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José Donoso Papers
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Held at: Princeton University Library: Manuscripts Division [Contact Us]
This is a finding aid. It is a description of archival material held at the Princeton University Library: Manuscripts Division. Unless otherwise noted, the materials described below are physically available in their reading room, and not digitally available through the web.
Overview and metadata sections
José Donoso, born in Santiago de Chile, October 5, 1924, completed high school at The Grange English preparatory school and studied liberal arts at the Instituto Pedagógico of the University of Chile. He attended Princeton University, majoring in English, and received his A.B. degree in 1951. Upon returning to Chile he taught English Literature for several years at the Universidad Católica and in private schools in Santiago. Later he joined the staff of the weekly magazine Ercilla to write several sections including Literature, Theatre, and Painting. He stayed with Ercilla for six years. Meanwhile he received an appointment as Professor of Creative Writing in the School of Journalism of the University of Chile and later received the Chile-Italia prize for Journalism, which brought him to Italy for about six months as a guest of the Ente Turismo. From 1965-67 he was Visiting Professor at the Writers Workshop, University of Iowa, Iowa City, teaching Creative Writing under Paul Engle. In 1967, he left the United States for Spain, where he resided until his return to Santiago, Chile in 1980. In 1969, he was awarded a Guggenheim Fellowship, followed by a second in 1974. In 1975 he taught Creative Writing for one semester at Princeton and another semester at Dartmouth. He died of cancer in Santiago, Chile, December 7, 1996.
Major Published Works
Coronación (Santiago de Chile, Zig-Zag, 1957)
Coronation, translated by Jocasta Goodwin (New York, Knopf, 1965)
Este domingo (Santiago de Chile, Zig-Zag, 1965)
This Sunday, translated by Lorraine Freeman (New York, Knopf, 1967)
El lugar sin límites (Mexico, Joaquín Mortiz, 1966)
Hell Has No Limits in Triple Cross, translated by Suzanne Jill Levine and Hallie D. Taylor (New York, Dutton, 1972)
Los mejores cuentos de José Donoso, Introducción y nota bibliográfica de Luis Domínguez (Santiago de Chile, Zig-Zag, 1965-1966)
El obsceno pájaro de la noche (Barcelona, Seix Barral, 1970)
The Obscene Bird of Night, translated by Hardie St. Martin and Leonard Mades (New York, Knopf, 1973)
Tres novelitas burguesas (Barcelona, Seix Barral, 1973)
Sacred Families, Three Novellas, translated by Andrée Conrad (New York, Knopf, 1977)
El Charleston, Cuentos (Santiago de Chile, Nascimento, 1977)
Charleston and Other Stories, translated by Andrée Conrad (Boston, D. R. Godine, 1977)
Historia personal del "boom" (Barcelona, Anagrama, 1972)
The Boom in Spanish American Literature, A Personal History, translated by Gregory Kolovakos (New York, Columbia University Press in association with the Center for Inter-American Relations, 1977)
Casa de campo (Barcelona, Seix Barral, 1978)
A House in the Country, translated by David Pritchard and Suzanne Jill Levine (London, Allen Lane, 1984)
La misteriosa desaparición de la Marquesita de Loria (Barcelona, Seix Barral, 1980)
El jardín de al lado (Barcelona, Seix Barral, 1981)
Poemas de un novelista (Santiago de Chile, Ganymedes, 1981)
Cuatro para Delfina (Barcelona, Seix Barral, 1982)
La desesperanza (Barcelona, Seix Barral, 1986)
Curfew, translated by Alfred MacAdam (New York, Weidenfeld & Nicolson, 1988)
Taratuta. Naturaleza muerta con cachimba (Santiago de Chile, Grijalbo, 1990)
Lagartija sin cola (Santiago de Chile, Aguilar Chilena de Ediciones S.A., 2007)
The collection consists of personal papers of Donoso, the man and the writer. Included are typescript drafts of several of his major works, Este domingo, El obsceno pájaro de la noche, Historia personal del "boom", " Tres novelitas burguesas, Casa de campo, and La desesperanza; correspondence from family members, publishers, and literary friends, such as Latin American writers Carlos Fuentes, Ernesto Sábato, Gustavo Sainz, Mario Vargas Llosa, and Gabriel García Márquez, Donoso's literary agent Carmen Balcells, and filmmaker Luis Buñuel; manuscripts of short stories, articles, speeches and lectures, plays and screenplays; and material about Donoso, such as interviews, essays, newspaper clippings, and a filmscript on his life.
Also included are Donoso's notebooks, numbered 34-50 and 52-64, covering (with gaps) the period from 7 January 1966 to 25 August 1978. They afford the reader several perspectives of Donoso's creative life—literary, biographical, and sociological—capturing and refining the author's ideas before and after the actual composition of the drafts, providing allusions to other works and occasional critical comments, and illuminating the problems and advantages created by exile, the social environment of exiled Latin American writers, and, sometimes, the author's reactions to certain political events.
Furthermore, there is a small selection of miscellaneous material, including awards, photographs, contracts and correspondence of his wife, María Pilar Serrano.
The collection has been organized into the following open-ended series in order to accommodate additional papers in the future,
The collection was formed as a result of a departmental practice of combining into one collection manuscript material of various accessions relating to a particular author.
The José Donoso Papers held by Princeton University Library, Manuscript Division, was started in 1972 with a gift from the author; this has been augmented with subsequent gifts and purchases from Donoso and other sources.
The core of this collection was processed by Rodolfo Aiello in 1993. Finding aid written by Rodolfo Aiello in 1994 and later updated by Karla Vecchia in 2004.
No appraisal information is available.
Subject
- Chilean fiction--20th century
- Latin American fiction--20th century
- Latin American literature--20th century
- Literary agents--Spain--20th century
- Literature--Exiled authors--20th century
- Novelists, Chilean--20th century--Correspondence
- Novelists, Chilean--20th century--Notebooks, sketchbooks, etc
- Novelists, Chilean--20th century--Manuscripts
- Poets, Chilean--20th century--Manuscripts
- Publishers and publishing--Spain--20th century
- Publishers and publishing--United States--20th century
- Theater--Chile--20th century
- Publisher
- Manuscripts Division
- Finding Aid Author
- Rodolfo Aiello
- Finding Aid Date
- 2005
- Access Restrictions
-
The collection is open for research.
- Use Restrictions
-
Single photocopies may be made for research purposes. No further photoduplication of copies of material in the collection can be made when Princeton University Library does not own the original. Inquiries regarding publishing material from the collection should be directed to RBSC Public Services staff through the Ask Us! form. The library has no information on the status of literary rights in the collection and researchers are responsible for determining any questions of copyright.
Collection Inventory
The material in this series--predominantly drafts of manuscripts--has been grouped into genres, fiction, poetry, plays and screenplays, and non-fiction. See also VI. Additional Papers for recent acquisitions of additional writings.
Each subseries is organized alphabetically by title, with miscellaneous material located at the end.
Physical Description54 boxes
Consists of novels and novellas written by José Donoso, including "Casa de Campo," "Este Domingo," and "Taratuta," as well as others.
Arranged by genre of material.
Physical Description43 boxes
37 boxes
Calaceite-Sitges-Calaceite, September 18, 1973-June 19, 1978.
Physical Description6 boxes
TMs, pp. numbered 1-62, (pp. numbered 1-23 are photocopies of the original), ANs and holograph corrections
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TMs pp. numbered 63-94, ANs and holograph corrections (in blue, 1974 January 8; in red, 1974 June 2).
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TMs, pp. numbered 95-136, ANs and holograph corrections (in blue and in red, undated).
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TMs, pp. numbered 137-168, ANs and holograph corrections (in blue and in red).
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TMs, pp. numbered 169-198, ANs and holograph corrections (in blue and in red.
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TMs, pp. numbered 199-228, and holograph corrections (in blue)
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TMs, pp. 229-249, ANs.
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TMs, pp. numbered 250-287, ANs with holograph corrections
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TMs, pp. numbered 288-319, ANs and holograph corrections
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TMs. pp. numbered 345-372, ANs and holograph corrections
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TMs, pp. numbered pp. 320-357, ANs and holograph corrections
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TMs, pp. numbered 358-406, ANs and holograph corrections
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TMs, pp. numbered 407-447, ANs and holograph corrections
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TMs, pp. numbered 448-500, ANs and holograph corrections
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TMs, pp. numbered 501-531 (p. 531 reads "Fin, Calaceite-Teruel, 18 de marzo, 1974, ANs and holograph corrections
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TMs, pp. numbered 1-80, ANs and holograph corrections
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TMs, pp. numbered 40-85, ANs and holograph corrections
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TMs, pp. numbered 1-39, ANs and holograph corrections
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TMs, pp. numbered 40-85, ANs and holograph corrections
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TMs, pp. numbered 86-133, ANs and holograph corrections
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TMs, pp. numbered 134-194, ANs and holograph corrections
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TMs, pp. numbered 195-250 and holograph corrections
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TMs, pp. numbered 251-288. and holograph corrections
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TMs, pp. numbered 289-318 and holograph corrections
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TMs, pp. numbered 1-269.
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TMs, pp. numbered 1-81, ANs with holograph corrections
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TMs, pp. numbered 82-151, ANs with holograph corrections
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TMs, pp. numbered 1-87, ANs with holograph corrections
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TMs, pp. numbered 82-143, 144-159, 152-165, ANs with holograph corrections
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TMs, pp. numbered 233-269, ANs with holograph corrections
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TMs, pp. numbered 1A-34A, ANs with holograph corrections
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TMs (carbon), pp. numbered 1-159 and holograph corrections
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TMs, ANs and holograph corrections
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Ms, pp. numbered 1-41B, 52-59, ANs and holograph corrections (corrections in green ink are dated 1977 July 7).
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TMs, pp. numbered 100-212, ANs with holograph corrections
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TMs, pp. numbered 213-306, ANs and holograph corrections
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TMs, pp. numbered 307-386, ANs with holograph corrections
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TMs, pp. numbered 387-441, ANs with holograph corrections
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TMs, pp. numbered 1-101, ANs with holograph corrections
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TMs, pp. numbered 103-196, 264-275, ANS and holograph corrections
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TMs (carbon), pp numbered 1-151 with holograph corrections
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TMs (carbon), pp. numbered 151-349 with holograph corrections
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TMs, pp. numbered 1-104 with holograph corrections
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TMs, pp. numbered 105-194 with holograph corrections
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TMs, pp. numbered 195-290 with holograph corrections
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TMs, pp. numbered 291-373 with holograph corrections
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TMs, pp. numbered 374-491 with holograph corrections
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TMs, pp. numbered 492-609 with holograph corrections
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7 boxes
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TMss with holograph corrections. ANs.
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Mss and Xeroxes with holograph corrections
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TMs with holograph corrections and Xerox.
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Miscellaneous pages.
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TMs (copy) with holograph corrections
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5 boxes
Photocopy of original sent to Seix Barral on 3/7/86). Castro, Chiloé, 1985 January 16 Santiago de Chile, 1986 January 6. TMs, pp. numbered 1, 3-141, with holograph corrections
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TMs, pp. numbered 142-260, with holograph corrections
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TMs, pp. numbered 261-443, with holograph corrections
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TMss with holograph corrections. Xerox.
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TMs (carbon) with holograph corrections
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TMs, pp. numbered 4-73, ANs and holograph corrections
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TMs, pp. numbered 91-140, AMs and holograph corrections; fragments of chapter 8, TMs, pp. numbered 138-147; unidentified fragment, TMs, pp. numbered 205-212, ANs with holograph corrections; fragments of [Una noche de domingo], TMs, pp. numbered 214-221 with holograph corrections
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TMs, pp. numbered 1-22, and holograph corrections.
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TMs, pp. numbered 95-114, and holograph corrections
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TMs, pp. numbered 115-227, and holograph corrections
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TMs, pp. numbered 227-241, and holograph corrections
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5 boxes
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1 box
TMs, pp. numbered 1-5, with holograph corrections
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TMs, pp. numbered 2-10, 12, 14-17, 19-20, 53, four versions of p. 16. ANs and holograph corrections
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TMs, pp. numbered 2-29, 37-40, 42-52, two versions of pp. 37-38, 40, 42-44 and 51, ANs and holograph corrections
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TMs, pp. numbered 53-62, 64-83, with holograph corrections
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TMs, pp. numbered 64-72, with holograph corrections
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TMs, pp. numbered 19-21, 21, 22, 23, with holograph corrections
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TMs, pp. numbered 1-63, with holograph corrections. Title page reads, La desaparición de la Marquesa de Loria.
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TMs, pp. numbered 64-115, with holograph corrections
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Pp. numbered 1-93 in 47 galley sheets, with holograph corrections.
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5 boxes
TMss with holograph corrections
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TMss with holograph corrections and AMs.
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TMs (carbon) with holograph corrections.
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TMss with holograph corrections and TMs (copy)
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TMs (carbon) with holograph corrections
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TMs (carbon) with holograph corrections
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TMs (carbon) with holograph corrections
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TMs (carbon) with holograph corrections
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TMs (carbon) with holograph corrections
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1 folder
TMss and TMss (carbon) with holograph corrections. Xerox.
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TMss and TMss (carbon) with holograph corrections. Xerox
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TMs (copy) with holograph corrections
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TMs (copy) and Xerox with holograph corrections
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TMs with holograph corrections. AMs.
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TMs
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5 boxes
- 1. Index to a biography of Sor Teresa de Jesús
- 2. Index to a biography of Madre María San Agustín de Jesús Fernández de Santiago Concha by Antonio Hernández
- 3. Photocopy of a chapter from an unidentified source entitled "Proceso de los brujos de Chiloé;"
- 4. Typescript copy of extracts from Mitos y supersticiones by Julio Vicuña Cifuentes
- 5. Two letters dated Feb. 3 and 4, 1969 from Carl D. Brand to María Pilar Donoso reporting on the chronology of José Donoso's medical crisis
- 6. Four letters dated Feb. [5], 6, 7, and 8, 1969 from José Donoso to María Pilar Donoso (the first one dictated in English to Jacques Rieux)
- 7. One letter dated Feb. 28, 1971 from Ron [Williams] to José Donoso with notes recording Donoso's behaviour during postoperative crisis
1 folder
TMs, pp. numbered 1-33, 84- 93, with holograph corrections.
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TMs, pp. numbered 71-87, 94-100, 101-108, 145-153, 154-160. ANs and holograph corrections; some chapters have been re-numbered.
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Chapter 4, TMs, pp. numbered 54-60, ANs and holograph corrections; chapter 7[a], TMs, pp. numbered 116-124, ANs and holograph corrections; chapter 7[b], TMs, pp. numbered 126-133; Part 2, "La Perra amarilla," chapter 9 (fragments) TMs, pp. numbered 110-113; fragments, TMs, pp. numbered 14, 97-100, ANs. and holograph corrections
Physical Description1 folder
Chapters 5 and 6, TMs, pp. numbered 48-67, ANs and holograph corrections; chapter 10, TMs, pp. numbered 110, 113 (frag.), 114-118, 15 (frag.), 120-141, ANs and holograph corrections; chapter 11-13, TMs, pp. numbered 142-179, ANs and holograph corrections
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Chapter 1, TMs, pp. numbered 102-123 [author's note, "'Jerónimo y don Clemente', 1er cap. original, 1st draft].
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Chapter 2, TMs, pp. numbered 127-156, ANs.
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Chapter 3, TMs, pp. numbered 157-179, ANs and holograph corrections, [author's note on p. 179, "Fin del capítulo 2, 'El Último Azcoitía'."]
