Opening Hours
Daily: 10 A.M.–5 P.M.
Closed on Tuesdays
1151 Oxford Road
San Marino, CA 91108
Daily: 10 A.M.–5 P.M.
Closed on Tuesdays
1151 Oxford Road
San Marino, CA 91108
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Manuscripts
Drafts: The Coming Mental Range typescript drafts, proofs, and emails; Concerning the Henbane Bird Folder typescript draft with research material; Dar el-Hikma Project research material, drafts, notes, chapter list, emendations.
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Manuscripts
Notes for Jerry Rothenberg volume; biographic material; Arcane Lavender Morals, 1996; Poets Say Goodbye to the 20th Century; The Interval of Dormancy (unpublished) approximately 1997-2007; Being as Neutrality and Drift; Vertical Rainbow Climber (early drafts) 1987–1988; Optic Occultation exhibition notes; research materials: Johannes Kepler & astronomy; research materials: On Dar El-Hikma; reviews: Kaleidoscopic Omniscience (2013), At Night on the Sun, Diary as Sin, The Brimstone Boat, Singing in Magnetic Hoofbeat, Stratospheric Canticles, and others; At the Vertigo Borders; research materials: Roger Gilbert-Lecomte; research materials: alien encounters, UFO Digest; research materials: Subhankar Banerjee, Octavio Paz on André Breton.
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Manuscripts
Drafts: Above the Human Nerve Domain proof copy; Across the Vapour Gulf typescript; Anonymous Stellar Ravines printed drafts and emails between Alexander and Byron Baker; At Night on the Sun typescripts; At the Vertigo Borders typescript pages; The Combustion Cycle typescript.
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Manuscripts
Compression & Purity drafts and proofs; The One True Body, Spectral Hieroglyphics drafts; "The Sand Genie," (unpublished 2017-18) fragments; Drawings; research materials: Roger Weir; Sunrise in Armageddon, fragments; "Polynesian Blackberry Units," 1985 (unpublished poem); "Mountain Slope Swimming in Detroit," (first poem published in River Styx); Fragments (possibly from Spectral Hieroglyphics); Utopian Stellar Preamble; "Ball Lightning," early 1990s; Utopian Stellar Concentrations, late 1980s-1990s; On Crossing the Vermin Frontier (with letter to Nathaniel Mackey); On Crossing the Vermin Frontier typescript; book on aphorisms fragment; Letters to Rosa unpublished excerpt; Letters to Rosa typescript.
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Manuscripts
Research materials: Egyptian symbolism, global warming, fish of the Congo River, exoplanets, alchemy, life on Mars, epigenetics, aboriginal Australian art, Moorish culture, Arabic poets, medieval Islamic astronomy; Kaleidoscopic Omniscience: notes and introduction; Kaleidoscopic Omniscience: annotated typescript; resume and CV materials, biographical; The Brimstone Boat drafts (2012); The Brimstone Boat typescript (2012); Notes approximately 2000.
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Manuscripts
Will Alexander's written works, artwork, and collaborative projects: primarily typescript drafts or copies of typescripts, printed proofs, and handwritten drafts. Many of the typescripts and printed drafts include handwritten notes and corrections. There are several large envelopes and paper bags which Alexander used for handwritten notes. Materials related to the same work may be in different boxes. This series also includes reviews of Alexander's work, reviews by him of others' work, and working files with teaching materials, conference logistics, CVs, and other documentation. Interspersed throughout are Alexander's research materials, usually printouts of articles and information from the internet that influenced and inspired his writing. Boxes 10-12, and most of box 24 consist entirely of research materials. Box 33 consists of works by writers and artists who were friends and collaborators of Alexander, and include several items inscribed to him. Alexander's artwork (box 25 and 26) consists of abstract drawings, primarily pen and ink or colored pencil. Most are either 8.5 x 11 inches or 11 x 14 inches. Drawings are both loose and bound in notebooks, and some are related to his writing. Box 3 also includes a few drawings. There is a small amount of professional correspondence and biographical material also interspersed with the works, which is noted in the individual boxes. Box 5 includes the bulk of the correspondence; box 8 includes Sotère Torregian signed poems and correspondence, and box 21 includes outgoing correspondence drafts as well as incoming correspondence with publishers, colleagues, and collaborators. Some personal correspondence is in box 28.
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