Ellen Levine Literary Agency - first at Curtis Brown Aaron's book An American Ghost (what is the correspondence about?); Working on Spill and Calico jacket by Bob Ziering MKM's visit to Aaron in summer 1975 - where? both major and minor revisions Edwin Honig's poem "Bodega, Goodbye" film interest searching for British options; interest from Denmark; paperback reprinting lots of reviews; lots of stuff about sending author copies, Bodega Volunteer Fire Co fundraiser; problem about sending review copies; confusion about how many review copies would be sent - author upset interest from Denmark and film rights (Compass Productions) Judy Long's own book Volunteer Spring

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Correspondence primarily between McElderry and Anglund regarding this book of poetry for adults. The file is less complete than many others in collection, including only letters from after the book was published, as well as a contract. Most of the correspondence concerns promotion and book sales: other correspondents include Anglund's husband Robert; Sir William Collins of Collins Publishers, London; and Faith Brunson of Rich's, Inc. in Atlanta, GA. Includes a handwritten note with drawing from Anglund to McElderry.

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Correspondence between McElderry, Judy Long and three people at Andre Deutsch London (Anne-Louise Fisher, Pamela Royds and Polly Dunnett), regarding the American publication of fourteen Hans Christian Andersen stories illustrated by Ardizzone. There is no direct correspondence with Ardizzone. Letters between McElderry and Royds also discuss Ardizzone's work on illustrations of Joseph Jacob's English Fairy Tales, Ardizzone's death in November 1979, David McPhail's Captain Toad and the Motorbike and joint work with Erik Blegvad. There are also letters between McElderry and Laura Cecil, Ardizzone's agent; in addition to Ardizzone they discuss Irina Hale's Chocolate Mouse and Sugar Pig, Niki Daly's Vim the Rag Mouse and Daly's illustrations for Maybe It's a Tiger by Kathleen Hersom.

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Correspondence primarily between McElderry, Erik and Lenore Blegvad, Judy Long, and two representatives of Collins Publishers, Linda Davis and Linda Pooley, regarding Burnie's Hill, a traditional British rhyme illustrated by Erik Blegvad. Collins published the book in the UK. Correspondence is fairly limited; topics include contract discussions and how to attribute the text. There is also much discussion of The Winter Bear, a Ruth Craft text published with Blegvad's illustrations two years before and reprinted around the same time as the publication of Burnie's Hill.

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

the usual trouble with the mail discussion of new book on dogs Linda Davis at Collins interested in taking it (not knowing about agreement with HH) - also Let's Marry Said the Cherry if Macmillan turns it down; Gwen Marsh at Dent also interested interest from Sweden enthusiasm from John Leibfried Jr., a PA bookseller interest in a recording from American Printing House for the Blind (Louisville, KY) concern about royalties

Watergate, children (Peter and Kristoffer) other authors: Robert Norton and Trina Schart Hyman; N.M. Bodecker - son Niels visiting the Blegvads; Oates of Eden by William Corlett;

Barbara Douglas, MKM secretary

Correspondence primarily between McElderry, Judy Long, representatives of Artemis Verlag (Bruno Mariacher and Rosemarie Roth), and representatives of Methuen London (Rosemary Martin), regarding Bolliger's The Lonely Prince, illustrated by Jürg Obrist. There is no correspondence with Bolliger, but there are a few letters from Obrist, who pitched the book to Atheneum. Though Obrist initially approached McElderry, Jean Karl considered it for her list before it was passed back to McElderry due to cost concerns. Correspondence includes several working translations of the story, originally written in German with the title "Heinrich;" other topics include negotiation for open market distribution rights, printing and binding trouble, accounting difficulties between Atheneum and Artemis, and reprinting of the work. Later correspondence with Methuen also regards Obrist's The Miser Who Wanted the Sun.

