MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135—3136

489 FIFTH AVENUE
NEW YORK 17, N. Y.

Cable Address: MANUSCRIPT

July 23, 1947

Mr. Langston Hughes
634 St. Nicholas Ave.
Apt. 1D - c/o Mrs. T. B. Harper
New York 30, New York

Dear Langston:

My endeavours on your behalf with respect to the clipping you sent me from Variety have resulted in the enclosed letter from Brock Pemberton. It was rather difficult to get this much information, and so I guess we'll just have to wait for developments; unless you have any further suggestions.

With respect to your letter of July 20th in which you tell me you've sent off a piece to Sylvestre Watkins of Chicago, if after a reasonable time I don't have from him, is it in order for me to drop him a line?

I'm enclosing my check in the amount of $11.34 which represents the fee for a broadcast of LET AMERICA BE AMERICA AGAIN, with the British Broadcasting Corporation's letter attached.

With best wishes,

MLtes
Enc. $11.34

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

Cable Address: MANUSCRIPT

August 21, 1947

Mr. Langston Hughes
c/o Mrs. T. B. Harper
Apt. 1D
634 St. Nicholas Ave.
New York 30, New York

Dear Langston:

So far I've had no word from Mr. Sylvestre C. Watkins of Chicago, to whom you sent your piece, THE NEGRO IN AMERICAN ENTERTAINMENT. Please let me know whether you wish me to contact the gentleman now or perhaps wait a little longer.

By inadvertence I received a request for permission to reprint FATHER AND SON, which appears in THE WAYS OF WHITE FOLKS, in a Norwegian periodical for which we were offered $30. The matter was finally straightened out and the request went to Knopf. It suddenly occurred to me to ask whether you've been receiving statements for this book from Knopf and whether you know whether the book is still in print. If the book is out of stock and not in print, and Knopf shows no desire to reprint it, you should insist on a reassignment of copyright to you and a cancellation of the contract for this collection of short stories, because until you repossess the rights of the volume, Knopf will share in all subsidiary rights; and frankly, I see no reason for it if he doesn't keep the volume in print.

How are you? How has your summer been? Are you putting in time on the Poetry Anthology?

MLtes

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

Cable Address: MANUSCRIPT

489 FIFTH AVENUE

NEW YORK 17, N. Y.

September 15, 1947

Mr. Langston Hughes
634 St. Nicholas Ave.
New York 30, New York

Dear Langston:

On October 25th and 26th the PCA is going to hold a conference on Cultural Freedom and Civil Liberties. The Literature Division has planned to have three speakers, including a chairman, for its panel. Our executive board has held several meetings and we've gone over a possible list of speakers. Angus Cameron of Little, Brown has accepted the Chairmanship for the panel and he will present the Documentary indictment of Censorship as well as sum up the discussions. Professor Howard Mumford Jones of Harvard will treat The Democratic Tradition and we wish you to take up The Role of The Writer Today.

You will be receiving an official invitation from Professor Harlow Shapley, but I wanted to make sure before the official invitation goes out that there'll be no slip-up. The Literature Division will even pay your fare by plane if you should happen to be out of town around the 25th of October. I'm hoping you'll be here and spruced up and ready to make one of the finest contributions on the subject.

Thought control is becoming increasingly menacing and I don't know of anyone more equipped and more experienced to handle the subject since the Negro has so much more to complain of than the white brother. (You'd have gathered that had you been at the wonderful Madison Square Garden rally for Wallace and heard Lena Horne and Paul Robeson).

I played the album of records the other night and I'm sad to report that three of them either are scratched or damaged because the reproduction was full of vibrations. In fact, it was hard to get either music or words. Nevertheless, I got the general idea and I think we could decide exactly what Elmer Rice's rights are. I'm keeping after Chappell for an accounting.

With all best wishes,

MLtes
Enc.

## Literature Division

### List of Questions to Supplement Topics

### Conference on Cultural Freedom and Civil Liberties

## I. Documented Indictment of Censorship

Are publishers in their selection of books being influenced by the Committee on Un-American Activities?

Can an anti-Fascist story be sold to the magazines?