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Chapter 4, TMs pp. numbered 180-221, ANs and holograph corrections
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Unidentified chapter. TMs pp. numbered 294-340 with holograph corrections
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Chapters 1 and 2, TMs pp. numbered 5-75, ANs and holograph corrections
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Designated 2nd draft by the author. Chapter 1, "Los ejercicios espirituales." TMs, pp. numbered 1-79, ANs and two sets of holograph corrections identifiable by ink-color. The title page to this draft bears three titles, El obsceno pájaro de la noche, Las Puertas condenadas, and El Sueño de nadie.
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Chapter 2, "El Último Azcoitía (1)" TMs, pp. numbered 80-159, ANs and two sets of holograph corrections identifiable by ink color
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Chapter 3, "El Gigante." TMs, pp. numbered 160-239, ANs and two sets of holograph corrections identifiable by ink color.
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Chapter 4, "La Perra amarilla." TMs, pp. numbered 240-259, ANs and two sets of holograph corrections identifiable by ink-color
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Part one, "Ejercicios espirituales," chapters 1-3. Chapters 2 and 3 have been re-numbered 1 and 2. TMs, pp. 1-73, with holograph corrections. The title page to this draft bears three titles, El obsceno pájaro de la noche, Las Puertas condenadas, and El Sueño de nadie.
Physical Description1 folder
Chapters 3 and 4. TMs, pp. numbered 74-119, with holograph corrections. For the conclusion of chapter 4, see folder 3, p. 120
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Chapters 4 (conclusion), 6 and 7. TMs, pp. numbered 120-62, with holograph corrections
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Part one, "Ejercicios espirituales," chapters 1 and 2. This draft bears the title El obsceno pájaro de la noche. TMs, pp. numbered 1-67, pp. 17-38 have been renumbered 4-23, ANs and holograph corrections
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Chapters 3 and 4, chapter 4 has been re-numbered 7. TMs, pp. numbered 68-119, with holograph corrections
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Chapters 5 and 6, chapter 6 has been re-numbered 9. TMs, pp. numbered 120-64, with holograph corrections
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Part two, "La Perra amarilla," chapters 7 and 8, re-numbered 10 and 11. TMs, pp. numbered 165-91, ANs and holograph corrections
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Chapters 9 and 10. TMs, pp. numbeered 192-28, ANs and holograph corrections
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Chapters 11-13, renumbered 13-16. TMs, pp. numbered 229-310, ANs and holograph corrections
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Chapters 14 and 15. TMs, pp. numbered 311-47, 349-62, ANs and holograph corrections
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Chapters 20, 22, and 23. TMs, pp. numbered 481-98, 524-40, 555-74, ANs and holograph corrections
Note, Most of the miscellaneous sections which constitute Draft F, were written in 1969, the year the novel was finished. The author was unable to determine their sequence. Also included are false starts, overlapping pieces and parts of drafts perhaps not in Princeton.
Physical Description1 folder
Chapter 16, relabeled 19. TMs, pp. numbered 376-98, ANs and holograph corrections
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Chapter 20. TMs, pp. numbered 363-75 with holograph corrections
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Chapter 21. TMs, pp. numbered 399-18, ANs and holograph corrections
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Chapter 17, relabeled 22. TMs, pp. numbered 419-39, ANs and holograph corrections
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Chapter 23. TMs, pp. numbered 440-94, ANs and holograph corrections
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Book 2, "El último de los Azcoitía (primera parte)," chapter 1. TMs, pp. numbered 101-39, with holograph corrections
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Chapters 1-3. TMs, pp. numbered 342-20, ANs and holograph corrections
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Chapters 1 and 2. TMs, pp. numbered 501-50, with holograph corrections
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Chapters 3-5. TMs, pp. numbered 551-605.
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TMs, pp. numbered 72-90, ANs and holograph corrections; chapter 3, TMs, pp. numbered 91- 114 with holograph corrections; p. 115, title page for Part two, "El último de los Azcoitía."
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Chapter 6, TMs, pp. numbered 222-93 with holograph corrections
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Chapters 1-3, TMs, pp. numbered 422-99, ANs and holograph corrections
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Chapters 18-20. Chapter 20 has been renumbered 27 and 28. TMs, pp. numbered 495-90, ANs and holograph corrections
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Fragments of a prologue and of chapters 1, 4, and 6, section entitled "Diálogo del mudo." TMs, ANs and holograph corrections
Note, The sequence of the parts in Draft G were verified by the author.
Physical Description1 folder
Chapters 1 and 2. TMs, pp. numbered 1-54, with holograph corrections
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Chapters 3 and 4. TMs, pp. numbered 55-92, with holograph corrections
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Chapters 5 and 6. TMs, pp. numbered 93-137, with three sets of holograph corrections identifiable by ink color.
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Chapters 7 and 8. TMs, pp. numbered 138-95, ANs and three sets of holograph corrections identifiable by ink color.
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Chapters 9 and 10. TMs, pp. numbered 196-235, with three sets of holograph correction identifiable by ink-color.
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Chapters 11 and 12. TMs, pp. numbered 236-83, with three sets of holograph correction identifiable by ink color.
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Chapter 13. TMs, pp. numbered 284-317, with three sets of holograph corrections identifiable by ink color.
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Chapters 14 and 15. TMs, pp. numbered 318-60, with three sets of holograph corrections identifiable by ink color.
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Chapters 16 and 17. TMs, pp. numbered 361-423, with three sets of holograph corrections identifiable by ink color.
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Chapters 18 and 19. TMs, pp. numbered 424-73, with three sets of holograph corrections identifiable by ink color.
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Chapters 20 and 21. TMs, pp. numbered 474-532, with three sets of holograph corrections identifiable by ink color.
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Chapters 22 and 23. TMs, pp. numbered 533-79, with three sets of holograph corrections identifiable by ink-color.
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Chapters 24 and 25. TMs, pp. numbered 580-649 with three sets of holograph corrections identifiable by ink color.
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Chapters 26 and 27. TMs, pp. numbered 650-708, with two sets of holograph corrections identifiable by ink color.
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Chapter 28. TMs, pp. numbered 709-747, with two sets of holograph corrections identifiable by ink color.
Physical Description1 folder
Chapter 29 and 30. TMs, pp. numbered 748-796, with two sets of holograph corrections identifiable by ink-color. Page 796 reads "Fin. Santa Ana y Los Domínicos, Chile 1962-1963 Pollença, Mallorca, 1968 Juenga, Santander, 1969 Vallvidrera, Barcelona, 1969," and bears the signature of the author.
Physical Description1 folder
Galley proofs entitled El Arcángel incompleto, pp. 1-155, with holograph corrections
Physical Description1 folder
Pp. 156-308 with holograph corrections. Typed sections with holograph corrections have been pasted on some galley pages.
Physical Description1 folder
Final proofs, pp. 1-131.
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1 folder
2 boxes
1 box
TMs, pp. numbered 1-80, ANs and holograph corrections
Physical Description1 folder
TMs, pp. numbered 85-96, ANs and holograph corrections; TMs, pp. numbered 26-27, 43-94 with author's note reading "copia correcciones Atomo Verde." Three pages of notes with the heading "notas para Atomo Verde Número Cuatro [sic] para la revisión."
Physical Description1 folder
TMs, pp. numbered 1-50 with holograph corrections
Physical Description1 folder
TMs, pp. numbered, 51-100 with holograph corrections
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1 box
Undetermined version. TMs, pp. numbered 1-80, with holograph corrections. Title page reads, Tres novelitas burguesas. 1. Chatanoga Choo-Choo. 2. El papanicolau. 3. Atomo verde número cinco.
Physical Description1 folder
Undetermined version. TMs (carbon), pp. numbered 97-193, with holograph corrections
Physical Description1 folder
Undetermined version, fragments. TMs, pp. numbered 97-113, 214.
Physical Description1 folder
1 box
TMs, pp. numbered 1-9. One typed page with the heading "Idea para la Tercera Novelita Burgesa, Clarissa." One handwritten page with miscelaneous notes with the heading "Para Hans."
Physical Description1 folder
TMs, pp. numbered 195-266, with holograph corrections
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TMs (carbon), pp. numbered 195-286, with holograph corrections
Physical Description1 folder
TMs, pp. numbered 195-286, ANs and holograph corrections
Physical Description1 folder
TMs, pp. numbered 195-284, with holograph corrections
Physical Description1 folder
1 box
TMss with holograph corrections
Physical Description1 folder
TMss with holograph corrections
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7 boxes
2 boxes
1 box
TMs, pp. numbered 1-21, 23-33, 37, 39-48, 53, 55-60, 76-82; two pp. numbered 2, three versions of p. 23, two pp. numbered 40 and 44. ANs and holograph corrections. Two separately numerated sections, pp. 1-7 and 1-5, with holograph corrections
Physical Description1 folder
TMs, pp. numbered 1-49, 51-61 (i.e. 50-60), 62-83, 83 (i.e. 84), with holograph corrections
Physical Description1 folder
Title page has the following author's handwritten note: "Copia corregida a mano por J.D. de la copia mecanografiada por M. P." TMs, pp. numbered 1-91, with holograph corrections
Physical Description1 folder
Title page has the following author's handwritten note, "'Cinco para Delfina', 'Los Robles de la Plaza', última versión antes de la definitiva mecanografiada por J. D. Original copiado por María Pilar, corregido por J. D. a mano." TMs, pp. numbered 1-91, with holograph corrections
Physical Description1 folder
1 box
- 1. Fragments of version entitled "Prousteando." TMs, numbered pp. 4-11, with holograph corrections.
- 2. Fragments of version entitled "Una recepción en casa de Mme. Verdurin." Title page reads " El Tiempo perdido (cuatro cuentos literarios) por José Donoso. Santiago, Otoño, 1981" and in the author's handwriting, "1era versión cuento [?] aquí." TMs, pp. numbered 4-9, with holograph corrections.
- 3. Fragment of version entitled "El Tiempo perdido," TMs, pp. numbered 4-9, with holograph corrections.
1 folder
TMs, pp. numbered 16-22, 23-34, 35-45. ANs and holograph corrections. These are three non-contiguous fragments; their place in the sequence of versions could not be determined.
Physical Description1 folder
TMs, pp. numbered 47-58, with holograph corrections
Physical Description1 folder
TMs, pp. numbered 47-58, with holograph corrections
Physical Description1 folder
TMs, pp. numbered 1-61, with holograph corrections. Title page reads " 'Cinco para Delfina,' cuentos por José Donoso, Santiago, octubre-diciembre 1981" and in the author's handwriting, the note "falta, Femme. 1) El Tiempo Perdido. 2). 3). Los habitantes de una Ruina Inconclusa."
Physical Description1 folder
Photocopy of preceeding. In the author's handwriting, the note "'El Tiempo Perdido.' Original copiado y corregido a mano por J. D."
Physical Description1 folder
1 box
TMs, pp. numbered 1, 1-5, 1-19, 6, 11, 14-17, 26-27, 63-64. ANs and holograph corrections
Physical Description1 folder
TMs, pp. numbered 87-97, 146-148. ANs and holograph corrections
Physical Description1 folder
TMs pp. numbered 88-146, with holograph corrections
Physical Description1 folder
2 boxes
TMs, pp. numbered 1-47, with holograph corrections
Physical Description1 folder
TMs (photocopy), pp. numbered 103-155. ANs and holograph corrections. First page bears the title Habitantes de las ruinas inconclusas corrected by hand to read Los habitantes de una ruina inconclusa, and below, "Cinco para Delfina."
Physical Description1 folder
TMs, pp. numbered 103-155. ANs and holograph corrections." First page bears the title Habitantes de las ruinas inconclusas corrected by hand to read Los habitantes de una ruina inconclusa, and below "'Cinco para Delfina' Versión completa previa a la versión definitiva."
Physical Description1 folder
1. A synopsis of Jolie Madame addressed to Delfina [Guzmán], TMs, pp. numbered 4-5; 2. A more veloped synopsis of the same, but under the title Femme; 3. Synopsis of a precursor of El Tiempo perdido under the title Mala cueva, TMs, pp. numbered 35-40, AN; 4. Fragment from El tiempo perdido, typed page numbered 166.
Physical Description1 folder
TMss
Physical Description1 folder
TMss with holograph corrections
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TMss with holograph corrections
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TMs (incomplete) with holograph corrections
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TMs (incomplete) with holograph corrections
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TMs (incomplete) with holograph corrections
Physical Description1 folder
TMs (incomplete) with holograph corrections
Physical Description1 folder
1 box
TMs, pp. numbered 1-47, 19-31, ANs and holograph corrections
Physical Description1 folder
1 box
TMs (photocopy), pp. numbered 1-100, pp. 21A-B and 25A (original typescript) substituting for pp. 21 and 25 respectively; holograph corrections
Physical Description1 folder
TMs (photocopy), pp. numbered 101-189, with holograph corrections
Physical Description1 folder
TMs (photocopy), pp. numbered 190-253, pp. 200, 200 A-B, 211 A in original typescript. ANs and holograph corrections
Physical Description1 folder
1 box
A story bearing the title Tercera novelita burgesa, El papanicolau but which was not incorporated into Tres novelitas burguesas. TMs, pp. numbered 1, 1-7 with the heading "Tercera estructura," ANs and holograph corrections
Physical Description1 folder
TMs, pp. numbered 1-70, ANs and holograph corrections
Physical Description1 folder
TMs, pp. numbered 71-140, ANs and holograph corrections.
Physical Description1 folder
TMs, pp. numbered 141-223, ANs and holograph corrections.
Physical Description1 folder
1 box
TMs, pp. numbered 1-70, ANs and holograph corrections
Physical Description1 folder
TMs, pp. numbered 1-120, ANs and holograph corrections
Physical Description1 folder
5 boxes
2 boxes
TMs, pp. numbered 1-34, ANs and holograph corrections
Physical Description1 folder
Fragments dated 1985 May, 1986 March, 1986 August, 1987 May-June; TMs, ANs and holograph corrections
Physical Description1 folder
TMs, pp. numbered 1-41, ANs and holograph corrections
Physical Description1 folder
TMs, pp. numbered 1-69 with holograph corrections
Physical Description1 folder
Xerox with holograph corrections
Physical Description1 folder
2 boxes
TMss with holograph corrections
Physical Description1 folder
Version 6. pp. 89-156. TMs with holograph corrections
Physical Description1 folder
Version 6. pp. 1-70. TMs (carbon) with holograph corrections
Physical Description1 folder
Version 6. pp. 89-156. TMs with holograph corrections
Physical Description1 folder
Version 7. pp. 92-141 and misc. pages. TMs (carbon) with holograph corrections
Physical Description1 folder
Version 7. pp. 142-200 and misc. pages. TMs (carbon) with holograph corrections
Physical Description1 folder
Version 8. pp. 90-152. Xerox (signed)
Physical Description1 folder
Version 8. pp. 153-202. Xerox (signed)
Physical Description1 folder
Dos nouvelles. pp. 1-87. TMs (carbon) with holograph corrections
Physical Description1 folder
Dos nouvelles. pp. 88-152. TMs (carbon) with holograph corrections
Physical Description1 folder
Dos nouvelles. pp. 153-201. TMs (carbon) with holograph corrections
Physical Description1 folder
Dos nouvelles. pp. 1-87. Xerox
Physical Description1 folder
Dos nouvelles. pp. 90-202. TMsS with holograph corrections. Xerox
Physical Description1 folder
Dos nouvelles. Bound copy. Xerox with holograph corrections
Physical Description1 folder
1 box
Outline, TMs, pp. numbered 1-25, ANs and holograph corrections
Physical Description1 folder
TMs, pp. numbered 1-19, 16-58 with holograph corrections
Physical Description1 folder
2 boxes
"The Blue Woman", photocopy of the short story published in Mss. 3, no. 1 ( 1950 November), pp. 3-7. "La mujer azul", translation into Spanish of "The Blue Woman" by María and Hugo Achugar, TMs, pp. [1]-7. "The Poisoned Pastries", photocopy of the short story published in Mss. 3, no. 3 ( 1951 May), pp. 3-8. Translation into Spanish of "The Poisoned Pastries" (incomplete), TMs, pp. 6-9.
