Identifying the Small Presses of California

A small press is a printer that operates on a much smaller scale than commercial printers, and often uses different techniques. Among the world of small presses are many fine presses, run by those who create artistic books by hand. These are often very small scale businesses, with only one or a few people running the entire operation. Their output is small, and their products are often expensive due to the artistry and rarity.

The Claremont Colleges Library Special Collections has numerous books printed by small presses right here in California, but there is currently no way to search for this specific collection. Therefore, I have been tasked with identifying small presses in California throughout history, then running reports to find the books we own from those presses.

This research brought me down a rabbit hole, as every time I ran a report for one small press, I found numerous others, as they often collaborated on projects. One would design the book, one might volunteer the illustrations, and another would print it. Many of the owners of these small presses were multiskilled, and would contribute to different parts of each project. This made it a bit difficult to search for the printer of each book, which is the specific information I was looking for. I wanted to find out who had printed each book, and confirm that it was printed somewhere in California. However, some books are printed in one place and published in another, making that information difficult to find or confirm. The reports are not straightforward, as sometimes the printer is the publisher, which is listed in its own field. However, sometimes it is listed in the author field with a relator assigning the role of printer, which does not show up in the report. This means the printer is not readily identifiable just from reading the report, and the information must be found from the catalog directly. The notes are sometimes the only place the printer is listed, and those also cannot be pulled from the reports. Years of varying cataloging standards has made it difficult to easily identify the printer of any given book, due to the information being found in a variety of places. Fortunately, I have managed to identify a large amount of books that were verifiably printed by small presses in California, along with the names of the printers by checking each individual catalog record.

I have most likely missed some of the small press books we have in our collections that were printed in California, but I am confident that I have found a large amount. As a result, we can now add LBDs so that small press books printed in California will be searchable. Casey Ann Mitchell, Head of Cataloging, is updating the records with this newfound information. I am assisting by adding the relator terms for the printers so that they are easily identifiable by looking at the catalog. This project could possibly be continued for much longer in order to make sure that no stone is left unturned, and every record is modified accordingly. It would also be important for new acquisitions to be correctly labeled as well. 

This project has left me with a newfound appreciation for printers, especially since they are not always properly credited for their work. Hopefully the future will bring more recognition for their efforts.

Until next time,

Clara Newkirk

Processing the Trelawny Collection – A Reflection

Despite only processing one box for the Trelawny collection, it was a greatly informative process, on both Prell’s research and archival processing. It took me a lot longer than I initially planned, as I was uncertain of how to properly organize the materials. I was provided with the necessary tools to start my journey, the most important being the processing manual used by CCEPS students. This document explains in detail how to process archival material.

As this collection had originally been processed in 2009, I did not have to start from scratch and organize it into categories. That had already been done, which made it easier for me to sort the files into existing series and sub-series. It was simple to divide the materials into primary and secondary sources, but it was a bit more difficult for me to decide which items should be grouped together in a single file folder.

I started by going through every single folder and binder, taking note of each individual item within. The processing manual was an important guide, but I still had to decide how best to categorize these items. I took note of whether the items were related or not, especially if they had already been grouped together, as the manual emphasized that it is important to maintain the original order if possible. Unfortunately, while some items were clearly grouped together for a reason, others were not. There was research correspondence in the same binder as a published work of Prell, but it was dated a couple years later, making it unclear whether the materials were related. In an attempt to describe the items thoroughly and leave no stone left unturned, I ended up creating an archival box with many folders containing few items. I had followed the lead of the previous processor, who had created long, descriptive titles for each folder. I was advised to move the extra description to the notes section in future instances, which I did go back and do for some of the folders, as the titles were too long to comfortably write on the folders. This was an important learning experience, as I am now better prepared to properly process more archival materials in the future. I have a better understanding of how to group materials and I am confident in my ability to process archival materials for my next project.

Until next time,

Clara Newkirk

Until Next Time

The CCEPS program has provided collaboration on an analog and digital project here at Special Collections. The opportunity to process, arrange, and describe the Irving Wallace papers has exponentially developed my archival skills—the day-to-day of archives, the detailed problem solving, the visual and strategic organization, the ins-and-outs of archival standards, and the methodology and creativity of working with records.