Can a story which depicts current reactionary trends be sold to the magazines?

Can an employee in the publishing industry feel free to express personal political opinions?

Dare a government employee buy an openly anti-Fascist book?

## II. The Democratic Tradition

Would Thoreau, Emerson or William Lloyd Garrison have written to Luce's order?

Why was Whitman condemned as a writer of pronagraphic poetry?

## III. The Role of the Writer Today

Can a progressive writer deal honestly with political questions today?

Has the effect on literature of thought control to date reached proportions which are genuine cause for alarm?

Has it aroused or panicked the American writer?

Does the Taft-Harley Bill breaking unions effect the writer?

Can a writer fight thought control?

C O P Y

ELMER RICE

September 9, 1947

Dear Lieber:

I have gone over your letter of September 4th very carefully, and I regret to say that there are several important points on which I do not see eye to eye with you. You quote at great length from my letter of "July 26th". But curiously enough you neglect to state that my letter was written on July 26th, 1946, that is to say nearly six months before the show opened in New York. That is a rather important detail, for it was during those final months, and particularly during the rehearsal and tryout periods, that I was called upon to take a greater and greater part in the revision of the lyrics. In spite of that, I stood squarely by what I wrote in my letter and made no demand at any time for program credit, as co-author of the lyrics, or any share of the lyric writer's royalties on the performances of the play, though there cannot be the slightest doubt that I was entitled to both or that if the question had gone to arbitration the decision would have been in my favor. So, if you are going to drag "generosity" into it, I think that perhaps the shoe is on the other foot.

Secondly, my letter of July 26th, 1946 refers only to theatre program credit and production royalties, which had no relation whatever to recordings or publication rights. As a matter of fact, the question of these rights was discussed several times by Langston and me in the presence of Kurt Weill, and it was always clearly understood that I was to participate in them in proportion to my contribution. So your lengthy quotation from my letter not only has no bearing on the subject under discussion but is distinctly misleading.

We now come to the question of my actual contribution to the lyrics, and again I am afraid that I do not find myself in agreement with you. Your letter states that the Columbia Record Album contains six records on which are recorded twenty numbers from the show, and you go on to say "of these twenty numbers, on seven we might grant lyrical co-credit to Elmer Rice". That is very generous indeed! Only it happens that of the seventeen recorded numbers (three of the twenty are merely orchestral selections and therefore the question of lyrics is not involved) eleven are either paraphrases of the dialogue of the original play or were written in whole or in part by me. This is not my own unsupported judgment but is the conclusion arrived at by Kurt Weill and myself after going through the album, number by number. Furthermore, both the form and the substance

C O P Y - Continued

-2-

of a number of the lyrics were suggested by me. So unless
we are going to get down to actually counting words and syl-
lables I think that the only reasonable approximation of our
relative contributions is that it was a fifty-fifty job.
That is how it looks to me, and that is what I am going to
stand by until somebody presents me with a more convincing
argument than any that I have seen to date.

Now as to the published score. It is my understanding
that it is customary for the royalties to be divided equally
between the composer and the lyricist. In this case, however,
what is being published is not a collection of songs but the
entire text of the play, including all the dialogue. Kurt
Weill has therefore been good enough to propose that the royal-
ties should be apportioned in the same ratio as the play
royalties, namely 40% to Kurt, 40% to me, and 20% to Langston.
This is acceptable to me and it certainly should be to Langston,
since it gives him the full proportionate share allotted to
lyrics.

As far as Langston's prefatory note is concerned, I prefer to reserve judgment on that until I have an opportunity to see it.

I think that just about covers everything, and I should
like to get it all straightened out as soon as possible since,
in my opinion, there is no reason whatever for all this mis-
understanding. The whole thing is perfectly clear and could
have been settled in ten minutes if we had all sat down together
and discussed it instead of going into this long, complicated
rigmarole and dragging in all sorts of irrelevancies.

Since you sent Chappell & Co. a copy of your letter
to me, I am doing likewise with this. Obviously, in view of the
differences between us, they are in no position to disburse the
royalties, so the sooner we get the thing settled the more satis-
factory it will be for everybody concerned.