Physical Description1 folder
"En esta orilla (cuentos)". Outline and notes for a collection of short stories, "Cuento-Marco" (introduction), "Arrurrurrupata", "Chao", "Lancagua o Curanilahue", "Los señores de Abramovicz, don Alejo", "Talgo o no", "La roulette", "Verano", "Cuento no. 7", "Cuento no. 8", "Cuento no. 9", TMss, AMs, ANs and holograph corrections. One typed page with the heading "Cuentos posibles"
Physical Description1 folder
Four drafts, TMss, pp. numbered 1-35, ANs and holograph corrections. (Note that the translator for the published version [see Charleston and Other Stories] was Andrée Conrad).
Physical Description1 folder
Three drafts, draft 1, TMs, pp. numbered [1]-22 with holograph corrections; draft 2, TMs (carbon copy of preceeding), pp. numbered [1]-22 with holograph corrections; draft 3, final version, TMs (carbon copy), pp. numbered [1]-21.
Physical Description1 folder
TMss with holograph corrections. Printed material
Physical Description1 folder
TMs and Xerox
Physical Description1 folder
TMss with holograph corrections
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TMss with holograph corrections
Physical Description1 folder
Recovered from diskette.
Physical Description1 folder
"Proyectos de cuentos"
Physical Description1 folder
This subseries consists of manuscripts from four of Donoso's poetry collections, Invierno en Calaceite; Madrid, 1979; Poemas de un novelista, and Volver.
The manuscripts are organized alphabetically by title, with miscellaneous material located at the end.
Physical Description2 boxes
- "Pequeñas ceremonias de invierno." TMs, pp. numbered 1-3, holograph corrections.
- Carbon copy of preceeding one, TMs, pp. renumbered 4-6, holograph corrections, dated 1972 January 22. [Cf. Poemas de un novelista, 1. Diario de invierno en Calaceite, no. 8].
- "Paisaje." TMs, pp. numbered 7-8, with holograph corrections, dated 1972 January 29. [Cf. ibid., no. 12].
- "Tú." TMs, pp. numbered 7-8, with holograph corrections, dated 1972 January 30. [Cf. ibid., no. 2].
- "Ausencia en la calle Maella." First version, TMs, pp. numbered 12-14, dated 1972 February 1; second version, TMs, three unnumbered pp., with holograph corrections, same date as first version. [Cf. ibid., no. 3].
- "Diario, 1-4." TMs, four unnumbered pp., with holograph corrections, dated 1972 March 14 [Cf. ibid., nos. 4, 5, 6, and 1 respectively].
1 folder
- 1. "Libro", 3 drafts, TMs, ANs and holograph corrections
- 2. "Contra el placer", 2 drafts, TMs with holograph corrections
- 3. "Palacio de vidrio", 2 drafts, TMs with holograph corrections
- 4. "Hacer,Ser", 2 drafts, TMs with holograph corrections
- 5. "Ilusoria palabra", 3 drafts, AMs, ANs and holograph corrections, 2 TMss with holograph corrections
- 6. "Mi mano", 3 drafts, TMs, ANs and holograph corrections
- 7. "Calle", 4 drafts, AMs with corrections, 3 TMss and holograph corrections
- [8] "Amigo", TMs
- [9] "febrero en el Retiro", TMs with holograph corrections
- [10] "Fidelidad", TMs with holograph corrections
- [11] "Poema", TMs with holograph corrections
- [12] "Poema", TMs with holograph corrections.
1 folder
TMs, pp. numbered 1-15, 17-41, 47-49, 51, one unnumbered page, ANs and holograph correction
Physical Description1 folder
TMs, pp. numbered 1-17, 19-37, 39-68
Physical Description1 folder
TMs, pp. numbered 1-2, 1-10, 3-67
Physical Description1 folder
1 folder
TMs, 19 unnumbered pages, ANs and holograph corrections
- 1. "Volver", 6 drafts
- 2. "Papeles" 3 drafts
- 3. "Silla", 2 drafts
- 4. "El rostro"
- 5. "Gracias"
- 6. "El vino"
- 7. "Digestión lenta"
- 8. "El maestro Torres"
- 9. "Mis amigas"
1 folder
TMss with holograph corrections. AMs
Physical Description1 folder
This subseries consists of assorted manuscripts from stage and screen adaptations of Donoso's writings as well as original scripts by Donoso and others.
The manuscripts are organized alphabetically by title, with miscellaneous material located at the end.
Physical Description3 boxes
Based on a short story. Notes, Xerox
Physical Description1 folder
Screenplay by Eduardo Luján y Sergio Olhovich
Physical Description1 folder
Stage play by José Donoso and Carlos Cerda. TMs with holograph corrections
Physical Description1 folder
Stage play by José Donoso and Carlos Cerda. TMs
Physical Description1 folder
Stage play by José Donoso and Carlos Cerda. Xerox
Physical Description1 folder
Stage play. French Version. Xerox.
Physical Description1 folder
TMs, pp. numbered [1]-24, ANs and holograph corrections
Physical Description1 folder
Television version. Fragments; introductory essay by José Donoso, "El ICTUS, Los Robles y yo", (Santiago de Chile, 1982 May 31), TMs, pp. numbered [1]-3
Physical Description1 folder
Outline for opera or play
Physical Description1 folder
Screenplay. TMs with holograph corrections
Physical Description1 folder
Screenplay. TMs with holograph corrections
Physical Description1 folder
Screenplay by Salomón Laiter with Oscar Dancinger, Alda Laiter, and José Emilio Pacheco
Physical Description1 folder
Stage play by Wilfredo Marval. Xerox.
Physical Description1 folder
Screenplay by José Donoso, TMs, pp. numbered [1]-3. TMs, pp. numbered 1-7. Preparatory notes, receipts, and one photograph [Horta?].
Physical Description1 folder
TMs, pp. numbered [1]-39, ANs and holograph corections
Physical Description1 folder
TMs, pp. numbered [1]-44, ANs and holograph corrections
Physical Description1 folder
Notes and miscelaneous fragments
Physical Description1 folder
Background material, Translation into English of Paul Verlaine "Femmes" and "Hombres" with an introduction by Stephen Brook, TMs (photocopy) with holograph corrections
Physical Description1 folder
Screenplay by José Donoso and Leonard Schrader. Draft, TMs, 108 pp., ANs and holograph corrections
Physical Description1 folder
Screenplay by José Donoso and Leonard Schrader. Final draft, TMs, pp. numbered 1-114
Physical Description1 folder
Final draft, Santiago de Chile, First act, TMs, pp. numbered 1-103.
Physical Description1 folder
Second act, TMs, pp. numbered 104-155
Physical Description1 folder
First act (incomplete), second act, TMs, pp. numbereed 45-103, ANs and holograph corrections
Physical Description1 folder
Stage play by José Donoso and ICTUS.
Physical Description1 folderTyped manuscript (copy)
Stage play by José Donoso and ICTUS. TMs with holograph corrections
Physical Description1 folder
"Roma", "Las citas imaginarias" (two versions); an idea extracted from the unfinished novel "La cola de la lagartija."
Physical Description1 folder
This subseries consists of various manuscript versions of Artículos de incierta necesidad and Historia personal del "boom, " as well as several miscellaneous articles and other non-fiction writing.
The manuscripts are organized alphabetically by title, with miscellaneous material located at the end.
Physical Description6 boxes
1 box
1 folder
1 folder
1 folder
1 folder
1 folder
1 folder
3 boxes
TMs, pp. numbered 1-10 and two unnumbered pages. ANs and holograph corrections
Physical Description1 folder
Original and carbon copy fragments. TMs, pp. numbered 16-24, 90-96, 90-97, 92-95, 99-100, ANs and holograph corrections
Physical Description1 folder
TMs, pp. numbered 5-87, ANs and holograph corrections
Physical Description1 folder
Incomplete carbon typescript, TMs, pp. numbered 1-88, with holograph corrections.
Physical Description1 folder
TMs, pp. numbered 1-103, ANs and holograph corrections
Physical Description1 folder
TMs, pp. numbered 1-64 with holograph corrections
Physical Description1 folder
TMs, pp. numbered 65-129 with holograph corrections
Physical Description1 folder
TMs, (carbon copy), pp. numbered 1-64, ANs and holograph corrections
Physical Description1 folder
TMs, (carbon copy), pp. numbered 65-129, ANs and holograph corrections, (p. 129, signed by the author)
Physical Description1 folder
TMs, pp. numbered 1-9, ANs and holograph corrections (dated in Calaceite, September 1972). TMs, pp. numbered 24-28, ANs and holograph corrections. Notebook. Miscelaneous notes. One page outline for an essay which has as first chapter "Historia personal del 'boom,'" and as second chapter "La abolición del intermediario, Puig y Vargas Llosa".
Physical Description1 folder
Draft, TMs (carbon copy), pp. numbered 105-42 with holograph corrections. Incomplete draft, TMs, pp. numbered 108-42, ANs and holograph corrections
Physical Description1 folder
TMs, pp. numbered 2-210, ANs and holograph notes.
Physical Description1 folder
Four drafts, TMss, ANs and holograph corrections. Untitled TMs, pp. numbered 1-23 with holograph corrections. Note on top of first page reads "Read in Fort Collins the year of my ulcer operation"
Physical Description1 folder
TMs, notes for an essay on ten contemporary Spanish writers, Ana María Moix, Juan Benet, Juan García Hortelano, Juan Marsé, Juan Goytisolo, Luís Goytisolo, Gonzalo Torrente Ballester, Lorenzo Villalonga, Ana María Matute, and Miguel Delibes.
Physical Description1 folder
TMs, pp. numbered pp. 1-21, ANs and holograph corrections
Physical Description1 folder
TMs, pp. numbered 1-9 with holograph corrections; fragments
Physical Description1 folder
TMss, pp. numbered 1-6; three unnumbered pages.
Physical Description1 folder
TMs, pp. numbered 1-11, ANs and holograph corrections (on p. 1, there are notes for the story "La visa").
Physical Description1 folder
TMs, pp. numbered 1-14, with holograph corrections
Physical Description1 folder
TMs (photocopy), pp. numbered 1-4, with holograph corrections
Physical Description1 folder
TMs, ANs and holograph corrections
Physical Description1 folder
TMs, pp. numbered 1-8 with holograph corrections.
Physical Description1 folder
Three drafts, four TMss, pp. numbered 1-7 (2), pp. numbered 1-8 (2) ANs with holograph corrections
Physical Description1 folder
Course outline for a seminar on Marcel Proust (Fall 1966); one autographed page titled "Raíces y desperdicios"; one typed page with the heading "Novel about adoption and identity; two fragments titled "Breves encuentros" on two typed pages numbered 1, one with a list which includes the names of Vita Sackville-West, Hermann Broch, Gabriela Mistral, Juan Ramón Jiménez, Arnold Toynbee, León Felipe, and Stephen Spender.
Physical Description1 folder
1 folder
1 folder
Drafts (2) titled "The Oldest House". TMss, pp. numbered 1-24, ANs and holograph corrections; 2 TMss (incomplete), pp. numbered 1-12, ANs and holograph corrections; TMs (fragments), ANs and holograph corrections
Physical Description1 folder
Draft (labeled 'original'). TMs, pp. numbered [1]-27 with holograph corrections
Physical Description1 folder
Drafts (2). TMss, pp. numbered [1]-27, ANs and holograph corrections
Physical Description1 folder
Draft (edited by S. Talson). TMs, pp. numbered [1]-26
Physical Description1 folder
Drafts (4). TMss, pp. numbered 1-19, 1-27 (3 sets). ANs and holograph corrections
Physical Description1 folder
Drafts (3). TMss, pp. numbered [1]-[27]
Physical Description1 folder
Drafts (3). TMss, pp. numbered 1-5, ANs and holograph corrections
Physical Description1 folder
Draft. TMs (photocopy), pp. numbered 1-4 with holograph corrections
Physical Description1 folder
Draft. TMss (incomplete, 2 photocopies), pp. numbered 1-5 with holograph corrections
Physical Description1 folder
Draft, TMs, p. numbered 1, ANs holograph corrections; TMs, pp. numbered 1-2; ANs, pp. numbered 1-3, ANs, 2 unnumbered pages.
Physical Description1 folder
1 folder
2 boxes
TMss with holograph corrections
Physical Description1 folder
TMs (copy)
Physical Description1 folder
Xeroxes
Physical Description1 folder
TMs (and misc. Xeroxes)
Physical Description1 folder
Xerox with holograph corrections
Physical Description1 folder
TMss with holograph corrections
Physical Description1 folder
ANss
Physical Description1 folder
TMss with holograph corrections
Physical Description1 folder
ANss. TMss with holograph corrections
Physical Description1 folder
TMss with holograph corrections
Physical Description1 folder
AMss, TMss with holograph corrections, Xeroxes
Physical Description1 folder
TMss with holograph corrections
Physical Description1 folder
TMss (copies)
Physical Description1 folder
TMss (copies)
Physical Description1 folder
TMss (copies)
Physical Description1 folder
TMss with holograph corrections
Physical Description1 folder
TMss (copies) and TMss with holograph corrections
Physical Description1 folder
TMss with holograph corrections
Physical Description1 folder
AMss, TMss with holograph corrections
Physical Description1 folder
TMss and Xerox
Physical Description1 folder
This series consists of 29 notebooks in which Donoso recorded themes, characters, references to other writers, miscellaneous notes, and other information about his literary production. This series is organized by notebook number, which was determined by the chronological order.
Introduction
The following guides to José Donoso's Notebooks are intended as an aid in the search for material which might interest the reader. Obviously they are not a substitute for the reading of the notebooks themselves since they are both selective, and in spite of all the efforts made to prevent it, subjective. Hence the need to explain the method followed in their compilation. The reader should keep in mind that a project of this nature is not free from practical and intellectual limitations so that in order to overcome them, his own efforts are essential.
The dates, locations, numbers, and pagination of the notebooks belong to the author himself. When internal contradictions in dating arise, brackets are used as in the case of any other uncertainty to indicate them. Although the notebooks contain more pages than those actually numbered, the number of pages takes into account only the latter. All references to page numbers adhere to the author's pagination, except when a given page number is repeated. In such cases, a letter has been added to the page number in order to distinguish the different pages.
The initial synopses generally indicate the main projects with which a given notebook is concerned, the nature of these concerns, and the stages of the project under preparation. All references to these stages pertain to the notebooks themselves, not to the author's published work. No attempt has been made to indicate revisions concerning plot details or chapter divisions from the perspective of the published work. The collation of the notebooks and the several typescripts available is another task, which notwithstanding the many cross-references, remains to be done.
The list of themes includes only those mentioned by the author, and the terminology used to designate the different themes, even though awkward at times, is as close as possible to the one used by him.
The list of characters enumerates the characters related to the main project under preparation. The c haracter sketches section isolates the instances in which a character is discussed explicitly or in detail. Because of the Jamesian interpenetration of character and action, characterization is not limited to such instances; it is inseparable from plot discussion.
