black-and white lantern slides showing views of the city of Thessalonikē, a sea shore, the White Tower, panoramic views of the city after the fire, and Saint Sophia church. Included also are slides depicting scenes of daily life, such as rural people in front of a fountain, a Greek farm, woman at the loom, local women spinning cotton, peasants in the fileds, a priest standing in front of an altar, people going to a wedding, grinding wheat in a manual millstone, agricultural workers, livestock workers, group of Greek kids outside of their houses or in the fields, family portraits, man in Greek ethnic costume (foustanella), a Greek funeral; interiors of churches; a Turkish family; a Rumanian person on a horse; and stork nests on houses and trees. The majority of the lantern slides bear handwritten numbers: 1-21, 23-28, 30, 34-36, 38-39, 44-45, 47-57, 59-63, 65-83, 85-87, 89-91; the rest are unnumbered. Some of them bear handwritten titles in pen on top of the image.

Consists of extracts from the Turkish, Turkish Cypriot and International Press on the colonisation of Cyprus by Turkey since 1974.

Consists of a complete set of ten color military trade cards (part of a collection of forty drawings in four series) entitled "La Guerra entre Turquia y los Estados Balkanes by the Spanish company Chocolate Pi (Colección de 40 dibujos en 4 series), on verso. Images depict miscellaneous battles between Turkey and the Balkan States; one card depicts portraits of the monarchs of the allied states. All cards are numbered (1-10) and belong to "Series A"; printed title on recto and a epxlanatory note about the depiction on verso.

Consists of an unbound notebook labeled by Peter Bien "Dates", which lists relevant information for each year given from 1889 to 1957. Included Bien's correspondence with editors and publishing houses regarding the publication of his book "Kazantzakis and Politics"; correspondence with Theofanis G. Stavrou, Giannēs Manōlikakēs, and Giōrgos Anemogiannēs; a xerox copy of an autograph letter to Eleni Kazantzaki signed by Peter Bien dated 1968; and a typescript of Bien's proposal for his book.

Consists of Bien's primary readings notes from primary materials including typescripts of Nikos Kazantzakis, Eleni Kazantzaki, and other writers published works with Bien's handwritten annotations; typescripts of Kazantzakis' published articles to Greek newspapers such as "Nea Ephēmeris"; an index to epistles to Galateia; There are also autograph notes by Peter Bien.

Expandable file, year by year, 1991-2005 of poems considered for book.

poems selected from the public domain by Lenore and illustrated by Erik whether to print jointly or separately with Hamish Hamilton (Julia MacRae) - business trouble at HH; also with Michael Brown re reproduction - misunderstanding about figured between production departments (David Rogers at Atheneum); delay of publication day due to printing in England exactly which poems to include and where to skip verses

Correspondence primarily between Bridgman, McElderry, and Judy Long regarding Bridgman's illustrated counting book All the Little Bunnies. Topics include the book's design, a Christmas story written by Bridgman, a potential project called "Lazy Lion and Little Dog," Bridgman's illustrations for a book by Joan Kahn, and Judy Long's wedding. There is additional correspondence with William Heinemann Ltd., Japan UNI and Xerox regarding foreign publishing and paperback editions of the book. File also includes a printer's proof of one of the illustrations.

working with Jonathan Lovat Dickson at Doubleday Canada shopping for English copublishers but no dice - tried Macmillian, Bodley Head and Julia McRae Children's books Francis Kagige illustrated MKM sends copies of Susan Cooper's books to Dickson's daughter, "book godmother" letter from a reader saying pages missing/out of order; MKM sends new copy includes materials related to cover illustration

DESCRIPTION HERE

story about the point at the end of the lion's tail correspondence begins with questions about whether this is a real Masai folktale (no, but based on creation myth); Margaret consulted with Harriet Brown, a black children's librarian, about whether this was an acceptable sort of thing hoping to work with Leo and Diane Dillon, husband and wife team of illustrators MKM read his children's novel, "The Star Tree"; also version of Sufi tale "The Prince and the Sorceress"; also picture book idea "There's An Elephant in the Garage" (published by Dutton), "The Magnificent Prin"; "The Secret in the Bottle" delay in schedule because of business of Dillons; eventually cancel contract in November 1978 -- too busy; Ron Himler instead finally -- line edits full mock-up of the book with notes from the designer Shopping to England and South Africa