Yours,

(Signed) Elmer Rice

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

MUrray Hill 2-3135—3136

Cable Address: MANUSCRIPT

September 16, 1947

Dear Langston:

It occurs to me to ask a few questions about Mr. Jan
Meyerowitz before I proceed to draw the collaboration
agreement. To begin with, in your previous letter you
state that he is making an opera of your play, MULATTO.
I would gather that some progress has already been made
and so you may find my questions rhetorical. Neverthe-
less, I should like to know who Meyerowitz is. I'm prob-
ably displaying a great deal of ignorance, but I'd be
grateful for enlightenment. Is he a well-known composer?
Should we not ask him for some samples before tying our-
selves up in a knot with him? As soon as I have your
privileged answers to my ignoble questions, I shall draw
the honorable contract.

At the same time, I hope to receive from you an acceptance
for the PCA panel discussion.

With best wishes,

MLtes

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

Cable Address: MANUSCRIPT

September 19, 1947

Dear Langston:

I'm enclosing three copies of a collaboration agreement which I hope meets with your approval. Please sign and return the three copies to me in order that I can secure Meyerowitz's signature.

I've just gotten unofficial figures over the phone from Chappell and the amount of total royalties earned was less than $3100. Of this, Chappell gets 50% which leaves approximately $1500 for the authors. Now, if we adhere to the original contract you and Weill signed with Chappell, that would mean approximately $750 for you. But, if we are to defer to Elmer Rice and give him his 50% interest, that would leave $375 for you.

Now, while you agreed to be firm when you spoke to me over the phone and not yield more than one-third, before I write Elmer I want to be sure that you haven't changed your mind any, so will you drop me a line. I made it clear to Chappell that we're not in any hurry for our money although we'd like to have it sometime and if you stick by your guns and Elmer Rice means to fight, let him take the first step and call for an arbitration.

With best wishes,

MLtes
Encs.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

MUrray Hill 2-3135—3136

Cable Address: MANUSCRIPT

September 23, 1947

Mr. Langston Hughes
634 St. Nicholas Avenue
New York 30, New York

Dear Langston:

Thanks for your letter of the 20th. I've written to Elmer Rice and told him we were sticking to our guns, expressing at the same time the hope that he would accept the situation so that Chappell could proceed with the folio, as well as the disposition of the royalties now due. I've also sent him the list of seven lyrics on which you accept his name as co-author.

I've also written to Dr. Sirmay pointing out that the folio will not be approved for press until you have seen all title pages and OKed them. And, now I shall await Meyerowitz.

MLtes

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

MUrray Hill 2-3135—3136

Cable Address: MANUSCRIPT

September 24, 1947

Dear Langston:

A short time ago I received a request from The Youth Council of Waterloo, Iowa for permission to present a performance of DO YOU WANT TO BE FREE. I assure the Council that you would be happy to have them make the presentation and requested at least a token payment for the permission. In their reply they have informed me that this performance is merely a part of a membership drive and not a money making project, therefore, all they could afford to pay would be $5,000. I am perfectly willing to accept their offer under these circumstances. However, they have also requested ten copies of the play. Inasmuch as I have only one copy which I'm reluctant to release, I wonder whether you have any you would be willing to let them have.

MLtes

C O P Y

September 25, 1947

Dear Lieber:

When I received your letter of September 23rd,
with its quotation of Langston's letter to you, I immediately
called up Kurt and read it to him and, as I had surmised,
learned that Kurt had said none of the things which Langston
attributes to him. I knew very well that Kurt could not have
said those things because they are so completely at variance
with the facts of the situation.