From beginning at box #42 to currently working on box #128, this collection and I have undergone a transformation. Through the CCEPS program, I have developed insight into the best practices of archives and engaging with complex archival capabilities. You will find me in the archives, looking forward to learning, asking more questions, and looking for more history to uncover.

Until then, Chelsea Fox

Irving Wallace papers

What does this collection provide to researchers ?

The Irving Wallace papers has so much to offer—spanning the breadth of his career and providing a close look into how he became a writer read by millions. By viewing the collection with an  open possibility for research, the insight these records provide broadens. From looking into the 20th century publishing industry with processes of editing and publication to the film industry with one-of-a-kind draft and notes to the one-of-a-kind records of certain individuals that crossed his path, the Irving Wallace papers is a collection to look out for!

Schedule your reading room appointment today, and make your own Special Collections account!

See you in the archives, Chelsea Fox

Film and Screenwriting

“We give you a spectacle of unparoled beauty, Whirling’s World Famous Parade!” —Vincent Price, The Big Circus

“Meet me at the Fair,” 1953

Although many of his books were later adapted into film throughout the 1960s and 1970s, Irving Wallace spent many years from the late-1940s to the early 1950s dedicated to freelance writing as a Hollywood screenwriter. Whether writing screenplays for Warner Brothers, 20th Century Fox, Universal, R.K.O., or Paramount, Wallace certainly held an interest in the film industry as he also worked as editor for the Hollywood fan magazines Modern Screen and Photoplay. Wallace’s film credits include many films such as The West Point Story (1950), Young Wives’ Tale (1951), Meet Me at the Fair (1953), Split Second (1953) and The Big Circus (1959).

In the Irving Wallace papers, there are a range of writings that are dedicated to film, television, and theatre. From screenplays, articles, scripts, treatments, plays, manuscripts, newspapers, and magazines, this collection delves into the formative beginnings of Wallace’s career as a writer and the central role the film had on his foundations.

Stay tuned, Chelsea Fox

A Glass Shattering Moment

Now, more than ever, we can ask, “Is it live, or is it Memorex?”

Memorex Ad, 1974

Ella Fitzgerald was the spokesperson for Memorex Recording Tape Company in the 1970s, appearing in print and television advertisements. The Chicago ad agency Leo Burnett developed this campaign in 1970. As a commemoration of the success of this campaign, Memorex held an Awards party for Fitzgerald in Los Angeles on April 6, 1977. The “one of a kind Champagne Goblet” that she received on that day was featured in a Smithsonian Museum artifact highlight video for the “Ella at 100 exhibit in National Museum of American History.”

Memorex Awards Party, 1977

In the Irving Wallace papers’ biographical photographs, I came across an image of Wallace and Fitzgerald at that Memorex Awards Party! In another image, Wallace signs a copy of The R Document. And in this image, Fitzgerald and Wallace raise two shattered glass awards in celebration. But I am left wondering why there are two “one of a kind Champagne Goblet” and how Irving Wallace might have been connected to this campaign.

Stay tuned, Chelsea Fox

Work Cited

Hasse, John Edward. “Ella Fitzgerald’s one of a kind Champagne Goblet.” Smithsonian Music: Music Video. Smithsonian, March 2018. https://music.si.edu/video/ella-fitzgeralds-one-kind-champagne-goblet

Mercer, Michelle. “The Voice That Shattered Glass.” All Things Considered. NPR, September 3, 2019. https://www.npr.org/2019/09/03/749019831/the-voice-that-shattered-glass

The Courage of Conviction

“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

Manuscript, 1985
Ballantine Books, 1986

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

Snapshots of Wallace

A portrait of Irving Wallace through images

Paul Newman, 1963

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.

Joan Didion, 1979

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

Reference and Research

What do authors reference and use for research while writing?

Wallace’s copy

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.

“The Razor’s Edge” draft, 1945

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

Correspondence

Letters, telegrams, memos, and more…

Metro-Goldwin-Mayer Pictures Inter-Office Communication,
March 28, 1950

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.”

Ray Bradbury to Amy Wallace, 1969

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