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Folder contains primarily correspondence, both personal and professional, with/regarding the following individuals: Lucy Boston, Peter Boston, Dr. Sibylle Goller, Reet Nelis (The Bodley Head), Stephanie Ives (secretary to Reet Nelis), Barbara Elleman (American Library Association), Margaret Clark (The Bodley Head), Marianne Carus (Cricket Magazine), Jane Jordan Browne, Adele Leone Hull (Pocket Books), Jane Bloomfield (secretary to Reet Nelis). All correspondence is related to the publication of The Fossil Snake (1975), written by Lucy Boston and illustrated by Peter Boston. Because The Fossil Snake was published in both the US and the UK, a significant portion of the correspondence is between McElderry and editors at the UK publishing house (The Bodley Head), regarding the dual publication process. Specific professional topics discussed include jacket illustrations, line edits to the manuscript, conversions between British slang and US slang, the terms of Lucy Boston's contract, the serialization of the book in Cricket Magazine, and an inquiry about optioning movie rights. Personal topics discussed include the death of McElderry's husband, repairs to her apartment after a pipe burst, and the economic climate (including its effect on the publishing world).

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Folder contains primarily correspondence, both personal and professional, with/regarding the following individuals: Lucy Boston, Margaret Clark (The Bodley Head), Reet Nelis (The Bodley Head), Harry Ford, Siu Zimmerman, Clifton Fadiman, and Judy Long. All correspondence is related to the publication of Perverse and Foolish (1979), a memoir by Lucy Boston. Because the book was published in both the US and the UK, a significant portion of the correspondence is between McElderry and editors at the UK publishing house (The Bodley Head), regarding the dual publication process. Specific professional topics discussed include the release schedule, jacket copy, line edits to the manuscript, and Boston's concerns about bad reviews once the book was released. Specific personal topics discussed include McElderry breaking her foot, Christmas celebrations, and McElderry's office moving to a new building. Accompanying the correspondence are the contracts for Perverse and Foolish.

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Chronological order. Pt. 1 contains correspondence from 1971 to 1977.

Folder contains primarily correspondence, both personal and professional, with/regarding the following individuals: Lucy Boston, Margaret Clark (The Bodley Head), Peter Boston, Elizabeth Vellacott, and Elling Aannestad. Specific professional topics discussed include Boston's decision to move from Faber to Bodley Head, her transition between the two publishing houses, McElderry's transition from Harcourt to Atheneum, and Boston's work on her memoirs. Specific personal topics discussed include Boston's birthday presents and celebration, work on Peter Boston's house, and Watergate.

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Correspondence primarily between agents at Atheneum (McElderry, Judy Long, associate editor Paula Schwartz, and designer Felicia Bond), agents at Victor Gollancz (Joanna Goldsworthy and Stephen Bray), and agents at Curtis Brown (Marilyn Marlow) regarding Branfield's novel about the friendship between a teenage girl and an elderly man. There is also correspondence between Branfield and McElderry. The book was originally published in the UK by Victor Gollancz and picked up by Atheneum. Correspondence topics include edits for the American edition, including language changes, discussion of the work's title, design for the American edition, reviews, motion picture interest and the novel's consideration for a Carnegie Medal. File also includes a copy of Victor Gollancz's complete 1982 list.

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

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Correspondence between Brindze, McElderry, and Judy Long, regarding the non-fiction book Look How Many People Wear Glasses. Topics include edits to the manuscript, discussion of the illustrations, and reactions to the book from eye doctors and other professionals. McElderry and Brindze also discuss Brindze's interest in writing a book about lighthouses. Additionally, there is correspondence with members of the New York Academy of Sciences, which gave the book an Honorable Mention in its Science Book Award program, and with Patrick Hardy of Kestrel Young Books, which considered publishing the title in the UK.

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General correspondence between Brown and McElderry. They discuss their mutual disappointment with the printing of Brown's book The Bun (published by Harcourt Brace), the possibility of a picture book by Brown's neighbor, and a visit between Brown and Susan Cooper.

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

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

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General correspondence between Estes and McElderry. Many of the letters regard family: a library school recommendation for Estes's daughter Helena written by McElderry; the heart attacks of Estes's brother Clarence; the death of brain cancer of Helena's husband Stephen Haeseler; and reports of vacations, including a 1979 trip to Spain and Tangiers in which Estes and her husband visited with authors Virginia Sorensen and Alec Waugh. Related to Estes's work, correspondence topics include Estes's growing dissatisfaction with Harcourt Brace Jovanovich; reviews of The Tunnel of Hugsy Goode; Estes's fanmail; whether Estes should illustrate Ann Warren Griffith's story "The Bed Book"; concerns about royalties; submission of work for potential publication including "Jimmy Mannikin," based on stories Estes wrote for Helena, and "The Flea Circus," originally published in Cricket Magazine; a speech Estes gave in appreciation of children's librarian and author Anne Carroll Moore; and discussion about whether Estes should donate her personal archive to the Kerlan Collection at the University of Minnesota. There are also a number of poems written by Estes to McElderry, including "Sad Ballad of an Analogous Man," about Sidney Long, written after he wrote a bad review of Hugsy Goode in the New York Times (spring 1972), and "There once was a girl in Barbados," written after McElderry's vacation to Barbados (April 5, 1975).