For example, it is wholly fantastic to say
that we offered any "inducements" to "justify" Langston's
having only 2% of the show", since this is an unheard of royalty
for a lyric writer doing his first Broadway show. The minimum
set by the Basic Agreement is 1%, and this is the customary
royalty for beginning and even for some established lyric writers.
We felt, however, that we wanted to give Langston every possible
break, so we offered him the 2% and fought for it when the pro-
ducers complained, with some justice, that the royalties were
almost prohibitively high. Furthermore, I received as author
of the book exactly the same royalty that Langston received,
namely, 2%. The other 2% that was paid me was for the rights
to the original play, and I would have got that even if I had
had nothing whatever to do with the writing of the musical,
just as Molnar gets a 2% royalty on Carrousel for the use of
his play, Liliom, even though he had nothing whatever to do
with the creation of the musical. And of course it was always
assumed that in return for the 2%, Langston would do the entire
job on the lyrics. That is very far from being the case,
however, as you can easily ascertain by consulting Charlie Fried-
man, Kurt Weill or anyone else connected with the show.

I am not a lyric writer and had no intention of
working on the lyrics, but as the work progressed and it became
obvious that Langston could not do the entire job alone, I
found myself taking a greater and greater part in the work of
revision and even of origination. Langston not only acquiesced
in this but welcomed it, and frequently suggested that I supply
needed comedy lines or write a dummy lyric which could be used
as a model. By the time we got all through there was hardly a
lyric in the show of which I had not either written a sub-
stantial part or else had suggested the substance or form, or
both. In spite of all this, I made no demand either for program
credit or for any share of the lyric writer's royalties, as far
as the production was concerned. I wonder how many other writers
in a similar situation would have refrained from asking for
either credit or compensation? However, it was clearly under-
stood in all my talks with Langston that I was to receive both

C O P Y

WOULDN'T YOU LIKE TO BE ON BROADWAY?
REMEMBER THAT I CARE
CATCH ME IF YOU CAN
THERE'LL BE TROUBLE
THE WOMAN WHO LIVED UP THERE
I LOVED HER TOO
DON'T FORGET THE LILAC BUSH

The following should read "With Charles Friedman and Elmer Rice":

WRAPPED IN A RIBBON AND TIED IN A BOW

The following, which was written entirely by me, should read
"Written by Elmer Rice":

LULLABY

This is a compromise offer, made in the hope of
bringing this tedious business to a conclusion. And it must be
accepted either in its entirety or not at all. In other words,
I do not want to have any further discussions about it. I con-
sider it more than fair, and I think it gives Langston all the
breaks. If he does not see it that way, then I see nothing left
to do but to go to arbitration about it. I don't want to do that
because I think it would be very disagreeable for everybody con-
cerned. I hope, therefore, that we can get together on the
formula that I have outlined above.

2.

As I wrote you this afternoon, if legal advice is needed, I have
already talked with Arthur Spingarn about the matter, and perhaps you had
better inform Dhappell that Mr. Spingarn is my attorney.

"There is no business like show business," according to Annie Get Your Gun!
It's so dramatic! I am delighted that I do not live by it—I fear my perspective
would be warped and I wouldn't be able to enjoy it so much.

I'll see you when the frost falls.

Sincerely and lyrically yours,

Langston Hughes, Litt.D.

(Tell Dr. Sir may I am a Dr., too!)

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

489 FIFTH AVENUE

Cable Address: MANUSCRIPT

NEW YORK 17, N. Y.

October 22, 1947

Mr. Langston Hughes
Myrtle Bank Hotel
Kingston, Jamaica, B.W.I.

Dear Langston:

I begin to suspect that you're looking up new poets on the beach of Kingston, Jamaica, and they are female poets and very contemporary. After all, one doesn't have to go to Jamaica to see poets. The vignette of the hotel on the impressive stationery is extremely enticing. I'm sure you're having a wonderful time away from the storm and stress that moves the literary world in these here parts.

The STREET SCENE business is far from being untangled. Indeed, I have no idea what's happening to it because there's been a long unbroken silence from Elmer's office. He's either studying our ultimatum or maybe he's taking steps to bring the matter to arbitration. I have assumed that you're not pressed for funds which are due us from the Chappell office and, if Elmer is in desperate financial straits, he can take the first step.

To say the least, I was bowled over by the paranthetic remark with which you conclude your letter. It showed quite a casual approach to the whole business and perhaps that is the way to treat such matters. But tell me, truly, are you exaggerating your genealogy or giving me the low-down facts? I thought that the Langstons were nice Christian, partisan gentlemen and here you go spoiling the whole business. There's only one comforting note in it and that is that if you are really telling the truth, you and I will spend our days in the same concentration camp.

