{"value"=>"<p>Until 1951, all correspondence concerning Fact, Fiction, Poetry, or Art (with a five year exception, 1929-1933) were kept together by year. Beginning in 1952, files for Fact and Fiction (including poetry) were kept separately. Therefore the Editorial correspondence is arranged in the following four subseries:</p> <p>3.1: General Correspondence, 1928-1951, 162 linear ft., Boxes 135-516 3.2: Fact Correspondence, 1952-1981, 78 linear ft., Boxes 517-709 3.3: Fiction Correspondence, 1952-1980, 18 linear ft., Boxes, 710-931 3.4: Art Correspondence, 1929-1933, 5 linear ft., Boxes 932-944</p> <p>This series is an extensive archive of correspondence between New Yorker editors and writers, artists, agents, publishers, organizations, and other New Yorker editors and staff. Other material in this series includes lists of potential articles, contributors, and art ideas and story \"Reservations,\" which were internal memos reserving or \"unreserving\" certain subjects for particular writers (see also \"Harold Ross\" [series 1.1], \"Louis Forster\" [series 4.1), and \"Ideas and Assignments\" [series 4.5].) All of the material in this series illuminates the editors' roles in shaping the editorial content (including art and ads) of each issue of the magazine, the everyday operations of the magazine, the magazine's working relationship with other organizations, and the careers of the magazine's editors and staff. The editor/author correspondence documents the development of particular pieces, writer/editor relationships, and important periods in the careers of many major twentieth century authors.</p> <p>Notable writers with large files of correspondence in this series include Donald Barthelme, Elizabeth Bishop, James Dickey, Nadine Gordimer, H.L Mencken, W.S. Merwin, Marianne Moore, Vladimir Nabokov, John O'Hara, Anne Sexton, Robert Penn Warren, Edmund Wilson, John Cheever, Janet Flanner, Lewis Mumford, J.D. Salinger, Frank Sullivan, James Thurber, and John Updike. Substantial correspondence files exist for such artists as Charles Addams, Constantin Alajalov, Peter Arno, Ludwig Bemelmans, A. Birnbaum, Alan Dunn, Alfred Frueh, Helen Hokinson, Charles Saxon, Barbara Shermund, James Stevenson, and Gluyas Williams.</p> <p>Carbon copies of letters from editor to author accompany original letters in virtually every file. These are often long and detailed reactions to, and critiques of, authors' submissions, often in the form of lists of queries and suggestions for revisions. For authors closely associated with the magazine and with a particular editor, editorial exchanges often developed into personal correspondence, and professional relationships into friendships. While an editor's letters to an author (and his or her agent) are usually found under that author's name, this series also includes editor and staff member files, usually containing interoffice memos, correspondence regarding their own work as contributors and their professional lives, and communications with organizations and publishers.</p> <p>This series also contains voluminous files for literary agents and agencies which contain mostly letters of submission from the agent and editors' replies. Most of the replies are rejections which include criticism of the particular work or the author's output in general. Some are accompanied by reader's reports or memos between editors discussing the suitability of a given submission. Other correspondence in the folders discusses business matters such as terms of contracts and payment. (Two appendices to this inventory contain lists of prominent agents and agencies.) NOTE: Other author/editor correspondence may accompany manuscripts in either \"Magazine Make-Up: Copy and Source\" or \"Manuscripts: Run & Killed.\"</p>"}