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

General correspondence between Farmer and McElderry, and between McElderry and others, especially her agent Deborah Owen, regarding Farmer's work. Professional correspondence regards several of Penelope's projects ultimately not taken on by Atheneum, including The Story of Persephone (Collins, 1972), a collection of Farmer's poems (1974), and Coal Train (William Heinemann, 1977). Other professional correspondence includes discussion of a promotional booklet about Farmer published by Atheneum in winter 1972, an October 1976 article about Farmer in Horn Book Magazine, and the unauthorized use of lines from Farmer's 1969 novel Charlotte Sometimes in a song by The Cure. McElderry and Farmer discuss three of Farmer's visits to the US: a fall 1972 visit to New York; a summer 1973 tour sponsored by Atheneum, including appearances at the Intermountain conference in Utah and the Loughborough conference in Towson, MD, publicity tours of the southwest and California, and Labor Day weekend with McEdlerry and her husband on Nantucket; and a summer 1975 visit to New York accompanied by her husband Michael Mockridge and their children. Personal correspondence includes discussion of Farmer's separation from Mockridge in 1974, several letters from McElderry to Mockridge, Farmer's illness in spring 1980, the publication of Farmer's first adult novel in 1984, and her remarriage.

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Correspondence primarily between McElderry, Farmer, Farmer's agent Debbie Owen, and Jane Birkett at Chatto & Windus, which copublished the book, regarding this mystery novel. Castle was Farmer's first book with Atheneum; early correspondence discusses the possibility of Harcourt Brace Jovanovich releasing Farmer from her contract. Other topics include general editorial suggestions (e.g. the ages of the characters, shortening Farmer's long sentences, and the novel's conclusion) and line edits, as well as discussion about whether Atheneum would use the English jacket, transatlantic differences in spelling and punctuation, design and printing concerns, and promotion and reviews of the novel. McElderry and Farmer discuss McElderry's visit to England in the spring of 1972, and Farmer's October 1972 visit to New York, including a promotional cocktail party at the Cosmopolitan Club. There are also Christmas letters from Farmer's children to McElderry. The file contains a letter from Ursula Le Guin with her thoughts on Castle and her involvement in a public controversy she calls "the Road Dahl affair;" there is also a signed letter from the actress Joanne Woodward explaining the appearance of Castle in her film Summer Wishes, Winter Dreams. Correspondence between Birkett and McElderry includes discussion of Susan Cooper's work.

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Correspondence between McElderry, Farmer, Jane Birkett at Chatto & Windus, and Farmer's agent Deborah Owen, regarding this novel about a pair of friends and their magical sea shell. Topics of correspondence include general editorial notes, line edits, the difficulties of co-editing with Birkett, jacket illustration by Antony Maitland, attribution of a poem briefly excerpted in the novel, reviews and further interest, and finally the remaindering of the book in 1983. McElderry and Birkett also discuss Susan Cooper's work.

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

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Correspondence mainly between Frasconi, McElderry, and Frasconi's wife Nono, regarding a number of Frasconi's projects.

correspondence with Pura Belpre White, arranging for her to meet Frasconi; Frasconi illustrating White's collection of Puerto Rican tales? letters to G.C. Alberghini, secretary general of the Children's Book Fair in Bologna; Frasconi asked to be part of 7th exhibition for illustrators Dorothy Crispo's "Estevanico -- Negro Discoverer of the Southwest" - reffered to MKM by Frasconi Susan Manchester's Marine Bestiary or Sea Circus son Miguel - asking MKM to be a reference for conscientious objector status; and to Pablo about his films at the Esther Bear Gallery in Santa Barbara Mae Durham Roger, film about Frasconi other exhibits of his work at La Casa del Libro in San Juan, the Cayman Gallery, Terry Dintenfass Inc (NYC) letters of recommendation for Guggenheim fellowship and reappointment at SUNY Purchase