Cheerio, indeed,

MLtes

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

MUrray Hill 2-3135—3136

489 FIFTH AVENUE

Cable Address: MANUSCRIPT

NEW YORK 17, N. Y.

November 12, 1947

Dear Langston:

Here is Victor Samrock's letter to be filed away for consideration sometime next year. The second enclosure is your copy of the collaboration agreement with Jan Meyerowitz. I was invited to Meyerowitz's home to hear his development of MULATTO as an opera. His wife sang the female parts of the aria and he played and sang the male parts. The absence of orchestral accompaniment and the fact that I was too close for the proper perspective made it difficult to judge how successful he has been. In any event, since this project is out of my field, my opinion is worthless. I've been wondering what possibilities there are for a production.

My secretary finally reached Dr. Sirmay on the phone and learned that the folio had been completed. The proofs had not been submitted for approval since the copyright situation had not been straightened out. Since the folio is such a bulky package, Dr. Sirmay feels it's advisable for the necessary approval to be made in his office and I am to expect a letter from him within a few days arranging for an appointment and reporting on the entire situation.

With best wishes,

MLtes
Encs.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

MUrray Hill 2-3135—3136

Cable Address: MANUSCRIPT

December 9, 1947

Dear Langston:

Thanks for sending in your check to cover the pay-
ments from Miss Kossoff of A. F. Films and WHAT THE
NEGRO WANTS. A statement went to Miss Kossoff yester-
day.

I've just had a letter from Arna in which he also told me you were concentrating on the ANTHOLOGY. I know you'll both be relieved to have the job completed.

I've arranged an appointment for you with Bernard Perry for Friday, December 12th at 3:30 P.M. I'd suggest you meet me at my office around 3:00.

Dr. Sirmay sent me the three copies of the agreement concerning the publication of the STREET SCENE vocal score, indicating the division of proceeds on 1) vocal score, 2) royalties on Columbia album and (c) royalties derived from sheet music sales and mechanical records of the eleven numbers. They seem to be in accord with our understanding. Will you therefore sign them and return them to me so that I can forward them to Dr. Sirmay?

MLte
Encs!

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

MUrray Hill 2-3135—3136

Cable Address: MANUSCRIPT

489 FIFTH AVENUE

NEW YORK 17, N. Y.

January 13, 1948

Dear Langston:

The head of the department of music at State Teachers College in Pennsylvania, a Mr. Glel Silvey, is preparing an anthology and would like to include THE NEGRO and I, TOO. Are these two pieces controlled by yourself or do es Knopf have a say about them? If the rights are controlled by Knopf, I'll send the request on to him. Otherwise, we'll see what we can extract from Mr. Silvey.

Immediately after your telephone conversation with Mrs. Slocum, she called Mr. Goldberg of the Accounting Department at Chappell & Co. to advise them that you had received their check. Since your agreement with Chappell's does not state that accountings and payments should be made through my office, would you be good enough to prepare a letter authorizing Chappell's to forward all accountings to you in care of my office and draw their checks payable to my order?

And, by all means, send on the additional chapters you have for Perry.

With best wishes,

MLtes

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

MUarray Hill 2-3135—3136

Cable Address: MANUSCRIPT

January 22, 1948

Dear Langston:

Thanks for your letter of the 20th. I've written Mr. Silvey, giving him the information regarding THE NEGRO and I, TOO. And now that you have authorized Mr. Goldberg of Chappell's to render accountings and checks through my office, I'll keep a weather-eye out for prompt accountings.

I'm still elated over my trip to Chicago. Flitting around the country as you do you know having your train arrive home nine hours late can leave you just about anything but cheerful. But this, together with temperature of ten below, did nothing to dampen the thrill of seeing the enthusiastic, devoted gathering of delegates representing twenty-six states wildly voicing their approval of Wallace and a Third Party. I feel a lot was accomplished. At a Convention scheduled for April it will be decided whether there will be a merger or affiliation of PCA with an incoming Third Party. Meanwhile, some of the delegates, I among them, set up a National Council of the Arts, Sciences, and Professions which would function whatever befell PCA.