The inventory of the cultural references made by the author to any fields of creative endeavor includes, in general, only references made from an artistic rather than a personal point of view (friends, acquaintances, etc.). Names rather than titles of works are given, even if this is not always the case in notebooks. When the notebook only mentions a surname, the identity of the person in question has been determined by the context in which the mention occurs. When such determination is uncertain, only the surname is listed. Uncertainties regarding the references themselves are denoted by brackets.
The secondary projects mentioned either in passing or in detailed notes are listed separately, with a brief description. A special format has been used with regard to the notebooks in which several main projects are discussed.
Other items of interest have been grouped as miscellaneous. Although this is an openended and eminently subjective section, it strives to take into account a series of recurring concerns.
The notebooks afford the reader a vision of José Donoso's creative processes from several perspectives, literary, biographical, and sociological. Primarily, they serve the purpose of capturing and refining the author's ideas before and after the actual composition of the drafts and thus reveal an important facet of his working method. They may also illuminate certain problematic passages of his published works. The abundant allusions to other works, and the occasional critical comments about them, give an indication of the breath of the author's cultural background.
The literary concerns are set in the personal context of a self-testimony intended as a portrait of the man and the artist. On this account, the notebooks also record the author's material circumstances and his private thoughts and feelings.
The problems and advantages created by exile, the social environment of a group of exiled Latin-American writers, and, sometimes the author's reactions to certain political events are also important aspects to his notebooks.
What follows is the description of Notebooks 34-47; Notebooks before 34 are at the University of Iowa.
Arranged by no. of notebook.
Physical Description7 boxes
Reels of Microfilm. Dates and locations, 1945-1960s. Originals at the University of Iowa. For more information, see the University of Iowa website, http,//www.lib.uiowa.edu/spec-coll/MSC/ToMsc350/MsC340_Donoso/Notebooks_340.html
Physical Description1 boxmicrofilm
161 pages. Dates and locations, 1966 January 7-1966 December 27; Iowa City, Iowa (1-63, 145-161) Guanajuato, Mexico (64-144).
Notebook on El obsceno pájaro de la noche. Preoccupation with the content and sequence of particular episodes, broad outlines for the main sections of the novel, character analyses. As the original project for a nouvelle expands into a larger work, several outlines are drawn up, with various degree of detail. There are repeated references to narrative and stylistic problems. The notebook records some of the author's daily activities as well as his changing moods regarding the novel.
Themes, the feeling of being threatened, 7; flight and escape, 19; decadence, 32; servitude, 32; preservation of order, 37; packages, 47-48, 126; hate and admiration, 62; self- destruction, 63, 131, 132; murder, 70; grotesque elements, 71; death, 86; mise en abyme, 87; persecution, 94; man's need to create artificial worlds, 102; patterns, 109; the power of destitution, 120; conspiracy, 121; protection, 126; imagination, 159.
Characters, Inés, Humberto (el Mudito); Jerónimo; Alejandro Luz; Boy; Manuela; Peta Ponce; Iris; la madre Benita; Rita; los Gigantes; el padre Azócar; el tío cura; misiá Raquel; Dora; la pareja; Brígida; Martín Pescador; Regina; la madre Ambrosia; Julia; el padre Solta.
Character Sketches, la madre Benita, 36, 37, 47, 48-49, 54-58, 61; Humberto, 60; Boy, 133; considerations about characterization in general, 3, 25, 39.
References, J. Conrad, 20, 32, 35, 60; J. Genet, 22; I. Dinesen, 34, 56, 126, 159; Rembrandt, 46, 54; A. Camus, 47; E. Hemingway, 62; J. Cortázar, 63; M. de Cervantes, 85; D. Velázquez, 87; J. Vermeer, 87; D. Hume, 108; G. Berkeley, 108; H. Hesse, 136a, 159; [W. Acton],144; D. de Rougemont, 144; M. Proust, 145; [J. Recileich], 151; Greenfield, 151; Muller, 151; [Lilyang], 151; Schrader, 151; C. Dickens, 159; J. L. Borges, 159; I. Calvino, 159; T. Mann, 159; H. Broch, 159; F. Werf, 159; H. Kasack, 159; E. Jünger, 159.
Secondary Projects, expansion of a chapter into a novel titled Ejercicios espirituales, 31- 32; a short story titled "Brahms and Snow", 16-18; a novel titled El lacayo, 43; a book of essays on several Latin American novels, 118; a play titled Weekends with Jimmy, also considered as a novel titled La edad de oro, 137-142; an untitled short story, 144; a seminar on M. Proust, 145- 146; the "Mme Jeanne story", 146-154.
Miscellaneous, reference to events in Chile, 7; notes about narrative techniques and stylistic aspects, 33, 35, 37, 46, 62, 65, 66, 67, 70, 76, 87, 88, 108, 124, 129; notes about the tone of the novel, 59, 60, 61, 71, 83; references to persons that served as model for characters, 62; financial considerations, 142, 143, 154-155; 160-161, unnumbered page toward the end of the notebook; a list of admired writers, 159; a drawing of a female figure, inside back cover.
Physical Description1 folder
159 pages. Dates and locations, 1967 January 25-1967 August 27; Iowa City, Iowa (1-34) on board the Ribeira Grande (34-39) Setúbal, Portugal (39-55) Malveira, Portugal (55-159).
Notebook on El obsceno pájaro de la noche. Character analyses, constant preoccupation with the content and sequence of episodes. By the end of the notebook the author has completed a draft for the first of six projected parts. The notebook contains strips of paper placed inside it by the author in order to indicate key ideas. Character motivation and narrative techniques are important concerns. A number of crucial ideas for the development of the novel are set down in the notebook. It records a period of intense work despite personal problems, described in passages of "confessional complacency."
Themes, love, 5, 29; symbols, 6-7, 103, 106, 135, 155; imagination, 10, 38, 106, 130; glamour, 21; the grotesque, 19, 33; religion, 35, the devil, 37; culture, 38; extinction, 39; perfection, 63; disillusionment, 76; the power of weakness, 103, 154; decrepitude, 104; squalor, 104; the creator and his creation, 109-111; self-destruction, 110; fantasy, 117; pride, 127; search for a father, 128; servants, 133-134, 152; claustrophobia, 141, 156; the myth of fatherhood, 148; the reverse of power, 155; trash and refuse, 156; the need for order, 158-159.
Characters, Humberto (el Mudo); la madre Benita; Boy; la pareja; el padre Azócar; Iris; Romualdo (el Gigante); Inés; don Jerónimo; el tío Clemente; el padre (de Humberto); Melisa; misiá Raquel; Regina; Peta Ponce; Brígida; la madre Antonia; Rita; Tito; Alfredo; el padre Vicente de la Solta; el hermano (de Tito); el padre (de Tito); los cuatro ases; el padre y la madre (de Iris); María Benítez.
Character Sketches, Iris, 73-74; Inés, 134, 135-136.
References, R. M. Rilke, 5, 14, 16-17, 39; F. Mallet-Joris, 6; J. Cortázar, 14; L. de León, 14; The Rolling Stones, 14; M. de Unamuno, 14, 150; L.-F. Céline, 23, 30, 46; W. Faulkner, 31, 73; T. Mann, 34, 35, 36, 37, 43, 44, 51; Mahler, 35; J. Ferrater Mora, 38; M. Heidegger, 38; J.-P. Sartre, 38; M. Vargas Llosa, 50, 126; C. Fuentes, 50, 126; E. Orphée, 50; I. Dinesen, 63, 148; Stendhal, 67; P. Neruda, 73; P. Weiss, 113; C. Martínez Moreno, 126, 128, 155; G. Grass, 126; A. Camus, 127; [Rodríquez [check this name. R.A.]], 127, 141; F. Rivas, 127; H. Fielding, 128; C. de Laclos, 129; R. Pérez de Ayala, 132; F. Dostoyevsky, 157.
Secondary Projects, notes for a lecture at Fort Collins, Colorado, 11; a story about a Latin-American intellectual in Spain, 14; an "idea for a death", 159.
Miscellaneous, Financial considerations, 1-3, 8-9, 15, 56, unnumbered pages towards the end of the notebook, references to narrative techniques and stylistic aspects, 3, 4, 16-17, 29, 30, 33, 36, 44, 47, 66, 67, 68, 70, 71, 80, 103, 121, 151, 152; a list of North American writers who might review the English translation of Este domingo, 12; considerations about the tone of the novel, 18; a brief commentary about the title of the novel, 141; rough draft of a letter to the Baron von Augern, a list of books to buy (by R. Freeman, E. M. Butler, S. Sontag, Heller, Y. Mishima, V. Nabokov, C. de Laclos, Mme. de Lafayette, B. Constant), a quote in French evaluating the author's works, drawings of female figures, all in the final unnumbered pages.
Physical Description1 folder
155 pages. Dates and locations, 1967 October 23- 1968 February 8; Madrid, Spain (pp. 1-15) Puerto de Pollensa, Spain (pp. 16-155).
Notebook on El obsceno pájaro de la noche. Character analyses, discussion of the content and sequence of episodes. After considering the possibility of reworking his current material in order to create a different novel, titled Las deformaciones and combining existential and nationalistic themes, the author decides to pursue his original project. By the end of the notebook he has completed a draft for approximately one-half of the novel's third part. Narrative techniques and stylistic aspects, the novel's length and the schedule for its completion are all important concerns of the book.
Themes, politics, 2; darkness and madness, 11; the reverse side of power, 11, 20; self- destruction, 12; imagination, 13, 64, 79; fantasy, 14, 18, 33, 49, 78-79; nostalgia, 16-17; escape, 27; the Latin-American spirit, 30; witnesses, 40, 42, 122; dreaming, 49, 58; impersonation, 79; literature and life, 103-104; persecution, 113, 151; the power of the old and the useless, 119; the novel as "contemporary metaphor", 127; immortality, 1138; literary creation, 139; trash, 140; confusion of identities, of fantasy and reality, 147-149, 150; the creator and his creation, 151.
Characters, Iris; la madre Benita; don Jerónimo; Inés; Humberto (el Mudito); el niño monstruoso (Boy); la nana; los Gigantes; Rita; Brígida; misiá Raquel; el padre (de Humberto); Peta Ponce; el padre Azócar; Tito; don Clemente; la hermana (de Humberto); la madre (de Humberto).
Character Sketches, Humberto, 64, 124, 132, 136; Peta Ponce, 115-116; Jerónimo, 121-122; Inés, 137.
References, P. Neruda, 1, 8, 25; E. Orphée, 2; S. Bellow, 3; C. Fuentes, 6, 7, 10, 46, 127; N. Douglas, 16, 24; T. Williams, 59; F. Madox Ford, 66; Brueghel, 66; M. La Fayette, 107; B. Constant, 107; C. de Laclos, 107; E. Lihn, 108; R. M. Rilke, 133; R. Wagner, 134; A. Edwards, 140; J. Conrad, 143, 152; J. Cortázar, 154.
Secondary Projects, an essay on the relation between the novel and reality, 120.
Miscellaneous, references to narrative techniques and stylistic aspects, 6, 19, 20, 21, 36, 40, 44, 50, 57, 58, 63, 64, 69, 71, 72, 74, 90, 91, 104, 105, 110, 131, 138; discussion of the desired atmosphere of the novel, 80-81; financial considerations, 116-119; thoughts on the existential implications of art, 122-124; thoughts on the experimental and the traditional novel, 125.
Physical Description1 folder
160 pages. Dates and location, 1968 February 9-1968 April 11; Puerto de Pollensa, Spain.
Notebook on El obsceno pájaro de la noche. Character analyses, discussion of the content and sequence of episodes. By the end of the notebook the author has completed a draft for the fifth of six projected parts, a crucial section, according to him. The schedule for the completion of a first draft of the entire novel is an important concern. The length of each section, and of the novel as a whole, is repeatedly discussed. The notebook records a period of intense work. As the author acquires a comprehensive vision of the novel he begins to rearrange the finished material.
Themes, masks and false images, 2-3; the happiness of destitution, 9; terror, 12; the creator and his creation, 23; the epic dimension, 62; avarice, 67; fragmentation, 93; domination, 95, 97; superiority and inferiority, 109; politics, 111-112; witnesses, 135; persecution, 155; the fascination of power, 159.
Characters, Humberto (el Mudito); don Jerónimo; el padre (de Humberto); Iris; la madre Benita; el hijo (de Iris); doña Matilde; María Benítez; Romualdo (el Gigante); los cuatro ases; Damiana; Inés; Boy; Tito; Raúl; Emperatriz; Regina; Melisa; Segundo; el padre Azócar; la hermana (de Humberto); Brígida; Ana; Mercedes Barroso.
Character Sketches, Humberto, 1-3, 12, 63-64, 156-157; Inés, 136, 145.
References, J. L. Borges, 2; J. Lezama Lima, 36; C. Fuentes, 36; G. Tomaso di Lampedusa, 57; E. Sábato, 66; H. Hesse, 118; M. Vargas Llosa, 149.
Secondary Projects, a critical essay on the novel as a genre, 106-107.
Miscellaneous, financial considerations, 3-6; references to narrative techniques and stylistic aspects, 7, 8-9, 17, 24, 62, 66, 77, 90, 140, 160; thoughts of existentialist character, 36; popular and traditional songs, 47, 112-113; an evaluation of the author's inherent novelistic vision, 62; references to persons which served as models for the novel's characters, 102, 135; discussion of the novel's missing motivational elements, 138, 140 ff; distinctions between the real and the imaginary within the world of the novel, 141, 156; reference to the author's mental illness, 149; a list of novelist, last unnumbered page; drawings of female faces, front and back cover leaf.
Physical Description1 folder
433 pages [substantial error in pagination between pages 241 and 342]. Dates and locations, 1968 April 12-1969 March 30; Puerto de Pollensa, Spain (pp. 1-401, 408-417) on the plane to New York and in Denver, Colorado (pp. 401-408) Vallvidrera, Spain (pp. 417-433).
Notebook on El obsceno pájaro de la noche. Character analyses, discussion of the relations between the main characters, and of the content and sequence of episodes. After completing a draft of the novel's sixth part, the author works on a second version up to its important fourth part. The novel's length and the schedule for its completion are constant preoccupations as the author looks ahead to a third and final draft. Comments of a personal nature indicate the circumstances and the tensions which lead to a nervous breakdown. The notebook covers periods of intense work and intense inactivity, and it records contrasting moods.
Themes, nostalgia, 20, 43; self-effacement, 46, 63; witnesses, 62, 241; imagination and enslavement, 63; fear, 67, 106; divine kinship, 74; ideal characters, 85; anarchy, 90, 94, 172; voyeurism, 91-92; God and Satan, 92; reality and imagination, 108; the "imbunche", 115-117, 118; escape, 116; Tiresias, 116, 119; disguise, 230, 344; the other side, 347, 424; envy and admiration, 353; confused identities, 354; thematic compendium, 354; impotence, 362, 377; old women, 384.
Characters, Humberto (el Mudo); Boy; don Jerónimo; la madre Benita; Brígida; Inés; Iris; Rita; Peta Ponce; Sofía; Leonor; Damiana; el padre Azócar; Eliana; el padre (de Humberto); don Clemente; Emperatriz; Mercedes Barroso; Tito; la niña bruja-santa; Rita; María Benítez; Dora; Amalia; Rosa Pérez; Aniceto; Romualdo; la madre Anselma; doña María Lamas.
Character Sketches, la madre Benita, 8-9, 183; Humberto, 11-12, 77, 115-117, 210- 211; Inés, 153-154, 387.