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Correspondence between McElderry, Fransconi, Dana, and Dana's agent Joan Daves regarding this bilingual version of Gabriela Mistral's story Grillos y Ranas, translated into English by Dana and illustrated by Frasconi. Topics include discussion of how many colors the book will be printed in, color saturation of the pages, how the book should be bound, the need to increase Spanish-language and bilingual collections in libraries, and the beginning of conversation about the next Mistral book the team planned, The Elephant and his Secret. The file includes a xerox of one of the mock ups for the book. Much of the correspondence regards marketing: McElderry submitted the title for the American Library Association's Mildred Batchelder Award for most outstanding translation of a children's book, Dana and Frasconi arranged to exhibit the original artwork at Brentano's Bookstore in Manhasset, NY and stage a dramatic performance there on November 16, 1972, and Dana read the book aloud on WBAI's children's storytelling program. McElderry also sent the book to institutions such as the Council for Interracial Books for Children, and La Casa del Libro in Puerto Rico. The file includes reviews and letters of reaction from booksellers and friends. It also includes correspondence related to Dana's other work, including her April 1972 recognition by the American Center of PEN for other translations of Mistral, and a talk she gave at the Israel-Ibero American Institute in 1973. Additionally, there is correspondence related to the braille edition of the title published by Howe Press of Perkins School for the Blind.

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Correspondence primarily between McElderry, Goldsmith and Paula Schwartz, regarding this novel about a girl who is left in charge of the house while her father is away. Topics include general changes and line edits from Schwartz, discussion about the jacket by Elise Primavera, interest from a publisher in South Africa, and McElderry's expression of continued interest in Goldsmith's work.

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Correspondence primarily between McElderry, executive editor Judy Long, Goodall and Richard Garnett at Macmillan London regarding this pictorial autobiography of Goodall's life from birth to his enlistment in World War II. The correspondents sometimes use "Before I Was Thirty-One" as a working title. Like An Edwardian Summer, the book began as a gift for Goodall's wife. Topics of correspondence include how many copies of the book Atheneum will take from Macmillan, pricing, the book's title, differences between the British and American editions, how to handle a budget overage, interest in Japanese rights from the Japan Uni Agency and McEdlerry's frustrations with Garnett, whom she called "eccentric" (3 February 1981). The file also includes discussion of how to cover up a racist Hitchy Koo doll in one of Goodall's illustrations. Many other Goodall projects are discussed, including An Edwardian Season, Edwardian Entertainments, Victorians Abroad, John S. Goodall's Theatre: Sleeping Beauty, Shrewbettina and Paddy Pork pop up books, and a proposed project called "The Story of Emily" or "The Red House." McElderry, Goodall and Garnett also discuss the UK's political and economic troubles of 1981 and how they might affect the publishing industry. The book went out of print in 1986.

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Correspondence between McElderry, secretaries Barbara Douglas and Judy Long, Goodall, and Macmillan London staff Marni Hodgkin, A.D. Maclean, and Richard Garnett about this book of paintings depicting a day in the life of two boys during King Edward's reign. The project began as a gift for Goodall's wife Margaret and became the first in a series of pictorial works about life in England at the turn of the 20th century. Correspondence topics include how to market the book for both adults and children, whether there should be text to accompany the pictures and who should write it (Harold Macmillan eventually wrote a short foreward), size and design of the book, whether to print in Hong Kong or in England, how to insure the quality of the printing and McElderry's disappointment with the printer's initial work, slight differences in layout between UK and US editions, and McElderry's April 1976 visit to the UK. There are also letters between Marvin S. Brown, executive vice president of Atheneum, and Theresa Sacco, director at Macmillan, discussing disagreements between the firms about payment schedules for this book and future projects. Initially, McElderry had hoped that Artemis Verlag of Switzerland would join the printing run with Macmillan and Atheneum, and the file contains correspondence with Bruno Mariacher regarding his decision not to take the book due to its lack of text; a Dutch version was printed at the same time as the US and UK editions. The file also includes xeroxed mockups of the volume's cover and a draft of Macmillan's foreward edited by McElderry. Other projects of Goodall's discussed include Creepy Castle, Naughty Nancy, Surprise Picnic and Paddy Pork's Holiday; McElderry also discusses N.M. Bodecker's It's Raining Said John Twaining and Irene Haas's The Maggie B. McElderry writes to Goodall about his artwork for the 1976 Children's Book Council Book Week and the committee's request for Goodall to change the skin color of the little boy in his illustration. Correspondence also includes personal notes from friends to McElderry congratulating her on the volume, letters expressing interest from film studio Weston Woods and pulishers in Israel, and a letter from Gunars Mencis of The Bradford Exchange, expressing interest in using Goodall's work for their collector's plates.