That's good news about the SIMPLE BOOK. A call to Perry's office revealed they had not reached a decision yet but we should have some word the first of the week.

Incidentally, since Mr. Oliphant wrote to assure me that, by signing the Assignment & Release for GOUVERNEURS DE LA ROSEE, you would not forfeit your right to collect an additional $125, when and if sales permitted, I've sent him the duly executed form.

Meanwhile, I shall be awaiting a call from Arna.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

MUrray Hill 2-3135—3136

489 FIFTH AVENUE

Cable Address: MANUSCRIPT

NEW YORK 17, N. Y.

March 18, 1948

Mr. Langston Hughes
c/o Mr. Edwin H. Wilson
First Unitarian Society
13th E. at 6 South St.
Salt Lake City, Utah

Dear Langston:

Thanks for sending down the script of SIMPLE. Since you
tell me that Blanche has given you a negative answer,
there's not much point in going to Knopf. Instead I shall
submit it to another publisher. Richard H. Hughes.

I have your note this morning about the poem which Ginn &
Co. seek to reprint in a high school anthology. As soon
as I've heard from Miss Dodge I shall give her the neces-
sary information.

Franz Weiskopf had a request from Berlin for the text of
two of your poems. The correspondent in Berlin had only
one title, I AM A NEGRO. The other poem he identified
by quoting the first line:

"Dream singers, story tellers, dancers,
Laughing in the hand of fate"

I've looked through the WEARY BLUES, the DREAM KEEPER and
SHAKESPEARE IN HARLEM and have been unable to locate the
poem referred to. Can you throw some light on this?

I had a visit from your distinguished collaborator, Meyer-
owitz, who asked me if I had any news. He went away a
somewhat chastened man, even though I tried to spare his
feelings.

MLtes

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

Cable Address: MANUSCRIPT

May 3, 1948

Airmail

Mr. Langston Hughes
Hollow Hills Farm
Carmel Valley Route
Monterey, Calif.

Dear Langston:

Thanks for your note of April 28th with your enclosed check for $4.25. I'm returning the compliment with a check for $22.50 which represents a $25.00 fee for the reprint of LET AMERICA BE AMERICA AGAIN in a volume entitled "America Through Literature", published by Harcourt, Brace & Co. I shall hold your complimentary copy of the book here pending your arrival.

As you can see from the enclosed, Simple didn't speak his mind forcefully enough to find a home at Rinehart & Co. He has now gone off to Sloane Associates.

We didn't have LITTLE HAM typed because Miss Burke sent the radio adaptor into our office to read the one and only script we have in our file and, if you've received a first radio episode which you've okayed, you've seen more of it than I have. I've just spoken with Miss Burke who is distressed by the fact she's had no word from you since your wire expressing approval of the script. She tells me you had some suggestions for the development of LITTLE HAM and, though she's sent three wires to your Los Angeles address requesting that you send them on at once, these have not yet arrived. Meanwhile, things are more or less at a standstill since the adaptor is anxious to see what you have to offer. Miss Burke also tells me Mr. Gale is confident he can arrange for the sale of the radio rights to LITTLE HAM and hopes you'll get in touch with her at once.

Nothing new on MULATTO because I've found no producer adventurous enough to express interest. Meyerowitz, however, has some ideas and I hope for his sake one of them bears fruit.

I've had a call from the office of a new producer, Katzell, who has taken an option on the Roumain novel you translated for Reynal & Hitchcock. The producer wants to make a musical of it and was anxious to contact you and discuss a possible book and lyrics. If you're not coming east soon Katzell may see you on the coast since he plans to go out there in the near future. What are your plans for the coming weeks? I think it would be wise for you to let me have your itinerary in case I need to get in touch with you.

With best wishes,

MLtes

Enc. $22.50

634 St. Nicholas Avenue,
New York 30, New York,
July 21, 1948.

Mr. Maxim Lieber,
489 Fifth Avenue,
New York, New York.