References, G. García Márquez, 3, 6, 67, 404; J. Swift, 5, 11; I. Dinesen, 5, 344; C. Fuentes, 6, 368, 374, 404; G. B. Piranesi, 10; A. J. A. Symons, 12; J. Dos Passos, 14; E. Sábato, 15, 18; Encyclopaedists, 17; E. Kant, 17; T. S. Eliot, 17, 119; Lope de Vega, 22; F. de Rojas, 22; M. Graham, 68, 72, 81, 157; J. Lezama Lima, 77, 171, 195; W. Faulkner, 85; W. Gombrowicz, 39, 191; the Bible, 108; E. Pound, 119; Brueghel, 168; [M.] Sennett, 343; M. Vargas Llosa, 368, 374; Y. Mishima, 382; L. Durrell, 386.
Secondary Projects, notes for an address, 100; a novel about exiles, 172; a lecture on several Latin American writers, 374, 393-396; an untitled novel, 385-386; a book of essays, 392.
Miscellaneous, references to narrative techniques and stylistic aspects, 6, 14, 58, 75-76, 91, 93, 96, 352; consideration of alternative titles for the novel, 56-58, 61, 65, 192, 343, 384, 385, 422; thoughts on mythical versus legendary time, 76; financial considerations, 158-163, 370-374, 380, 390-392, 403; a list of real and imaginary characters in the novel, 166; speculations about the reception of the novel and its possible translations and editions, 195, 196, 368, 392; a list of the novels the author plans to teach at a university, 379; discussion of the possibility of including the author's nervous breakdown in the novel, 419 ff; discussion of the novel's three main strands, 424; references to the method of work, 432; drawing of a female face and a list of twenty-eight novels, final unnumbered pages.
Physical Description1 folder
189 pages. Dates and location, 1969 March 31-1969 June 18; Vallvidrera, Spain.
Notebook on El obsceno pájaro de la noche. Character analyses, plot details, constant preocupation with the sequence and content of episodes. The author starts to work on a third draft after a period of inactivity due to personal problems. He analyzed the material he has thus far, referring occasionally to the notes in Notebook 38, considered an essential source of ideas. New divisions of the novel are contemplated, it expands from three to five parts. By the end of the notebook the author is working on the draft of the second part and planning the third. The motivations linking the various episodes, different narrative techniques, the schedule for the completion of the novel, and its length are all recurring concerns. The notebook records a period of intense work during which the novel acquires a definitive shape.
Themes, the underside, 4, 15; witness, 4, 83, 89; admiration and creation, 7; substitution, 30; expulsion from Paradise, 37; father-son relations, 49; conspiracy, 51; the grotesque, 54; deception, 59; the "imbunche", 67, 74; the power of servants, 74; nostalgia, 84; gazing, 90; fantasy, 97; terror of degradation, 114, 117; mirrors, 126; love and self- destruction, 127-128; guilt, 131; executioner and victim, 137.
Characters, Humberto; Jerónimo; la madre Benita; el tío Clemente; Peta Ponce; Inés; Iris; la niña bruja-santa; Damiana; el padre (de Humberto); el Gigante (Romualdo); Boy; María Benítez; Brígida; Rita; Dora; Tito; Eliana; el padre Azócar; misiá Raquel; Segundo; Emperatriz; Miss Dolly; Larry; Berta; el doctor Azula; Melchor.
Character Sketches, Humberto, 16, 30, 52-53, 74, 84-86, 96-97, 100-101; Peta Ponce, 147-148.
References, H. James, Sr., 10; B. Russell, 14; García Márquez, 77; J. Genet, 109.
Secondary Projects, a novel about adoption, 72; a novel about multiple identities, 73.
Miscellaneous, plans to include versions of the author's nervous breakdown in the novel, 2; references to narrative techniques and stylistic aspects, 3, 5, 8, 9, 52, 57, 65, 85, 95, 106-107, 115, 144, 151, 156, 170, 179; evaluation of his feelings during the breakdown, 14; discussion of the method of work, 109; cradle songs and nursery rhymes, 120, 151; plans for the English translation of the novel, 142; discussion of the novel's kernel, 170ff.; financial calculations, last unnumbered page.
Physical Description1 folder
187 pages. Dates and locations, 1969 June 19-1969 August 19; Vallvidrera, Spain (pp. 1-178) Santander, Spain (pp. 178-197).
Notebook on El obsceno pájaro de la noche. Character analyses, preoccupation with the content and sequence of episodes. By the end of the notebook the author has completed a draft of approximately four additional chapters of the second part (chapters 6 through 9), which amount to about one-half of the novel, and he is planning in detail the third part. The author maintains a rigorous work schedule as he contemplates submitting the novel to a literary contest. The notebook records deeply contrasting moods regarding the novel, and it contains several passages of a personal nature.
Themes, reverse images and mirrors, 7; reality and fantasy, 16; substitution, 336; fantasy within fantasy, 73, destitution and power, 90; nostalgia, 143, 171, 172.
Characters, Humberto, Larry; Miss Dolly; Emperatriz; el doctor Azula; Boy; don Jerónimo; Berta; la madre Benita; Fidel Castro; Mateo; Peta Ponce; la prima fea; Brígida, el padre (de Humberto); Basilio; Melchor; Melisa; don Clemente; misiá Raquel; Mary; la hermana (de Humberto); Iris; Raúl; Zoila Blanca Rosa; Rita; Dora; el padre Azócar; Titania.
Character Sketches, Humberto, 62-63; Boy, 143-144; 158-159.
References, J. B. C. Corot, 31; S. Pitol, 48; Bertocci, 65; J. Lezama Lima, 102; G. Cabrera Infante, 102; M. Vargas Llosa, 104; J. Cortázar, 104; C. Fuentes, 104; E. Sábato, 104; L. Alas, 145; V. Woolf, 153; I. Murdoch, 158; M. Graham, 184.
Secondary Projects, a book of essays on the Latin American novel, 102.
Miscellaneous, references to narrative techniques and stylistic aspects, 16, 29, 31, 66, 99, 138; parallels between the author's nervous breakdown and episodes in the novel, 44, 76, 78, 104; distinction between real and imaginary episodes, 96-97; speculations about the success of the novel, 102; considerations about the tone of the novel, 143-144, 161; alternative title for the novel, 168; calculations, last unnumbered pages.
Physical Description1 folder
159 pages. Dates and location, 1969 August 18-1969 September 23; Santander, Spain.
Notebook on El obsceno pájaro de la noche. Preocupation with the content, motivation, and sequence of episodes. By the end of the notebook the author has completed a draft for the entire novel, with the exception of the three final chapters. Time is an important concern as, the end in sight, the author strives to finish a complete draft of the novel. The notebook records a period of intense work, and it reveals the authors contrasting moods regarding the novel, as well of feelings of a more personal nature.
Themes, fear of servants, 30; substitution, 31, 143; self-destruction, 55; desire, 55; fear, 56; perspectivism, 98; self-pity, 129; the other side of the mirror, 139; masks, 140-142.
Characters, Inés; Humberto (el Mudito); misiá Raquel; la madre Benita; Brigida; don Jerónimo; don Clemente; Iris; el padre Azócar; Boy; Rita; el Gigante; Berta; Damiana; la niña santa-bruja; Emperatriz; el doctor Azula; Malú; Basilio; Peta Ponce; el padre (de Humberto); Eliana; Juan Carlos; Mercedes Barroso.
References, G. Martínez Sierra, 14; [A. Hersey]; 30; C. Espina, 52; G. García Márquez, 88; M. Vargas Llosa, 88; C. Fuentes, 88; J. Cortázar, 88; E. Sábato, 107, 133, 159; E. Orphée, 110; A. Carpentier, 159.
Miscellaneous, references to narrative techniques and stylistic aspects, 7, 34, 62, 90, 112, 132-133; distinctions between imaginary and real episodes, 12, 14, 16; observations about the thematic structure of the novel, 33-34; speculations about possible editors, 88; comments on the method of work, 89, 113, 130-131; a list of the dates and locations in which the novel has been written, 94; reference to a "Nota preliminar" for the novel, 95; another possible title for the novel, 106; a possible theme for the author's next novel, 144; reactions of the author's wife to the novel, 151-156; observations about tone, 151, 156; an evaluation of Sobre héroes y tumbas, 159.
Physical Description1 folder
132 pages. Dates and location, 1969 October 1-1970 May 11; Vallvidrera, Spain.
Notebook on El obsceno pájaro de la noche. Character analyses, preoccupation with the content and sequence of episodes. By the end of the notebook, which centers mainly on the last chapters of the novel, the author has completed an entire version of it and, after a five-month gap, he starts to work on a final revision. The notebook records few concerns other than those relating to the novel itself.
Themes, coats of arms, 3; nostalgia, 5; packages, 27; the body as an image, 31, 32; magic and play, 60; images, 73, 74, 107; confused identities, 121; the creator and his creation, 125; labyrinths, 127-128.
Characters, Don Jerónimo; Humberto; Inés; Iris; misiá Raquel; la madre Benita; Brígida; don Clemente; el padre Azócar; la niña bruja-santa; Peta; Azula; Emperatriz; Basilio; Boy; el yerno (de misiá Raquel); Malú; Amalia; Rita; Alberto; Romualdo.
Character Sketches, Iris, 46; notes on the "evolution" of several characters, 29.
References, S. Beckett, 3; B. E. Murillo, 6; M. Graham, 20, 22; J. L. Borges, 27; C. Fuentes, 113; G. García Márquez, 113; M. Vargas Llosa, 113; E. Rodríguez Monegal, 123.
Secondary Projects, a series of short stories titled "Los vestidos", 33-34, 65; a book on the Donoso family, 68; several projects to undertake after completion of El obsceno pájaro de la noche, 68; a novel about adoption, 110.
Miscellaneous, jotting down of words that the author seems to find striking, including a list of words used by Borges, 5, 27, 60, 61, 109, 114; notes apparently taken during a consultation with a priest, 5-7; on financial calculations and considerations, 67, 111, unnumbered pages towards the end of the notebook; considerations about possible countries in which the author might live, 102; draft of a letter to the author's literary agent, 111 . 114; drawings of female faces and figures, and a list of clothes perhaps for "Los vestidos", unnumbered pages towards the end of the notebook.
Physical Description1 folder
116 pages numbered by the author, 52 pages numbered by the department for ease of reference. Dates and locations, 1970 July 15-1971 October 21; Vallvidrera, Spain (pp. 1-84) Calaceite, Spain (pp. 84-158).
The notebook records a transitional period and thus contains a wealth of projects, ideas, and themes as the author, having finished El obsceno pájaro de la noche, seeks new material. Although the profusion of ideas hinders a clear classification, four main projects sometimes borrowing elements from each other eventually emerge. All other projects are finally rejected in favor of a book concerning the "boom" of the Latin American novel, later to become Historia personal del "boom".
Main Projects,
(1) Ideas, plot details, character analyses, and discussion of temporal structure for a novel predominantly titled "La visa" (see esp. pp. 1-6. 8-46, 48-51, 61-62, 82-83, 87-89). The author also discusses its desired tone and style (11-12, 33, 44) and contemplates the possibility of incorporating material from Notebook 42 (38). A general feature of the project is its autobiographical dimension. A number of themes, centered around the notion of the dissolution of the personality, are listed as a basis for the project's conception (8-16). Other themes also appear.
Themes, the Catalan bourgeoisie, 12; the Latin American novelist's notion of reality, 19-20, 22; political engagement, 20; the search for origins, 24; exile, 27; modernismo turned into "camp"; 27; "the disease of the future", 32; nostalgia, 40; death and fame, 43, 45; one's native language, 46, 61; the spiritual atmosphere of the "boom", 47; the duality of hero and anti . hero, 49; ideals, 50; patriotism, 50.
Characters, Pepe Donoso; María Pilar; Gonzalo; Mary Foxá; el escritor; el pintor; the Goytisolos; the Moix; Sergio Pitol; the Tusquets; M. Vargas Llosa; the Princeton alumnus (Belloli) and his secretary; etc.
(2) Ideas for a narrative titled "Album de familia" (see mainly pp. 51 . 59). It would contain autobiographical elements and would be, on a certain level, a historical account of the Donoso family.
Themes, memories of bygone greatness, 52; lost legacies, 52; the search for a father, 54; social ambiguity, 54.
Characters, initially prototypes which are then substituted for historically identifiable individuals, las viejas; mi abuela; mis tías; las criadas (M. Leiva, C. Reyes, Lucrecia, Hilda); los parientes arruinados; the Yañez; the Ponces; the Portaluppi; mi tía Mina; mi madre; mis tíos; mi tía Flora; mi tía Gabriela; R. Vicuña Herboso; M. Casanova; A. Rodríguez Altamirano; doña M. Ramos; mi tía Berta; mi padre; los primos; F. Bravo; Mrs. Balfour; G. Silva; J. Valdivieso; [Marrané]; M. Jaramillo; [T. Erráquiz]; I. Figueroa; J. Vidarme; etc.
(3) Ideas, lists of main elements, outlines of main sections for a project initially titled "El Revés del pájaro" (see esp. pp. 68-77, 81-82, 94-104). The autobiographical tendencies of the previous project are developed so as to reveal, in a lengthy narrative, the personal circumstances behind the writing of El obsceno pájaro de la noche. The author refers to a draft of this proyect. The characters include many acquaintances and the themes are those which appear in El obsceno pájaro de la noche, now linked to the authors's life.
(4) Ideas, authors to be studied, topics, drafts of some paragraphs for a book of essays on the "boom" (see esp. pp. 2, 60, 62-64, 77-80, 84, 86, 87, 110-156). The project is given several titles or simply referred to as "The Boom." The author prints in capitals what could be the main thesis of the project (118-120), analyzes several aspects of Latin-American literature, and the work of some novelists, as follows, the literary atmosphere in Argentina, 123-125, 132; literary subversion, 127-128; literary contemporariness[?, contemporaneousness], 135-136; impressionistic criticism, 137; exile, 138-140; pont of view, 147-148; topics under which the novelists may be studied, 151-152; observations about the works of A. Carpentier (120-121, 130-131), J. Cortázar (126-127), M. Vargas Llosa (132-133, 149, 155), M. Puig (133-134, 143- 144, 149), M. A. Asturias (142), J. C. Onetti (146).
References, V. Woolf, 1, 80, 112, 134; A. M. Moix, 10; A. Huxley, 11, 13, 14, 19, 46; M. Vargas Llosa, 13, 20, 42, 46, 132-133, 149, 155; C. Fuentes, 12; L. Goytisolo, 13, M. Fortuny, 18; W. Morris, 18; Gaudí, 18, 78; J. Cortázar, 39, 46; [Bowles], 41; G. García Márquez, 42; Y. Mishima, 49; M. Proust, 55, 76, 90, 154; H. James, 55, 147; R. Gómez de la Serna, 78; S. Sontag, 78, 80; A. Beardsley, 78; H. de Toulouse-Lautrec, 78; J. Marsé, 78; W. Worsworth, 78; E. Wilson, 80; L. Trilling, 80; F. R. Leavis, 80; T. Mann, 81; M. Weber, 83; H. Padilla, 88; F. Sagan, 99; G. Stein, 110, 112, 117, 121; H. de Balzac, 115, 116, 131; L. Tolstoy, 116; J. Joyce, 116, 155; R. M. Rilke, 116; "The Beatles", 122; T. Hardy, 129; G. Meredith, 129; B. Pérez Galdós, 131; S. T. Coleridge, 135; B. Guido, 135; E. Lafourcade, 135; W. Faulkner, 145; E. Hemingway, 145; J. Conrad, 147; J. Maritain, 153; P. Rahv, 153; Whitehead, 153, 154; T. Veblen, 157; abundant references to Latin-American novelists, 110-156.
