Folder includes one campus photograph with Marquand Chapel, Whig Hall and Clio Hall visible; a photograph of Dinky railroad tracks with Little Hall and Blair Arch visible; an April, 1949 photograph of Harold Stassen and Albert Elsasser at the dedication of the Princeton University Library; three photographs of the 1947 Bicentennial Procession; and one photograph by Elizabeth Menzies of the West Stairway of Nassau Hall stairwell, accompanied by a note from Menzies to Elsasser (1956). Albert Elsasser taught in the English Department at Princeton University between 1924 and 1962.

The 2022 donation includes 1950s slides of buildings on campus, two prints of Professor Pascu, and a photograph of a science lab.

Drawings:

A typescript of an unpublished book, Randolph Edmond's "definitive history of the Negro in the theatre." In the brief Acknowledgements section, Edmonds references a grant-in-aid by a Research Committee at Florida A College where he was teaching. A Forward was to have been written by Allardyce Nicoll, then a Professor of the History of Drama at the University of Birmingham in England. Some of the chapters include, "White Playwrights and Negro Characters," "White Actors in Blackface," "The Negroes Own Efforts," "Negro Stereotypes," "Negro Bands and Jazz," "The Negro Little Theatre Movement," and other chapters on radio, motion pictures, and music and dance in theatre.

Consists of a handwritten draft of Violette Leduc's "Je hais les dormeurs," which was first published in the journal L'Arbalète in 1948 and later in a heavily condensed version at the end of her novel Ravages (1955). The first twenty-three pages contain the entire text and are numbered and signed on the last page. The draft also includes a dedication to Jean Genet, a note mentioning Marc Barbezat (editor of L'Arbalète), typographer's notes, and corrections. Four additional pages are also present, the numbering of which resumes on page twenty-six. These offer a modified version of the end of the story. Leduc's signature appears on the last page accompanied by the note "bon à tirer" ("ready to print.")

Consists of 32 silver prints of Haitians just after the Haitian Revolution of 1946 and into the 1950s. The photographs include images of agricultural and artisanal work, marketplaces, and the streets of Port-au-Prince during the Mardi Gras Carnival. Many of the photographs include captions that document the subject matter and location of the image.

Consists primarily of clippings related to Carlos Fuentes' parents, Rafael Fuentes and Berta Macías, particularly in relation to his father's diplomatic career. Also included are black-and-white photographs with images of Rafael Fuentes, Miguel Alemán Valdés, and other government officials.

Contains various clippings of writings by Carlos Fuentes.