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Three pieces of miscellaneous correspondence related to Goodall's Creepy Castle and An Edwardian Holiday.

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Correspondence primarily between McElderry, Galbraith and illustrator Diane Dawson (later Hearn) regarding Galbraith's first book, a picture book about the imaginative play of a girl with chicken pox. Early correspondence includes conversation with Christine Littman of the Donnell Library, whom McElderry asked to review the manuscript. Before settling on Dawson as the illustrator, McElderry and Galbraith also discussed using Jim Arnosky, Brinton Turkle, and Troy Howell (the file includes samples of his work). Correspondence between McElderry and Dawson centers around jacket design and Dawson's dissatisfaction with her own work; there are also several letters regarding Dawson's application to the Community Club of St. Bartholomew's Church on 50th St. in Manhattan. Other general topics include shopping the book to English publishers, interest from Parabel Verlag in Zurich, and the paperback book club edition of the title published by Xerox. McElderry and Galbraith also discuss other projects of Galbraith's, including Katie Did! and Come Spring, both published later by Atheneum, as well as Galbraith's concern over the sales figures for Spots are Special!

One copy of "Statue of Liberty" by Charles Mercer (Putnam, 1979) removed from file. Paper bookmarks that remain with cover letter of July 1, 1979 removed: "Caption does not mention ex. pres. U.S. Grant visiting" from pg. 42; "Caption does not mention Bartholdi" from pg. 44.

Correspondence between McElderry, Judy Long as executive editor, and Haldane regarding this proposed photo book about the design and building of the Statue of Liberty. The file includes letters with Haldane's idea for the book, photocopies of photographs she hoped to use, sample text by Tom Hyman, an unsigned contract and a specifications sheet listing expected size, number of pages, number of photographs, etc. The file also includes a letter to Marion Bell of Scribner Book Store soliciting an opinion on how such a book would compare with others on the market. The book was never published.

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Correspondence primarily between McElderry, Hale, Hale's agent Laura Cecil, and Felicity Trotman of Macmillan London, regarding this picture book about a teddy bear who asks his owner to make him some clothes. The file includes several typescripts with McElderry's pencilled-in notes, a photocopy of Hale's initial dummy, photocopies of the cover art, five color slides of finished artwork, and copy of finalized jacket. Topics of correspondence include sizing of Hale's artwork to ensure accurate printing, whether the pages should have a color border, which typeface to use, whether the book will be printed by South China Printing Co. or in England, how McElderry and Trotman will commuicate effectively with each other and Hale, and artwork from the book being included in the 18th Exhibition of International Children's Picture Books put on by Shiko-Sha Co. in Japan. The correspondents also discuss Hale's other titles, Donkey's Dreadful Day and Chocolate Mouse and Sugar Pig, as well as author Nicki Daly and John S. Goodall's Above and Below Stairs, Story of an English Village and Paddy Goes Traveling. McElderry and Trotman discuss a large anti-nuclear rally in New York City and the Falkland's War.

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Children's story about a little girl who is very smart but very messy - her clothes rebel against her in her room; drawings by the author Full mss MKM edits - both line edits and general editorial suggestions Secretaries Nachama Halpern (becomes managing editor) and Judith Sandman Notes on contract from Adria S. Hillman of lawfirm of Green and Hillman; discussion by MKM and Judy Long challenges of working with a young child sent copies of Irina Hale's Donkey's Dreadful Day and some of John Goodall's books; picture of Gabriel attached internal memo about second half of her advance also mentions "First Came the Indians" by M.J. Wheeler-Smith Discussion of other projects: a story called "The Ragtag Circus" + 2 others (unnamed) Usual attempts to sell the book in other countries: to J M Dent in England, to Human & Rousseau in South Africa; mention of attempts to sell to paperback publisher Lots of late letters from Judith Sandman, MKM's secretary, sending copies of books to author Aug. 1988 letter about selling excess inventory at a reduced price