Secondary Projects, an essay titled "La Mujer en la literatura latinoamericana de hoy", 64; a short story dealing with a child's initiation into death, 66-67; a long narrative, about a mature couple, dealing with loneliness, love, self discovery, etc., 84-86; a book of poetry, 109- 110; a film script on the themes of envy, 156-158.
Miscellaneous, a passage from a discarded notebook recording the author's feelings, 6- 8; a "note for the passing of time", 47; financial considerations, 65; a poem, 104-109; references to political events in Cuba, 111, 122, 147; written upside down, a list of names and topics under the rubric "cursilería americana", 159; a list of home repairs, 163-160; a checklist of interviews (granted?) in newspapers and magazines from Barcelona and Madrid, 165.
Physical Description1 folder
367 pages. Dates and locations, 1973 May 18-December 20; Calaceite, Spain (1-189, 198-367) Poland (189-198).
After the completion of Tres novelitas burguesas, the author resumes the practice of keeping a notebook. The first half of the notebook records an "intermediate" period, during which "thousands of ideas" are explored. Only a few of the many possibilities considered receive more than cursory attention. The initial idea for Casa de campo almost immediately overshadows all other projects. The author deliberately stresses the intimate dimension of the notebook in order to furnish a document by which to be judged.
Main Projects,
- (1) A play on the theme of exile and returning to one's homeland (see mainly pp. 10-11, 82-91, 190-191, 194-196, 197, 200-204). A cast of characters and a list of the persons after which they are modelled are given (85).
- (2) The "Antonioni project," a script which the author hopes to submit to the film director (see mainly pp. 11-18, 41-43, 45-46, 60, 74-75, 81, 82). Not only different themes but different story-lines are explored for this project.
- (3) A novel which subsumes and transforms many of the previous ideas in the notebook (see mainly pp. 92-123, 125-130, 134-154, 156-158, 160-161, 162-164, 166-169). The increasing predominance of the author's personal concerns and of episodes from his own life turn the project into an autobiographical novel (136) and a means of self-discovery (153).
- (4) A novel soon titled Casa de campo (180). In the initial stages of the novel the author takes notes about the general atmosphere, the setting, main themes, plot details, motivation, etc., and he is concerned with the nature of the relations between characters and character categories. As the plot emerges, the sequence of events and chapters becomes a significant concern. The author also discusses the novel's linguistic characteristics (185, 197, 211-212) and its tone (174, 207, 350). By the end of the notebook he has completed a draft of the first four chapters.
Themes, order vs. disorder, 172; friendship, 174; politics, 177, 178; the outsider, 178; time, 181, 182, 203, 312; dependence, 184; anarchism, 188; "procedure", 205, 262; participation, 218; repression, 221, 241, 275; blindeness, 258; guilt, 276; fear, 276, 278, 279 . 280, 313, 314; machismo, 277, 349; independence, 295; unrecognition, 302; antagonism toward parents, 315.
Characters, Wenceslao; Augusto; Balbina; Melania; Colomba; Casilda; Hermógenes; Gertrudis (Lidia); Adriano; Judas Tadeo; [Katuk-no] Tadeo; Zoé; Felisa; Mignon; Aída; Silvestre; Berenice; Celeste; Valerio; Alamiro; Clemente; Juvenal; Olegario; Elías; Terencio; Eulalia; Anselmo; Ludmilla; Adelaida; Isidoro; Higinio; Malvina; Marcial; Cirilo; Hipólito; Agata; Aurora; Florencia; Arabela; Cordelia; Emiliano; Pedro Crisólogo.
Character Sketches, Wenceslao, 188, 209, 229-230; Colomba and Casilda, 234-235; Adriano, 238-239; Valerio, 259-260; Balbina, 301-302; Marcial, 319; Malvina, 358.
Miscellaneous (elements regarding Casa de campo) , references to persons, places, or events which furnish elements for the novelistic world, 186, 197, 203, 204, 207, 216, 237, 244, 256, 257, 262, 270-271, 275, 302, 323, 348; notes about the social division of that world, 215; a list of chapters and chapter headings, 282, 328; a list of the members of the Ventura family, 317-319; considerations about the novel's temporal structure, 329, 338, 361.
References, Q. Bell, 2, 3, 4, 5; V. Woolf, 2, 10, 14, 26, 30-32, 33-34, 46, 57-58, 64, 78, 110, 291, 352; G. D. Painter, 3, 4, 5; E. Jones, 3, 4, 5; N. Mitford, 4; N. Parra, 9; J. R. Jiménez, 9; E. Pound, 9; G. di Chirico, 9; G. T. di Lampedusa, 9; J. Joyce, 9, 41; J. L. Borges, 9; [Belatowic], 9; S. Sarduy, 10, 109, 113, 133; M. Antonioni, 11, 45; A. P. Chekov, 11, 83, 339; B. Brecht, 11, 83; M. de Unamuno, 12; M. Vargas Llosa, 17, 36, 66-68, 69, 109, 113, 132, 158, 159, 210, 215, 306; J. Cortázar, 20, 37, 48; J. M. Rugendas, 24-25; R. D. Laing, 26, 29; L. Villalonga, 32; E. M. Forster, 33, 57; G. García Márquez, 36, 69, 70, 158, 174, 184, 276, 351; C. Fuentes, 37, 61, 202, 215; J. Lemaitre, 43; L. Buñuel, 43, 44, 188; I. Bergman, 44; F. Fellini, 45; A. Huxely, 57; A. Malraux, 58; J. Dos Passos, 61; [J. R. Ribera], 61; T. Mann, 63; L. Durell, 65; E. Lafourcade, 66; E. Orphée, 66; M. Puig, 68, 132; L. Goytisolo, 68; V. I. Propp, 75; J. Galsworthy, 76; M. Proust, 78; C. Dickens, 78; J. P. Sartre, 78; W. Faulkner, 78; F. Kafka, 78; L. F. Céline, 78; H. Böll, 78; A. Strindberg, 82; E. O'Neill, 89, 91; M. L. Bombal, 103; E. Cardenal, 103; H. Padilla, 103, 152; V. I. Lenin, 104, 150; H. Marcuse, 104, 150; D. H. Lawrence, 113; J. Benet, 122; T. S. Eliot, 132; W. Bolitho, 132; N. Sánchez, 133; R. Musil, 165, 174, 234; [M. Yourcenar], 167; [J.] Andrzejewski, 170, 178; W. G. Golding, 170, 253, 272; S. Freud, 173, 182; M. Scorza, 174; W. Gombrowicz, 176; M. Meade, 182; Cuevas, 188; R. Hughes, 196; J. Verne, 196; R. L. Stevenson, 196; F. M. Dostoevskii, 197, 220; [Wadja], 192, 198, 199; K. Graham, 208; D. Arbus, 223, 249; Fauré, 242; [B.] Subercaseaux, 251; G. Vidal, 263-264, 265; N. Nicolson, 264-265; M. Wacquez, 288; J. Conrad, 332; J. Edwards, 336; E. Feydeau, 337; I. Dinesen, 337; J. Milton, 337.
Secondary Projects, an essay, to be titled " El problema de la biografía", on several biographies the author has read, 3-5; account of the author's madness, 5-7, 26, 29-30, 34-36; a narrative about old clothes, 8-9; a series of journalistic articles, 9; a collection of poems to be titled , 10; several "programas chilenos", (a) a series of articles for The New York Times about the Chilean problem, 23; (b) a novel about contemporary life in Chile, from a political standpoint, to be titled "Suicidios", 23, 58, 61-62, 63-65, 76; (c) a play about J. M. Rugendas, 24; (d) a novel about an exiled, middle-aged playwright who returns to Chile in order to write a play about J. M. Rugendas, 24-25; (e) a project, to be titled "The Chilean Journals" comprising interviews, news items, travel observations, etc., 25; a volume of essays on contemporary Spanish literature, 30, 32; a collection of short stories titled "Ideas for films" and consisting of rough ideas for film scripts to be published as short stories, 42-51; a comparative essay on M. Vargas Llosa and M. Puig, 68, 132-134, 355-356; a series of short stories dealing mainly with children, 164-166.
Miscellaneous, references to political events in Chile, 20, 21, 22, 23-25, 59, 83, 88, 93, 102, 104 . 105, 106, 110, 114, 125-126, 140, 144, 148-149, 150, 154, 155, 168, 198-199, 200, 210, 213, 214-215, 275, 339-340; observations about V. Woolf and her influence upon the author, 30-32, 33-34; an evaluation of the attitude of several Latin American novelists toward the past and the present (36 . 37), which becomes a personal judgement of them (38 . 40); a list of the author's possible literary influences, 78; financial considerations, 124, 333-335, unnumbered pages toward the end of the notebook; what seems a description of an incident on the train to Poland, 189; notes about impressions and incidents in Cracow, 192-194; notes for a prologue to Paréntesis, by M. Wacquez, 290-292; portrait of a female figure, last unnumbered page.
Physical Description1 folder
137 pages. Dates and location, 1973 December 20- 1974 February 20, Calaceite, Spain.
Notebook on Casa de campo. Preoccupation with plot details, characterization, and the relations between characters. By the end of the notebook the author has completed eight chapters and is working on the ninth. As the initial ideas become more specific, the same episodes are repeatedly modified. Many comments of a personal nature, especially concerning the author's relationship to his family and friends, alternate with the notes on the novel.
Themes, the power of servants, 1-2; beauty and violence, 6; bourgeois hypocrisy and cruelty, 17; romantic rituals and conventions, 20-23; escape, 38; unrecognition, 39; the myth of perfect love, 42; the veneer of social and moral laws, 64; the passage of values from one generation to another, 79; bourgeois hierarchy, 79.
Characters, Celeste; Zoé; Malvina; Silvestre; Ludmila; Anselmo; Casilda; Valerio; Isodoro; Olegario; Eulalia; Balbina; Adriano; Hermógenes; Pedro Crisólogo; Augusto; Melania; Wenceslao; Adelaida; Juvenal; Jenaro; Elías; Higinio; los nativos; Terencio; Hipólito; Gertrudis; Delfina; Ruperto; Cirilo; Arabela; Casimiro; Colombia; Marcial; el jefe; Mignon; el cocinero mayor; Juan; Dionisio Acropagita; Lidia; Celeste; los extranjeros; Berenice; el caballerizo mayor; el jardinero mayor; el mayordomo; Cordelia; Juan Pérez.
Character Sketches, Augusto and Melania, 21; Augusto, 40; Adriano, 75, 96; los sirvientes, 125, 128, 129; considerations about characterizations in general, 15, 50, 81, 90, 97, 123.
References, N. Nicolson, 11, 12; V. Woolf, 11, 91; M. Vargas Llosa, 13, 58-59, 79; J. Edwards, 13, 79, 101, 103, 104, 110, 112-114, 128, 131, 133; G. García Márquez, 19, 79, 91; J. Valera, 21, 24, 39; J. Verne, 38; M. Puig, 47, 58-59; P. de Kock, 53; los hermanos Gurkovicz, 54; W. Bolitho, 59, 60, 77; C. Isherwood, 60, 77; N. Sánchez, 60; S. Sarduy, 60; E. Feydeau, 71; R. L. Heilbroner, 78, 98; M. Otero Silva, 79; P. Neruda, 78, 79; J. Verne, 81; H. Fielding, 82; J. R. del Valle Inclán, 91, 92, 133-134; F. Caballero, 92, 134; I. Compton-Burnett, 92, 94, 101, 133; E. O'Neill, 93; C. G. Jung, 98; F. Fellini, 99-100; J. C. Onetti, 111; H. de Balzac, 112; M. Proust, 114; B. Pérez Galdós, 115, 134; E. Feinstein, 117, 123, 131, G. Steiner, 138; E. Pardo Bazán, 134; C. Fuentes, 135.
Secondary Projects, a book with E. Tusquets, 35, a comparative essay on M. Vargas Llosa and Manuel Puig, 47, 58, 59-60, 76-77; a play, 47; a book of memoirs or a travel journal about Chile, 58; a book of poetry, 58; a collection of short stories incorporating published and unpublished materials, 59; a novel, 70; a comparative essay on Orlando and Cien años de soledad, 91; a volume of literary criticism, 131; an anthology the articles published by the magazine Ercilla, 131; the Italian staging of El lugar sin límites, 137.
Miscellanoeus, references to persons, places, and events which furnish elements for the novelistic world, 6, 67, 75, 106, 121, 128, 129; notes about tone, 17, 37, 49, 53, 71, 89, 127; observations about the method of work followed in the writing of the novel, 9, 31, 39, 56, 64, 104, 121; a list of the children in the novel which have acquired firm traces in the author's mind, 22; financial considerations, 33-35, 56-58, 105; notes about the novel's vocabulary, 52-53; references to the political situation in Chile, 63, 78, 94, 105-106, 110, 128, 129, 136; references to the political situation in Chile, 63, 78, 94, 105-106, 110, 128, 129, 136; references to the author's relation with M. Neruda, 63, 70, 73, 79; observations about fictional time, 80, 89; an evaluation of Persona non grata, 112-114, 131; a list of the countries in which the author's work has been translated, 130.
Physical Description1 folder
322 pages. Dates and locations, 1974 February 21-1975 March 26; Calaceite, Spain (1-309) on the ship to New York (309-312) Princeton , N. J. (313-322).
Notebook on Casa de campo. Preoccupation with plot details, tone, and characterization. The first half of the notebook contains notes for chs. 9-14 and records a period of intense work on the novel. After completing a first draft the author starts a second. By the end of the notebook the first two chapters have been revised once more. As the keeping of an intimate diary becomes a literary activity in itself, work on the novel almost stops. It is replaced by numerous disclosures regarding the author (including a psychological crisis) and those around him.
Themes, sadism, 3; violence, 6; authority, 8; change and growing up, 16; religion, 37; clandestine sexuality, 39; fear, 105; repression, 132; keeping up the facade, 158; mother-son relations, 181; morality and politics, 183; extremist, 185; power, 186.
Characters, los sirvientes, Adriano; Juvenal; Juan Pérez; los extranjeros; los nativos; Celeste; el mayordomo; Cordelia; Wenceslao; el jardinero major; el chef; Elías; Augusto; Higinio; Genaro; Melania; Marcial; Florencia; Adelaida; César; Silvestre; Berenice; Terencio; Colomba; Balbina; Lidia; Ramón Fernández; Agapito Pérez; Alamiro; Hermógenes; Malvina; Delfina; Morgana; Eulalia; Casilda; Anselmo; Ludmila; Olegario; Amadeo; Valerio; Clemente; Avelino; Cosme.
Character Sketches, Celeste, 11; Adriano, 187-188; los sirvientes, 190; Augusto, 222; considerations about characterization in general, 21, 31, 32-33, 156, 173, 181, 183, 190, 223.
