Category: CCEPS

“I am a writer, mainly of novels, but also of biography and oddments of history. Most authors believe that a novel should entertain, not instruct. But I am one of those contemporary authors who, more often than not, prefer to make a social statement in their story, to dramatize some belief that they hold dear, even hold passionately.” –Irving Wallace

The Courage of Conviction, published in 1986 and edited by Phillip L. Berman, includes thirty-two essays from a wide range of individuals. From Joan Baez to Joane Goodall to Irving Wallace, this collection of essays offers a portrait into the lives of those who construct their identity around firmly held beliefs or opinions.

The Irving Wallace papers has three items from 1985 for The Courage of Conviction: a galley of the Irving Wallace essay, a list of contributors, and a manuscript of the essay from Lech Walesa. Walesa, the Polish Nobel Peace Prize laureate, wrote, “People often ask me, what do you really believe; what is the basis of your faith and what are your deepest convictions?”

I am reflecting on these themes of the construction of self and the basis of “deepest convictions” as points of historical inquiries. So the question is, how can the archives uncover the beliefs?

Stay tuned, Chelsea Fox

A portrait of Irving Wallace through images

Photographs and visual materials are in abundance in the Biographical Materials series of the Irving Wallace papers. From illustrated portraits of Wallace to photographs from events Los Angeles, the visual materials range from the early to the late 20th-century—whether family portraits from the 1910s, beach days in Europe in the 1960s, or author pictures for books in the 1980s.

What could you find looking through these images? Actors, musicians, politicians, public figures, authors, and more! The photographs feature the actor with Paul Newman on the set of the adaptation of the book The Prize at M.G.M in 1963 and the author Joan Didion at one of Wallace’s parties in 1979. Such interesting stories are waiting in the many photographs of Irving Wallace.

Stay tuned, Chelsea Fox

What do authors reference and use for research while writing?

Not only do the Irving Wallace papers have the plethora of writings by Wallace. But the collection holds a variety of items that address a simple question: What was Irving Wallace looking at or reading while he was writing?

Photocopies of chapters, newspaper clippings, magazines, screenplays, and manuals offer a glimpse into what Irving Wallace found worthwhile to review during his own work as an author.

To highlight one item in these reference and research materials, there is a rare copy of screenplay by W. Somerset Maugham—an initial draft from1945 of the film “The Razor’s Edge,” which this series also has a final screenplay of from 1946. Developed for 20th Century Fox, Maugham wrote that this draft was “not to be look upon as a script and will be incomprehensible.” As a screenwriter himself, I wonder if Wallace would return to these screenplays for inspiration.

Stay tuned, Chelsea Fox

Letters, telegrams, memos, and more…

The Irving Wallace papers contain a range of photocopies and original letters, memos, and telegrams, from editors, agents, readers, and researchers. Alongside records, Wallace wrote reference notations overviewing the contents. Wallace intended the correspondence to complete a portrait of his life, stating they were a “picture of [his] ups and downs—and growth—in many fields of writing.”

A letter that stood out to me was between Amy Wallace and Ray Bradbury. A fourteen-year-old Amy Wallace, Irving Wallace’s daughter, wrote to Ray Bradbury in January of 1969. Bradbury answers her, detailing his view on the Vietnam War, the relationship between younger generations and revolution, how his stories were rooted in imagination not fact, and his love for “bad, good, mediocre, beautiful, wonderful, and despairing” movies. Bradbury spoke to the François Truffaut 1966 Fahrenheit 451 film having “one of the most beautiful endings of any film… not because it was my ending, it wasn’t it was Truffaut’s.”

Stay tuned, Chelsea Fox

What is encapsulation? Why is it important?

The Irving Wallace papers have a range of ‘photo-ready’ international book cover galleys—poster-like items with a collage of title, author, and image clippings. However, over the years the tape and glue have lost its stickiness and the transparent cover page has undergone acidification. So, what is the solution?

Defined by the SAA Dictionary of Archives Terminology, encapsulation is the process of sealing an item “between two sheets of polyester film to provide support, to protect it from handling, and from the environment.” The polyester film sheets can be partially or fully sealed along the edges and are an efficient method of preservation. For these book cover galleys, sealing the materials with encapsulation keeps all those maneuverable pieces in their original place once again. Encapsulation is a common tool that, as illustrated by the NYPL, helps to “stabilize, store, and protect paper-based artifacts, especially fragile ones.” A sheer solution for prolonged maintenance.

Works Cited

“SAA Dictionary of Archives Terminology: Encapsulation.” Society of American Archivists, 2025. https://dictionary.archivists.org/entry/encapsulation.html

Qian, Shaoyi. “Encapsulation: A Useful and Versatile Tool for Book and Paper Conservation.” The New York Public Library, June 27, 2022. https://www.nypl.org/blog/2022/06/27/encapsulation-book-paper-conservation

“To be ones self and unafraid whether right or wrong is more admirable than the easy cowardice of surrender to conformity.” — Irving Wallace

Sylvia Wallace, who was married to Irving Wallace, worked as editor of the Hollywood magazine Photoplay before writing books later in life. Sylvia meet Irving Wallace while working at Dell Books on the publication Modern Screen. Sylvia wrote two novels including The Fountains (1976) and Empress (1980), and took on the role of editor for family nonfiction anthology publications.