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aka "Prince Bearskin" aka "Baerenhaeuter"

drafts of flap copy handwritten by MKM discussion of bringing out The Complete Grimm includes polaroids of some of the illustrations tale from the Brothers Grimm with illustrations by Hoffman; Hoffman shortened the text of the original story and MKM had a word-for-word translation done also discuss The Rabbit Factory (Die Kanicheninsel by Steiner and Muller), The Bear Who Wanted to be a Bear by Jörg Steiner and Jörg Müller (aka the Bear who Wasn't?) and Hoffman's Tom Thumb Sauerlander people: Margrit Bader, F. Gebhard originally published by Sauerlander AG - American edition printed and bound in Switzerland as well; Oxford considered using the Atheneum translation to print in the UK (Correspondence with Martin West; also discuss "There and Back Again" by Harold Jones and who will replace Paul Binding) - eventually backed out because Hoffman did not actually finish the illustrations - backout letter from Antony Kamm, who had recently been appointed to replace Paul Binding, reply from Hans Christof Sauerländer himself to Antony Kamm of OUP, in German; but it does seem that they ended up publishing it... correspondence with Sauerlander also discusses "The Changing City" by Müller correspondence with Gretel as Felix was already dead at this point letter to Susan Van der Reyben of "Bookviews" with an image credit; interest from Weston Woods Studios (animators of children's books) availability of books on the Encore list

Secretaries: Nachama Halpern

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aka "Young Widow Mahew" aka "Ginny" - Donation Land Claim Act in OR: married men were entitled to more land than unmarried men; book about a young (15?) widow who never lived with her husband

working with Marilyn Marlow at Curtis Brown general editorial suggestions as well as line edits from MKM also discuss "The Potlach Family" being selected for Junior Literary Guild 1976 Judy Long (as secretary) sends revisions to Lucy S. Schneider (who is that?) Jacket by Diane De Groat Lots of discussion about what would be an appropriate title Choice as a Junior Literary Guild selection (removal from Bound to Stay Bound, Inc.'s program); children's choice for the International Reading Association, "Classroom Choices for 1978"; nomination for Mark Twain Award in Missouri Christmas card and thank yous for gifts some movie interest; interest from Denmark letters between MKM and Lampman's daughter Linda Lampman McIsaac - mother fell Christmas 1979, discussing delayed progress on Harriet 6 printings

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"Lita Pa Det Ovantade" originally published by Albert Bonniers Förlag AB (Stockholm) - contact was Monica Norberg Lone and George Blecher: "This is the story of 9 year old Vesle's great moral struggle to make up for a fit of anger in which she throws her brother's new bicycle off a dock -- and it disappears" (Sept. 18, 1982) Artist: Svend Otto S. translated Patricia Crampton

working with Anne Rowell and Vanessa Hamilton of J M Dent; also discuss Jan Ormerod's "Be Brave Billy" and Mary Wesley's new book; fantasy book by J. Kennedy; The Changeover by Margaret Mahy, also something they often refer to as "F and G.S." but I can't figure out what that is; Lanky Longlegs (aka "Stein Stankelben") by Karin Lorentzen translation - discussion with George and Lone Blecher readings by Lise Lunge-Larsen of College of St. Catherina, St. Paul, MN MKM's people: Jane K. Doeblin, Assoc. Executive Editor; Nachama Halpern as Assoc. Managing Editor; Judith Sandman as secretary; Judy Long Cynthia Reed of Little Brown re use of "Trust in the Unexpected" from collection of Emily Dickinson poems (letter of 18 Nov. 1983); lots of back and forth between Dent and MKM re most appropriate title xeroxes of jacket and title page mock-ups Lots of back and forth about ending - Judy Long and MKM, as well as Linde and Vanessa Hamilton of Dent; ultimately use ending by Patricia Crampton type face and binding, lamination of jacket; dropping illustrations to make page count work favorable Horn Book review