References, J. Edwards, 5, 34, 44, 142, 149, 150; I. Compton-Burnett, 5, 55, 101, 102, 103, 132; E. Feinstein, 5; G. Steiner, 5, 18, 19, 37, 38, 39, 47, 55, 57, 120; H. Melville, 5, 6, 55, 101, 102; B. Pérez Galdós, 6; E. Pardo Bazán, 6; T. S. Eliot, 19; L. Trilling, 19; N. Chomsky, 19; M. Vargas Llosa, 23, 34, 38, 39-40, 41, 149, 150, 155, 189, 203, 271; G. García Márquez, 34, 148, 149, 150; Burke, 38; W. Wordsworth, 38; R. Burns, 38; J. Hogg, 38; W. Scott, 19; J. Cortázar, 38, 40, 70, 149, 150, 187, 310; G. Sand, 39; M. Puig, 39, 40, 201, 203; C. Isherwood, 40; N. Parra, 41; A. Vanasco 55; O. Mandelstam, 57, 58, 120, 131, 154, 158; A. Akhmatova, 57, 131, 154, 155, 158, 300; Cazin, 66; C. Fuentes, 69, 149, 150; H. Padilla, 70; A. Castro, 73; V. Thompson, 71; G. Stein, 71; [F.] Schubert, 73; M. A. Asturias, 96; J. E. Pacheco, 95; L. Visconti, 98, 178; M. Antonioni, 98, 178; M. Aguirre, 105; J. Riviere and M. Klein, 112; S. Freud, 112; F. Will, 113; W. Shakespeare, 127; C. Brontë, 129; S. Sarduy, 138; M. L. Uribe, 142; S. Zweig, 142; Stendhal, 147; A. Robbe-Grillet, 148; A. Uribe, 148; E. Lafourcade, 150, 151; A. D. Sakharov, 154, 155; A. I. Solzhenitzyn, 154; R. M. Rike, 154; G. Flaubert, 155; M. Graham, 156; A. de Lamartine, 156; M. I. Tsvetayeva, 158; V. V. Mayakovski, 158; S. Yesenin, 158; J. Brodsky, 158; W. H. Auden, 159; B. Fernández Moreno, 159; P. Neruda, 168, 314; A. Camus, 175; A. Moravia, 181; A. Dorfman, 183, 185; A. J. Symons, 185; O. Fallaci, 186; J. Conrad, 188; M. Peake, 189, 193, 194, 200, 201, 210, 224; A. Rimbaud, 189, 226; H. James, 201, 211, 216, 218, 223-224, 287; L. Carroll, 210, 299, 300; V. Woolf, 214, 259, 300; F. Caballero, 220; P. P. Read, 224; L. Tolstoi, 228; P. Shaffer, 242, 286; B. Brecht, 286; C. Dickens, 293; D. Arbus, 299; J. Cameron, 300; N. Mandelstam, 313; F. García Lorca, 314; C. Spies, 314; I. Stravinsky, 314; M. Proust, 319; G. D. Painter, 319; P. Baroja, 319; H. James, 320.
Secondary Projects, a short book or a lecture titled "Biografía de mis novelas", 22; an analysis of J. Cortázar's work, 38 ff; a comparative essay on M. Vargas Llosa and M. Puig, 38, 39-40, 201, 203; a travel journal, 47; an essay on several novelists, 47; a short essay on the "boom" and the backdrops of literature, 71-72, 75-76; a volume of poetry titled "Album de retratos" , 146, 159, 298-300; a short story on the theme of exile and returning to the native land, 155-156; a novel in the form of a travel journal, 156; a short book on the author's madness, 174-178; an essay on "the philosophy of gardens", 183; a novel titled "Crónica familiar. .1974", 184; a play on the last period of A. Rimbaud's life, 189, 226, 313; an evaluation of H. James's notebooks, 201; a collection of short stories on ghosts and revenants, 216-218; a short novel, 301; a short story or a nouvelle titled "The Friend", 314-320; other nouvelles, 320-322.
Miscellaneous, an evaluation of J. Edwards' Persona non grata, 5; references to persons, places, and events which furnish elements for the novelistic world, 8, 57, 58, 65, 66, 129, 143, 183, 194, 200, 210, 227, 250, 287, 313; notes about the method of work to be followed in the writing of the novel, 10, 21-22, 30, 77, 95, 116, 156, 191-192, 221; notes on narrative techniques, 25, 223, 305; comments about the value of the novel, 30, 32, 178, 271; a list of the most interesting adult characters, 32; references to political events in Chile, 34, 57; financial considerations, 35-36, 213-215, 224, 225, 242-243, 258, 290-291, unnumbered pages at the end of the notebook; considerations about the works of J. Cortázar and N. Parra, 41; a list of the author's works, 46; notes about the tone of the novel, 103, 116, 165, 189, 200, 201, 209, 211, 239; lists of persons to whom the author should write, 113, 134, unnumbered pages toward the end of the notebook; an evaluation of the works of M. L. Uribe, 142-143; a list of aspects to be developed in the second draft of the novel, 157-158; a poem in French, 183; notes about the setting of the novel. 194 ff; an enumeration of the foreign families that have taken residence in Calaceite, 274; observations made on the train to Washington, D. C., 313-314; on unnumbered pages at the end of the notebook, a list of things to be done in the house, a list of persons to whom the author should say goodby, a list of things to be packed and locked, names and telephone numbers, a list of family photographs and their dates, a list of surnames beginning with "U", drawings of female figures.
Physical Description1 folder
215 pages (pages 19 and 20 are missing). Dates and locations, 1975 March 26-1976 June 29; Princeton, N.J. (1-26, 31-34) Madison, Wis. (26-30) . Hanover, N.H. (34-38) . Sitges, Spain (39-215).
Notebook on Casa de campo. Preoccupation with plot details, characterization, chapter transitions. After a long period away from home and from the novel (1-52), the author resumes work on it by re-evaluating each chapter. By the end of the notebook he has completed a second draft of the novel's first part (chs. 1-7) and the first chapter of the second part. The notebook contains a variety of personal comments about the author and those around him.
Themes, artifice, 54; power and degradation, 54, 147; seduction, 56; paranoia, 56, 63, 72; regulation of tastes, 56; factionalism, 56; conventions and love, 64, 148; parent-child antagonism, 73; imposed inactivity, 73; escape, 73; order, 73-74; censorship, 86; rituals, 113; greediness, 115; blindness, 144; hubris, 166; intermarriage, 175, 190.
Characters, los extranjeros; los sirvientes; Wenceslao; los monjes; Adriano; Foilón; Damián; los nativos; el mayordomo; Celeste; Juvenal; Balbina; Mignon; Aída; Casilda; Colomba; Juan Pérez; Agapito; Amadeo; Malvina; Valerio; Fabio; Beltrán; Hermógenes; Cordelia; Higinio; el chef; Elías; Delfina; Lidia; Augusto; Melania; Anselmo; Terencio; el caballerizo mayor; Olegario; Adelaida; Ludmila; Eulalia; Arabela; Silvestre; Berenice; Beltrán; Avelino; Cosme; Morgana; Esmeralda; Abelardo; Justiano; Cirilo; Olimpia; Teodora; Zoé; Rosamunda; Cesareón; Pedro Crisólogo.
Character Sketches, los grandes, 63-64; los sirvientes, 74; Melania, 104, 145, 179; Terencio and Ludmila, 115; Arabela, 117, 118, 119, 122, 179; Wenceslao, 147, 179; Juvenal, 171, 179; Adriano, 179; Cordelia, 179; Colomba, 179; Fabio, 179; Casilda, 179; considerations about characterization in general, 56, 63, 66, 67, 69, 74, 75, 93, 116, 117, 132, 134, 143, 145, 147, 158, 159, 177, 179, 195.
References, C. Spies, 1; I. Stravinsky, 1; F. García Lorca, 1; P. Neruda, 1, 209; P. Baroja, 4; M. Ravel, 4; R. Alberti, 5; G. Godwin, 8, 24; A. Adam, 9; F. d'Eaubonne, 9; E. M. Hanson, 9; M. Le Hardouin, 9; H. Matarasso, 9; M. Matucci, 9; H. Miller, 9, 10; E. Starkie, 9; J. R. Ullman; 9, 10; D. Lessing, 11, 36, 46; J. Nathan, 22; C. Hampton, 31; L. I. Dublin, 31; E. S. Shneidman and N. L. Farberow, 31; N. Mandelstam, 32 . 33; C. Lévi-Strauss, 36, 37a, 37b,; Carrington; 39, 46; J. Edwards, 42, 57, 78, 126, 133, 193, 199; G. Eliot, 42-43; F. M. Brodie, 43, 45, 51; M. Proust, 46; Losey, 46; C. Odets, 46; R. Wagner, 46, 47; J. M. Eça de Queiroz, 47; L. van Beethoven, 47; G. Verdi, 47; G. Puccini, 47; F. Mendelssohn-Bartholdy, 47; H. Ibsen, 47; J. Brahms, 47; R. Schumann, 47; F. Shubert, 47; C. W. Gluck, 47; W. A. Mozart, 47; G. F. Händel, H. Valdés, 48; H. Fielding, 53, 57; G. García Márquez, 56, 57, 63, 78, 82, 89, 90-91, 92, 105; L. Sterne, 57; J. M. Machado de Assis, 57, 63; Stendhal, 57, 196; R. Leoncavallo, 61; M. Peake, 71, 112, 114, 115, 118, 123-124, 129; W. Shakespeare, 78; G. A. Bécquer, 78; E. A. Poe, 78; Myers, 78; M. Vonnegut, 78; E. L. Doctorow, 78; M. Vargas Llosa, 78, 79, 88, 126 . 127, 133, 139, 193; M. Puig, 78, 79, 88; L. Goytisolo, 78, 190, 195; C. Fuentes, 78, 127, 129, 133, 139, 190, 195; M. Rododedra, 78, C. Brontë, 81; O. Mandelstam, 87; W. M. Thackeray, 88; Calleja, 88; A. Pope, 90; Couperin, 127; J. Cortázar, 133; A. Moravia, 139, 140; I. Compton-Burnett, 140; W. G. Golding, 144, 195, 196, 197-198, 204; T. Mann, 152, 166; P. Valéry, 159, 163; E. Lafourcade, 166; J. L. Herlihy, 168; A. Malraux, 181; R. Darío, 181, 183; G. D. Painter, 181; R. del Valle-Inclán, 183; J. Goytisolo, 190; C. Barral, 194, 195; F. de Azúa, 195; J. M. Cameron, 195, 209; V. Woolf, 195; La Esfera, 195, 209; L. Carroll, 196, 209; B. Constant, 196, 204; M. de Staël, 196; P. de Koch, 196; X. A. Montépin, 196; A. F. Prévost, 195; F. Soto, 200; Piero della Francesca, 209; F. Zurbarán, 209; A. Tápies Piug, 209; J. M. Rugendas, 209; D. Arbus, Clouet, 209; J. M. W. Turner, 209; A. Gaudí y Cornet, 209.
Secondary Projects, a 'nouvelle', 1-8, 10; a screenplay/filmscript titled "Rimbaud" adn "A Season in Hell," in collaboration with Lenny Schrader, 38, 44, 88, 100; a collection of poems titled "Album de retratos", 10, a series of journalistic articles on famous people that have lived in Princeton, 11; an introduction to a colloquium, 11; a book on Spanish painters of the 1950's, 23, compilation of two issues of Tri-Quarterly, 26, an article on D. Lessing's The Memoirs of a Survivor, 33; a short story or a nouvelle about pre-technological simplicity, 33- 34; a nouvelle about someone that resuscitates in the future, 39; a film script, 45; a series of articles for El sol, 46, 50, 78, 83; a series of interviews, 88; a prologue for W. M. Thackeray's The Book of Snobs, 88; a comparative essay on M. Peake and G. García Márquez, 124; a biography of a Latin American politician or author, 133; a travel journal, 134; a book titled "Carta a mi hija sobre el recuerdo", 146; a biography of, or a film script about, R. Darío, 181- 182, 210; reference to a collection of articles titled Textos, 182; a collection of essays about "Experiencias estéticas", 209-210; a collection of short stories, 210.
Miscellaneous, a list of books about A. Rimbaud, 9; financial considerations, 11, 14- 15, 23, 28, 57-59, 78, 110-111, 133, 182, 186-187, 210, last unnumbered pages; thoughts about the publication of the author's work in the U. S., 24-25; a list of names and addresses of translators and professors, 29-30; a list of persons to whom the author should write, 31-32; notes about the method of work to be followed in the writing of the novel, 37, 64, 71, 74, 76, 80, 83, 97, 105, 140, 190, 195; references to political events in Chile (39, 41, 48, 50, 85, 90, 100, 102, 146, 163, 203), Spain (41, 48, 50), and U. S. A. (203); references to the filming of the author's works, 43, 51, 52, 88, 110, 168, 182, 186; an enumeration of film productions and editions of his works, 43-44; references to persons, places and events which furnish elements for the novel, 49, 54, 56, 60, 67, 68, 69, 70, 80, 85, 98, 104, 108, 111, 144, 163, 174, 179, 205, 210; references to narrative problems, 53-54, 57, 74, 80, 195, 197; impressions about the value of the novel and its personal meaning, 61, 81, 96, 114, 183; notes about the tone of the novel, 63, 70, 71, 75, 80, 82, 105, 107, 112, 113, 116, 123, 164, 174, 196, 197; discussion of how to date the novel, 87; a list of literary tasks, 88; considerations of the consequences of publishing the novel, 188; thoughts about the novel's cover, 196; on unnumbered pages toward the end of the notebook, lists of names, "mayorazgos" abolished by O'Higgins, calculations, train schedules, telephone numbers, a female portrait.
Physical Description1 folder
170 numbered, 6 unnumbered pages. Dates and locations, 1976 August 20-1977 April 27; Sitges, Spain(pp. 1-30, 32-119), Frankfurt am Main(pp. 30-32), Calaceite, Spain (pp. 119-157), Villa Serbelloni, Bellagio (Como), Italy (pp. 158-170).
Notebook on Casa de campo. Discussion of plot details, characterization, and the sequence of episodes. After a period during which, due to personal problems, the novel remains "at a standstill" (1-32), the author resumes work on it. By the end of the notebook, chapters 1 through 10 have been rewritten. The notebook records the preoccupation of the author concerning the novel's timetable as well as his personal thoughts about himself, his family, and friends. It also contains many ideas regarding other proyects to be undertaken while temporary suspending work on the novel or after the latter is completed.
Themes, exile, 1, 14, 54; the fictional character as historical character, 4, 14, 15; history, 4, 26; temptation to relinquish one's identity, 10; nostalgia, 14, 18; youth and lore, 29; politics, 32, 108; the author-reader relation, 32; realism and artifice, 32-33; the desintegration ofauthority, 34, 75; fear, 41; old age, 55; loneliness, 55; the death of ideologies, 55, 75, 93; language, 55; personal freedom, 58; cannibalism, 58; time, 63; ethics and politics, 75, 93; a new order, 75; legality as a convention, 93.
Characters, Aglaée; Balbina; Adriano; Augusto; Wenceslao; Melania; Casilda; Juvenal; Cordelia; Valerio; Alamiro; Clemente; Fabio; Higinio; los sirvientes; Terencio; Cipriano; Arabela; Colomba; Celeste; Olegario; Amadeo; Malvina; Ludmila; Hermógenes; Lidia; Eulalia; Anselmo; Silvestre; Berenice; Adelaida; Cesareón; Agapito Pérez, Pedro Crisólogo; Justiniano; Zoé; Rosamunda; Cosme; Avelino; el mayordomo; el chef; Juan Pérez; los nativos; Cirilo; Hipólito; Abelardo; el gigantón; Esmeralda; Clelia; Juan Bosco; Teodora; Juan Nepomuceno; el caballerizo mayor; el primer jardinero; Ruperto; Olimpia; Morgana; Clarissa; Casimiro.