David Wallechinsky, known for his work as a commentator for NBC Olympic coverage, is the author of The Complete Book of the Summer Olympics and The Complete Book of the Winter Olympics series. David also co-authored works with his family including The People’s Almanac (1975-1981) and The Book of Lists (1977-1980) series.

Amy Wallace, alongside her father and brother, co-authored and edited The Book of Lists (1977-1980) series, The Book of Predictions (1980), and The Intimate Sex Lives of Famous People (1981). Amy went on to write other publications, most well-known for The Prodigy: A Biography of William Sidis (1986), Desire (1990), and Sorcerer’s Apprentice: My Life with Carlos Castaneda (2002).

Stay tuned, Chelsea Fox

The Claremont Center for Engagement with Primary Sources (CCEPS) offers “hands-on learning opportunities in Special Collections.” Including nearly 200,000 volumes of print and manuscript primary sources, the CC Special Collections spans 900 years. A CCEPS fellow collaborates on analog and digital projects from curation, research, design, processing, arrangement, or description. A key component includes sharing and updating along the way through the weekly Out of the Box blog posts. The objective of the fellowship includes developing skills that are “integral to the research, teaching, and learning mission of the library.” Check out more here: https://library.claremont.edu/sca/cceps/.

Each week, the CCEPS fellowship continues to be a highly valuable experience. The opportunity to arrange and describe the Irving Wallace papers has exponentially developed my archival skills—the day-to-day of Special Collections, the detailed problem solving, the visual and strategic organization, the in-and-outs of archival standards, and the methodology and creativity of working with records. This collection specifically has been a complex translation from a previous call number system into archival language. Looking forward to next week with more questions, documents, and history to uncover.

Stay tuned, Chelsea Fox

The processing of the Irving Wallace papers is reaching a checkpoint. The nonfiction and fiction writings, or records associated with specific book titles, are nearly complete. So, what’s next?

The next materials in the collection include many more writings, correspondence, and research materials by Irving Wallace such as articles, essays, screenplays, treatments, plays, and short stories.

While looking over the proposed container list, I was paused by a question surrounding biographical materials. How expansive can a series be? I was reflecting on the context, subseries, alphabetization, and how to simplify a complex collection. And I was deliberating about how to represent the nuance between biographical and personal records.

One of the CC Special Collections Archivists offered a simple reminder to consider the role of the researcher. He stated that it is not the archivist’s job to do the research for the researcher, but to make it possible for them to find what they are looking for. My own question was met with another: Is this nuance required for a researcher to locate this record? How much would designating a new subseries change the way this record is labeled, understood, and accessed? It is easy to overcomplicate intricate collections, so returning to reminders that wonderfully capture basic objectives refocuses the big ideas like “what’s next…”

Stay tuned, Chelsea Fox

What is memorabilia?

The Irving Wallace papers were previously organized by call numbers, derived from Classification and Shelflisting Manual or Cutter tables. During the reprocessing to Describing Archives: A Content Standard (DACS), the records were assigned categories rather than call numbers. The categories include audiovisual, correspondence, memorabilia, publicity, research, and writings.

Defining “memorabilia” as a subsection of artifacts and records has been an interesting task with the Irving Wallace papers. The University of Wisconsin-Madison defines memorabilia as “paper-based and two-dimensional” that may include posters, artwork, and programs. While the SAA addressed memorabilia through the definition of “scrapbook” as “clippings, pictures, and photographs.”

The composition of the range of deviations of how “memorabilia” is understood, points again to historical value. A researcher should question, why was this item kept and collected? To the right is Wallace’s copy editor’s pencil made in England from 1982—similar pencils would have been used to mark up the very same manuscripts and galleys in the collection.

Stay tuned, Chelsea Fox

Work Cited

Dictionary of Archives Terminology. SAA: Society of American Archivists, 2025. https://dictionary.archivists.org/entry/scrapbook.html

“Our Collections: Artifact and Memorabilia Collection.” University of Wisconsin-Madison, 2025. https://www.library.wisc.edu/archives/archives/our-collections-2/artifacts/

Do three-dimensional artifacts add value to an archival collection?

Archives, known for the preservation of two-dimensional paper documents, additionally house three-dimensional artifacts. A cornerstone of special collections is the emphasis of historical value. But how should a collection be contextualized and maintained for the integrity of the historical narrative? From individuals to organizations, collections are acquired in company with items that would not initially be associated with an “archive.”

Yale University delineates three-dimensional primary sources into various subsections of “types and formats” including ephemera, books and pamphlets, and objects and artifacts. Ephemera is defined as a material with “temporary or short-lived use in everyday life,” while objects and artifacts are identified as through functionality and their “intrinsic worth.”

The key is the significance to the creator of the records and the impact on the collection as a whole. What do these three-dimensional objects offer through their iconography and tangibility? For the Irving Wallace papers, delightful examples of three-dimensional artifacts for the book The People’s Almanac include promotional Eat ‘N Read lunch bags with the delectable quote, “Enjoy a hot book with your cold sandwich,” and puzzles with playful illustrations. Whether considered an artifact, ephemera, or an object, three-dimensional materials keep an archival collection from falling flat.

Stay tuned, Chelsea Fox

Works Cited

“Primary Sources at Yale: Types and Formats.” Yale University, 2025. https://primarysources.yale.edu/types-formats.