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novel about dogs, friendship and the death of her younger brother translated from Norwegian by Joan Tate copy of jacket Judy Long, Executive Editor; Jin Lau in production translated from Norwegian, originally published by Gyldendal Norsk Working with Anne Rowell, Clarissa Cridland and Vanessa Hamilton at Dent read by Christine Behrmann at NYPL also working with agents Bolt & Watson (london): also discuss Gail Robertson's Raven the Trickster illustrations by Jan Ormerod; also discuss "Be Brave Billy" also working on "The Haunting" and "The Changeover" by Margaret Mahy, "The Chewing Gum Rescue" Lorentzen's visit to States in March 1982 letter to Tordis Ørjasaeter of Statens Speciallererskole re Lorentzen and Jan Truss's Jasmin changing main character's last name to make her nickname being identical to her mother's make more sense changes between UK and US terminology set of photocopied illustrations full (photocopied) set of galleys with MKM edits delay of publication to Spring '83 and the requisite shipping delays, changes, etc. MKM disappointed with Ormerod's interior illustrations; wonders whether they should rethink illustrations if they go ahead with "Stine Stankelben"; apparently Atheneum Library Services Department was disappointed too! MKM writes to Lorentzen about her more general disappointment with the quality of the book and desire to for Atheneum to design the next one; Hamilton writes to MKM sort of telling her off for writing negatively to Lorentzen; letter for MKM from David Rye, Dent's production director "My Weekly Reader" Paperback Book Club edition of January 1984 - getting duplicate film from Dent payment of royalties - back and forth, upheaval in management at Atheneum also discuss "Most Beautiful Egg in the World" which eventually became "Most Wonderful Egg in the World" by Helme Heine; Gunnel Linde projects

apparently Lorentzen attempted a sequel, which was not accepted by Atheneum

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Chronological

Correspondence between McElderry, Meyer, Meyer's agent Joan Daves, and Judy Long concerning this non-fiction work about the Amish in Pennsylvania, originally titled Horses-and-Buggies and Shoefly Pie. Topics include general edits from both Meyer and McElderry, line edits, finding appropriate photographs and compensating the photographers, how to market the book in Pennsylvania, recognition for the book (Junior Literary Guild selection for Spring 1976; New York Times outstanding book of the year; notable children's trade book in Social Studies for 1976), and international interest in the title. Amish People included photographs by Meyer, Michael Ramsey of the Lewiston (PA) Sentinel, and Gerald Dodds; file includes mockups for photo pages. Other topics include Meyer's request for a letter of recommendation for a fellowship at D.H. Lawrence Ranch in New Mexico, and McElderry inquiring after Doris Dana (translator of Crickets and Frogs and The Elephant and His Secret) with Joan Daves.

Chronological

Chronological

Correspondence primarily between Meyer, McElderry, Judy Long, and Joan Daves, Meyer's agent, all regarding this non-fiction work about Vitam, a Connecticut rehabilition center for young adults where Meyer's own son was treated. Correspondence topics include Meyer's research for the book, her son's progression in the program, and edits to the manuscript; the original project proposal is also included. Additionally, there are letters between Meyer, McElderry and various employees of Vitam, as the center was involved in editing the manuscript and publicizing the book. The file also includes a series of letters to various radio hosts who might be interested in in having Meyer as a guest; McElderry thought the story would translate well to other forms of media, including television. The correspondence includes references to Meyer's book Rock Band, which she was beginning around the time The Center was published.

Chronological

Correspondence between Meyer, McElderry and Joan Davies, Meyer's agent, regarding a proposed book about Vietnamese immigration to the U.S., as well as the proposal itself. Meyer never wrote the book.

Chronological

Correspondence primarily between Moser, McElderry, and Perry Knowlton, Moser's agent at Curtis Brown, regarding this young adult novel. Topics include edits to the manuscript and Moser's travels in Latin America as an editor for Smithsonian Magazine. Also included in the file are many positive reviews of the book, as well as letters of interest from several English publishers, a Canadian film company, and Danish and South African firms interested in translation. Correspondence with Margaret Clark of Bodley Head, Ltd. includes discussion of Lucy Boston's Guardians of the House.

Chronological

Correspondence primarily between Patterson and Paula Schwartz, associate editor at Atheneum, regarding this novel about the adventures of a high school boy in Connecticut. Topics include edits to the manuscript, the book's design, other work by the author, and interest in paperback publication by several firms. Also includes correspondence with Richard Williams regarding his cover art and a letter from Margaret McElderry in response to a schoolboy's letter of correction.