References, E. Mandurás, 1; G. Brenan, 1, 2, 3, 4, 8, 15[a]; C. Isherwood, 2; R. Alberti, 2; Celaya, 2; M. Aub, 2; L. Buñuel, 2; P. Picasso, 2; J. Guillén, 2; G. Orwell, 2; L. Carrington, 3, 9; M. Campbell, 3; V. Sacksville-West, 3, 11; H. Nicholson, 3; E. L. Doctorow, 4; T. Capote, 4; S. Sontag, 4, 11; R. Burton, 4; The Other Victorians, 4; L. Carroll, 4; M. Camerón, 4; Lartigue, 4; A. Noé, 4; D. Arbus, 4, 156; V. Hugo, 4, 26; J. Edwards, 4, 13, 14, 20, 23, 26, 27, 155; B. Esquia (D. Viñas), 4; L. Murúa; P. Matas, 5, 13, 20, 23; Nancy Winter, 5, 24; S. Laiter, 7, 20, 23; H. Broch, 11; A. Toynbee, 11; J. L. Barrault, 11; M. Antonioni, 11; G. Mistral, 11; U. Eco, 11; Q. Bell, 12, 13; R. Darío, 14, 15[a]; G. D. Painter, 14; F. García Lorca, 15; P. Neruda, 15; A. Machado, 15; J. R. Jiménez, 15; R. del Valle-Inclán, 15;R. C. Ballester, 15, 15[a]; R. Pérez de Ayala, 15[a]; M. de Unamuno 15[a]; P. Baroja, 15[a]; V. Woolf, 15[a], 20, 26, 88; A. Rimbaud, 18; Blest-Gena[?], 23; G. Carnero, 25, 26, 27; Crónica, 26; Stendhal, 26; V. Nabokov, 26; G. Steiner, 26; F. M. Ford; L'Espoir, 26, 27; E. Hemingway, 26, 27; D. Lessing, 26; N. Mandelstam, 26; H. L. Van Loon, 26, 27; L. Visconti, 27, 29; G. Mahler, 29; M. Ravel, 30; T. Mann, 38; H. D. Thoreau, 44; Walden Two, 44, 61; D. Viñas, 55; S. Kubrick, 56; C. Fuentes, 56; E. Lafourcade, 61; M. Vergara, 61; H. Valdés, 125, 140, 147, 151, 153, 157; E. Wharton, 170.
Secondary Projects, A collection of essays to be titled "Textos II", 3; a series of articles for El sol, 3; an interview, 3; several articles, 4; a book of short stories based on notes in notebook 46, 9-10, 22; first-person short novel located in Sitges about a famous author, 10, 14- 20, 28; an article to be titled "Breves Encuentros" about great individuals the author has met, 11, 24; a short novel on the theme of willing decadence and the loss of one's memories, 12, 160, 167, 170; other short novels, 13-14; a film script on melodramatic love, 28-30; the publication of fragments from the author's notebooks, 32; a film script on difficulties in the relationship between a man and a woman, 33-34; a short on death and resurrection, 37; a biography of the author's wife which would illustrate the fate of the Hispanic woman, 43, 44; a film script on Walden and Walden Two, 44,45; a film script about A. Rimbaud, 44; a novel on Latin- American exiles living in Spain, 54-55, 59, 105, 160; a book of an autobiographical nature to be titled "Meditaciones genealógicas", 108-109, 127; a short novel to be titled "El expreso" on the themes of hatred, insecurity, and being out of place, 159-160, 167, 170; a short novel to be titled "el amigo" on the theme of political engagement, 162-163, 166; inclusion of several of the above short novels in a book with a frame narrative to be titled "Villa Serbelloni", 166, 168, 170.
Miscellaneous, reference to an article for El sol about G. Brenan, 1-3, 8, 11; references to the filming of the author's works, 5, 13, 22, 23, 105; introspective passages, 5-8, 13, 22, 24, 26, 30, 36-37, 75, 86-87; discussion of the purpose of the notebook, 13; references to peoples and events which furnish elements for the fictional world, 14, 17, 54, 55, 61, 64, 65, 71, 72, 81, 82, 87, 112, 140, 162; references to articles for El sol and Siesta, 22, 26, 108, 120; indications about the method of work to be followed in the composition of the novel, 30, 40-42, 46, 47, 56, 59, 79, 80, 101, 128; observations about the publication of the author's works, 31; a list of people in publishing houses and their addresses, 31-32, references to narrative techniques, 32- 33, 35, 55, 76, 94, 113, 140, 143, 147, 148, 151, 153; indications of the author's attitude towards the novel, 36, 43, 46, 128, 154; notes about characterization, 41, 57, 58, 62, 70, 76, 86, 117, 119, 145; timetables for the writing of the novel , 42, 43, 44, 45, 46, 56, 58-59, 63, 74, 88, 101, 112, 121, 139, 154; notes about the tone of the novel, 46, 75, 76, 93, 121, 128; drafts of actual passages in the novel, 52-54, 126-137, 152-153; references to political events in Chile, 54, 61, 65, 75, 81, 82, 87, 94, 95, 139, 140-41, 154, 161; a list of revisions to be made after a rereading of the novel, 47-49; considerations about returning to Chile, 54, 154; observations about the length of the novel, 56, 89; a list of the novel's main characters and their family relations, 62; real counterparts of the allegorical elements in the novel, 58, 61, 63, 65, 72, 77, 81, 85, 87, 94, 139, 140; main references to the author's works, 104, 105, 126, 149; plans for entering the novel in the Planeta Prize contest, 121, 158; preoccupation with the political consequences of publishing the novel, 154; on unnumbered pages towards the end of the notebook, instructions regarding the upkeep of the author's home, phone numbers and addresses, finantial calculations.
Physical Description1 folder
147 numbered pages. Dates and locations, 1977 April 28-1978 April 7; Villa Serbelloni, Bellagio (Como), Italy (1-27); Sitges, Spain (27-29, 65-107); Calaceite, Teruel, Spain (29-65, 107-147).
Notebook on Casa de campo. Discussion of plot details, characterization, and the sequence of episodes. There are long entry gaps during the first half of the notebook as the author's conviction in the novel weakens. During this period, several alternate projects are considered as a respite in the writing of the novel. When the author begins to work steadily on it once more, he goes over Chapters 1 through 10 and finishes reviewing and rewriting half of Chapter 11, originally written several years back. While the notebook points to several future proyects, it also records a critical period in the creation of the novel as the author breathes new life into it. There is a substancial error in pagination, which skips from page 70 to page 90.
Themes, political extremism, 26; "le grand style", 28; race, 29; ugliness, 30; exiles, 48; hubris, 68, 72; political ostracism, 72; language, 74; class differences, 74; feminism, 74; inability to decide, 92; the tree of knowledge, 92; time, 2.
Characters, Wenceslao; Adriano, Agapito; Arabela; Amadeo; Juvenal; Melania; los nativos; Augusto; Valerio; Aglaée; Teodora; Zoé; los sirvientes; Abelardo; Colomba; Francisco de Asís; Cordelia; Juan Pérez; Casilda; Fabio; Balbina; Aída; Mignon; Mauro; Higinio; Pedro Crisólogo; el mayordomo; Malvina; Lidia; Berenice; Celeste; Ludmila; Adelaida; Anselmo; Terencio; Eulalia; los extranjeros; Silvestre; Alamiro; el chef; Colomba; Cosme; Justiniano; Hermógenes; el caballerizo.
Character Sketches, Zoé; 28; Juan Pérez, 72; Balbina, 72; Ludmila, 74; Terencio, 75- 76; Wenceslao, 110; Amadeo, 133.
References, H. James, 3; E. Wharton, 3, 5, 8; Brocklin, 5, 6; Davenport, 10; J. Edwards, 10, 139, 140; Tale of Genji, 12; G. G. Simpson, 12; V. Woolf, 23, 96; M. Vargas Llosa, 27; R. M. Rilke, 28; A. Chekhov, 29, 32, 34, 37, 38, 39, 40; Calder, 35; T. Williams, 35; H. Valdés, 37; Gerald Murphy, 38, 39; F. Scott Fitzgerald, 39, 40, 110; L. Tolstoy, 40, 44, P. Neruda, 40; Knitley, 41; Turgeniev, 41; G. Eliot, 44; G. Chaucer, 44; R. Dario, 44; F. Chopin, 44, 118; Brandenburg Concerti, 45; J. Brahms, 45; C. Baudelaire, 45; H. Melville, 49, 50, J. Cortázar, 50, 51, E. Sábato, 51, La bahía de silencio; F. P. Schubert, 53; P. P. Rubens, 53; F. Brodie, 56; M. Schawb, 57; R. Burton, 58-60, Lytton Stratchey, 58; Marqués de Lozaya, 60-61; T. Mann, 63, 64, 143; Pericot, 63, 64; L. Alas, 64, 143; Norman Douglas, 64, 143; G. García Márquez, 67; "Tristan and Isolda", 70; Poussin, 75, 115, 122, 131, 132, 139, 140, 141; L. Sterne, 95; Balthus, 102, 103; M. Duchamp, 103; M. Drabble, 125; E. M. Forster, 126; G. F. Handel, 128; J. S. Bach, 128; L. van Beethoven, 128; Pope-Hennessy, 130, 142; The Other Victorians, 142; J. Joyce, 143; Clarín [Leopoldo Alas y Ureña], 143; La Regenta, 143.
Secondary Projects, a book of short stories conceived towards the end of notebook 48 on the themes of being out of place, identity problems, exile and political engagement, 2-9, 25; an autobiographical account to be titled "Carta genealógica a mi hija", 14-16, 25; a book of short stories, generally on the theme of exile, with the following titles, "Arrurrurrupata," "La calle del pecado," "Batik y macramé," "El pinto," "La esposa modelo," "La roulotte," "El vizconde," El héroe," "Talgo," and "Un jardín", 32, 43, 49-55, 95, 143; articles for Quest magazine, 31, 38; a biography, possibly of R. Darío, 44; a biography of Sir R. Burton based on a musical structure, 57-60; a novel to be titled "El bisonte echado junto al fuego," based on the Spanish turn-of-the- century aristocracy and on the theme of Spanish provincialism, 60-61, 143-144; a play on the lives of M. Milnes, R. Burton and A. C. Swinburne, 142.
Miscellaneous, indications of the author's attitude towards the novel, 1, 10, 11, 12, 48, 71; references to political events in Chile, 1, 18, 16, 19, 31, 37, 53, 54, 55, 70, 72, 73, 77, 101, 141, and in Argentina, 51-52; financial considerations, 9, 23, 37, 56, 128, 136-137, 139, 140; indications about the method of work to be followed in the composition of the novel, 11, 25, 77, 78, 109, 121, 135; real counterparts of the allegorical elements in the novel, 16, 19, 25; references to narrative techniques, 13, 14, 17, 20-21, 23, 25, 46, 66, 67, 69, 72, 74, 75, 94, 110, 113, 125, 147; notes about the tone of the novel, 20, 37, 69, 93, 95, 101, 112, 121, 124, 136, 142-143, 145; introspective passages, 23, 31, 56, 128; a list of what seems to be foreign language editions of the author's works, 24; a list of final decisions concerning the structure of the novel, 25; notes on characterization, 27, 29, 30, 70, 72, 75, 103, 141; references to peoples and events which serve as the bases for fictional elements, 28, 33, 37, 40, 42, 43, 48, 70, 73, 74, 75, 77, 101, 121, 135, 141, 144, 145; list of people to whom the author should write, 30, 45, 46, 47, 65, 71, 100; a list of comments on the novel made by C. Balcells, 66; plans for the publication of the novel, 137; plans for entering the novel in the Planeta Prize contest, 137.
Physical Description1 folder
127 numbered pages. Dates and locations, 1978 April 10-1978 August 26; Calaceite, Teruel, Spain.
Notebook on Casa de campo
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Consists of notes on La desesperanza for "Funeral" and "Fiesta."
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TMs, pp. numbered 1-93, ANs and holograph corrections
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TMs, pp. numbered 2-76, ANs and holograph corrections
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TMs, pp. numbered 77-147, ANs and holograph corrections
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TMs, pp. numbered 148-86.
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TMs, pp. numbered 187-225, ANs and holograph corrections
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TMs, pp. numbered 226-34, 232-52.
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TMs, ANs and holograph corrections
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AMs, pp. numbered 333-39, 388-90; TMs, pp. numbered 340-87, 391-407; ANs and holograph corrections
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This series consists of Donoso's correspondence with family members, publishers, and literary friends, such as Latin American writers Carlos Fuentes, Ernesto Sábato, Gustavo Sainz, Mario Vargas Llosa, and Gabriel García Márquez, Donoso's literary agent Carmen Balcells, and filmmaker Luis Buñuel. See also VI. Additional Papers for recent acquisitions of additional correspondence.
Correspondence is organized chronologically by date, and then alphabetically by correspondent. Unidentified letters are filed at the end of the corresponding general folder when the first initial of the surname is known, or at the end of each year. A letter count after each name is provided.
Physical Description21 boxes
Consists of correspondence with individuals such as George Roth, Daniel Moyano, and Gail Godwin, as well as others.
Arranged alphabetically by correspondent.
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Physical Description1 folder
2 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
13 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
5 letter(s)
Physical Description1 folder
4 letter(s)
Physical Description1 folder
4 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
4 letter(s)
Physical Description1 folder
4 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
7 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
6 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
41 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
5 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
9 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
5 letter(s)
Physical Description1 folder
13 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
5 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
7 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
4 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
7 letter(s)
Physical Description1 folder
Consists of correspondence with individuals such as Hugo Carrillo, Paul Engle, and Ninfa Santo, as well as others.
Arranged alphabetically by correspondent.
Physical Description1 box
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
4 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
35 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
5 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
7 letter(s)
Physical Description1 folder
11 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
35 letter(s)
Physical Description1 folder
19 letter(s)
Physical Description1 folder
17 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
7 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
6 letter(s)
Physical Description1 folder
4 letter(s)
Physical Description1 folder
5 letter(s)
Physical Description1 folder
6 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
6 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
5 letter(s)
Physical Description1 folder
14 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
8 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
7 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
4 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
11 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
8 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
4 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
4 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
5 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
13 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
4 letter(s)
Physical Description1 folder
4 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
5 letter(s)
Physical Description1 folder
6 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
Consists of correspondence with individuals such as Agence Hoffman, Gustavo Gili, and George Starbuck, as well as others.
Arranged alphabetically by correspondent.
Physical Description1 box
9 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
5 letter(s)
Physical Description1 folder
5 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
32 letter(s)
Physical Description1 folder
9 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
4 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
9 letter(s)
Physical Description1 folder
8 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
6 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
5 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
4 letter(s)
Physical Description1 folder
11 letter(s)
Physical Description1 folder
15 letter(s)
Physical Description1 folder
9 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
7 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
5 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
9 letter(s)
Physical Description1 folder
14 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
23 letter(s)
Physical Description1 folder
21 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
12 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
5 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
8 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
6 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
5 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
5 letter(s)
Physical Description1 folder
7 letter(s)
Physical Description1 folder
6 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
8 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
7 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
4 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
5 letter(s)
Physical Description1 folder
6 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
8 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
5 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
6 letter(s)
Physical Description1 folder
5 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
4 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
4 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
7 letter(s)
Physical Description1 folder
Consists of correspondence with individuals such as Alfred A. Knopf, Inc., Columbia University, and Leteraduta, as well as others.
Arranged alphabetically by correspondent.
Physical Description1 box
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
4 letter(s)
Physical Description1 folder
4 letter(s)
Physical Description1 folder
22 letter(s)
Physical Description1 folder
15 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
4 letter(s)
Physical Description1 folder
5 letter(s)
Physical Description1 folder
32 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
4 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
6 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
4 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
4 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
5 letter(s)
Physical Description1 folder
8 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
4 letter(s)
Physical Description1 folder
4 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
4 letter(s)
Physical Description1 folder
9 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
10 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
4 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
2 letter(s)
Physical Description1 folder
5 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
4 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
3 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder
4 letter(s)
Physical Description1 folder
1 letter(s)
Physical Description1 folder