Correspondence primarily between McElderry, Estes, McElderry's secretaries Florence Sczesny and Judy Long, and illustrator Susanne Suba about this story of a girl whose mother does not want the family to have a Christmas tree. The book was Estes's first with McElderry at Atheneum; the two had worked together when McElderry was at Harcourt Brace Jovanovich and the file includes correspodence with William Jovanovich regarding the Estes's requested release from her contract with the firm. Other topics of correspondence include much discussion of the book's drawings: McElderry and Estes considered Edward Ardizzone, Cyndy Szekeres, and Trina Schart Hyman before choosing Susanne Suba, and Estes was initially unhappy with the drawings, though she never communicated this to Suba. McElderry and Estes also discuss line edits to the manuscipt, trim size and font, and the terms of Estes's contract. Estes had recently moved to New Haven, CT, and she and McElderry talk about which bookshops to market to and how to get Estes involved at the Yale Co-Op. Other correspondence includes McElderry shopping the book to English publishers, including Bodley Head, Longman Young, Lutterworth Press, William Heinemann, and Ernest Benn, Ltd., and to Shigeo Watanabe and the Charles E. Tuttle, Co. in Japan. Oxford University Press eventually bought the English rights, and there are several letters between McElderry and editor Paul Binding; the two also discuss The Moon on the One Hand by Bill Crofut, OUP books McElderry would like to see, the possibility of doing a joint children's book project with Reynolds Price, and a late payment from OUP to Susanne Suba. Other promotional topics include the book's selection by the Junior Literary Guild, permission for Miller-Brody Productions to use images from it in a "Meet the Newbery Author" filmstrip, interest in a German translation from Obelisk, interest from Women's Day Magazine, and a letter from a schoolteacher asking for biographical information about Estes. In 1979, McElderry wrote to Estes to ask if Atheneum could lower her royalties in order to keep the book in print. Additional topics include whether Estes should get an agent to handle movie and television rights for her work, putting together a biographical pamphlet on Estes, and the launch party for Cricket Magazine. The two also talk about Estes's husband's various accidents and health issues and the death of her brother Clarence, as well as Lucy Boston's chapter on McElderry's wedding in her book Memory of a House.

Correspondence primarily between McElderry, Estes, McElderry's secretary, and later editor, Judy Long, and illustrator Jacqueline Ayer regarding this story about a girl who loses her father's umbrella in New York City's Chinatown. Topics include McElderry's general suggestions for the manuscript, line edits, and layout for the book, as well as the time crunch to publish by fall 1978 (Estes had hoped to work in person with both McElderry and Ayer, but time did not permit). Before McElderry and Estes chose Ayer as the illustrator, they considered Sag Harbor-based artist Joan Baren; the file includes xeroxes of her character sketches, but Estes found the drawings too stylized and potentially racially offensive. Also included are a map of Kim's home drawn by Estes (undated), and a limerick written by Estes in response to McElderry's request for flap copy, which Estes did not like to write (Dec. 30, 1977). The book was published in England by Oxford Univeristy Press, and there is correspondence with Antony Kamm, children's book editor; Oetinger Verlag in Hamburg was interested in the German rights. McElderry and Estes also discuss whether Estes will allow the Foundry Bookstore in New Haven, CT, to throw her a publication party. The final letter in the file discusses Estes's displeasure with some of Ayer's illustrations, as well as plans for The Moffat Museum, published by Harcourt, Brace World in 1983. Personal topics include Estes's son-in-law Stephen's brain tumor, her husband's many health problems, and her cancelled 1978 trip to Madrid and Tangiers with a visit to authors Virginia Sorensen and Alec Waugh. McElderry and Estes also discuss the delay in McElderry's work after her husband's death, and the honorary degree she received from Mt. Holyoke College in 1978. There are also a number of letters between McElderry and Ayer, discussing Ayer's world travels and a sum of money she owed to McElderry.

Correspondence primarily between McElderry, Flora and Judy Long regarding this humurous adventure story written and illustrated by Flora. Topics of correspondence include line edits, reviews of Flora's previous book Grandpa's Ghost Stories, whether Flora would represent Atheneum at the "New York is Book Country" street fair, interest in Wanda from Metheun in England, and a request for advice from Flora regarding his daughter Roussie's writing career.