Chronological

Correspondence primarily between Phipson, McElderry, Judy Long, and Marni Hodgkin of Macmillan London, which co-published The Cats with Atheneum. Much of the correspondence revolves around the book jacket, done by Ron Brooks. Brooks was late in producing the jacket and when it arrived it was finished work, rather than a sketch. Ultimately, McElderry decided to use Brooks's intended front as the back of the jacket, and vice versa, while Macmillan used the jacket as Brooks designed it. The file includes a copy of the finished jacket, as well as letter to English book agent Laura Cecil explaining the whole affair. Correspondence between McElderry and Hodgkin includes discussion of Susan Cooper's Newbery Award for The Grey King, as well as Nancy Winslow Parker's The Party at the Old Farm, and John Goodall's Paddy Pork's Holiday and An Edwardian Summer. Many of the letters between McElderry and Phipson include personal updates, including discussion of the upcoming Australian elections. There is also correspondence between Atheneum and Collins-Knowlton-Wing, Phipson's agent, as well as international interest in the book and a letter from Disney asking for a copy of the text.

Chronological

Correspondence primarily between Phipson, McElderry, Judy Long, and Marni Hodgkin of Macmillan London, which co-published this novel with Atheneum, though under the title Keep Calm. Hodgkin left Macmillan in the middle of the publication process and correspondence resumes with Diane Denney, the new editor. Macmillan and Atheneum worked more separately than usual on this title, with Macmillan "rushing ahead" (in McElderry's words) to publish in England by spring, while the American edition was published in the fall. Most of the correspondence focuses on edits to the manuscript, though Phipson and McElderry also discuss their personal lives, including the death of McElderry's husband and the honorary doctorate she received from Mt. Holyoke. There is also correspondence with Lewis Victor Mays, who did the jacket art, and representatives at Curtis Brown, Phipson's agent. Two letters regarding other Phipson titles, Fly into Danger and The Bird Smugglers can be found at the end of the file, along with several reprints of artwork with unclear relation to When the City Stopped.

This collection of Pacific Northwestern folk tales was originally published by Chatto & Windus in the UK and picked up by Atheneum for American publication shortly before its British printing in September 1981. The correspondence is primarily between McElderry, Dianne Denney and Anne Askwith at Chatto & Windus, and John Pickering of Georges Borchardt, Inc., which handled the American rights for the author's UK agent, Bolt & Watson. There is also correspondence with Sheila Watson of Bolt & Watson, and one letter from Robinson, who was caring for her dying mother in Canada at the time of publication. Topics includes line edits, word changes suggested by McElderry, shipping concerns, and discussion of finances for the project. Jacket art and illustrations by Joanna Troughton. One copy of the Chatto & Windus edition annotated by McElderry removed from file (item # 7381930).

Chronological

Chronological

Correspondence primarily between McElderry and Russ about this sequel to Russ's novel Over the Hills and Far Away. Topics include discussion of who should make the jacket art (Russ wanted Evaline Ness, but ultimately it was designed by Harriet Barton), obtaining rights permissions from Hollis Music and The Richmond Organization as the title came from a song by William Engvick and Alec Wilder and its lyrics were printed in the front matter, proofreading by Elinor R. Weinberger, discussion of the availability of Over the Hills with Marion Bell of Scribner's Book Store, thank yous after a celebratory luncheon following the book's publication, paperback rights, shopping the book for English publication (Bodley Head, Hachette, MacDonald and Jane's, Dent, Hamish Hamilton), and the title going out of pring in 1985. McElderry and Russ also discuss a range of personal topics including many lunches out, their mutual friends, and their charity work in libraries and literacy centers. They also discuss potential future projects, including an English-language edition of Boutet de Monvill's Jeanne D'Arc; Robert Henning, Jr. of the University of Rochester's Memorial Art Gallery is included in these conversations.

Chronological

Correspondence between Russ and McElderry regarding a proposed biography of the Dame of Sark for young readers. The contract for the work was cancelled after Russ traveled to the Isle of Sark for research and found that the family was opposed to her project, despite their previous indication otherwise. Includes a letter to Judy Taylor at Bodley Head discussing the family's refusal to let Russ write the book.

Despite the original label, nothing in the folder is from 1980.