Dear Maxim,

I am enclosing a copy of excerpts from various letters of William Grant Still's relating to a couple of things in regard to our mutual operatic effort, TROUBLED ISLAND, that need to be agreed upon in writing by the both of us and approved as to form by you:

1. That the expenses of preparing the opera be deducted from royalties before the 50-50 division between composer and libretist begins—namely to William Grant Still, $440.02 for scores and parts; to Langston Hughes for copies of the libretto, $20.00.

2. In case the arias: "IN CHILDHOOD TOGETHER", "THIS LAND, THIS DARK LAND", "LOVE CALLS" are published separately as individual numbers, Mrs. William Grant Still (Verna Arvey) is to receive 50% of the royalties of such published numbers, for her work on them.

Both these matters are things to be taken care of in a letter of agreement between the collaborators, are they not? So would you kindly draw up such a letter for us? However, since you as my literary representative, are due 10% of my share of the royalties from the beginning, although and even though the rest of my earnings must go toward this expense account, perhaps that should also be incorporated into the letter of agreement.

In explanation of matter No. 2—in the beginning Mr. Still and I worked together in California on the opera, then I came East, and on to Europe. While I was away and unavailable, as he built his music, he found certain empty spaces lacking words in the musical structure. These musical spaces were filled in following the mood and story of my libretto by Verna Arvey (Mrs. William Grant Still), about 65 poetic lines all told, in three separate parts of the score, the first lines (or title lines) of the sections being as above, so I am perfectly willing for her to receive compensation in the manner which she suggests.

So much for the opera. As to Moe Gale and NBC, the fifth script, and what I presume will now be the audition script for the show, was turned in at 9 PM last night, OKed by Walter White and the NBC produced, with an audition and test recording date set for Saturday afternoon. So I think (after ten days work) we should collect. No? Y-E-S!

Cool days and happy nights to you,

Sincerely,

EXCERPTS FROM LETTERS OF WILLIAM GRANT STILL
TO LANGSTON HUGHES RELATING TO ADDITIONAL
BILL-IN LYRICS WRITTEN BY HIS WIFE, MRS.
WILLIAM GRANT STILL (VERNA ARVEY), ALSO RE-
LATING TO THE COST OF PREPARING THE MUSIC
SCORES WHICH I HAVE AGREED MAY BE DEDUCTED
FROM ROYALTIES BEFORE ANY SUMS ARE PAID TO ME

## June 19, 1948

...Verna (Mrs. William Grant Still) has brought up another question. She says that you said in a letter that you want her to have a share in the royalties for the lyrics she wrote in the second act. How is this done in publication agreements? Verna does not expect, so she says, to be paid a share out of the receipts of the entire work — but in the event that those particular arias for which she wrote the words are published separately, then she feels that she should share in royalties for them. As you know more about those things than we do, we would rather have you make a suggestion — Verna feels that this should come in the agreement for publication rather than in the agreement for this initial production.

We will pay back the $20.00 you spent on the typing of the libretto as soon as we get a royalty check from the first performance.

## June 12, 1948

Another thing that I forgot to ask you while you were here. Are you willing to let us deduct the expenses of preparing the material before we split up our profits? If so, I will locate my old blueprint receipts and find out just how much it all cost. Also, I would appreciate it if you would let me know how much it cost you to have the professional typist copy out the libretto, as this must be paid back to you also before we begin to count the profits!

## July 10, 1948

As for my expenses, they have been as follows: $98.04 for 6 piano scores (@ $16.34 per score), $28.05 for the big conductor's score, and $313.93 for the chorus parts, separate parts for the singers and orchestra players. These figures also include the inevitable tax, and they add up to $440.02, by our figuring. Please do it over again, so we'll be sure it's right! There may even be more expense in connection with the orchestration, as I am waiting now to hear from Mr. Halasz whether he wants to use the small or the big orchestra. If he wants the small orchestra, I'll have to have more blueprinting done. Although $440.02 seems like a large sum, I think I have diminished it a great deal by making all of the master sheets myself, a tremendous job. We counted up approximately how much it would have cost if we had had a copyist do it, at Union rates, and it would have been between five and six thousand dollars. No wonder writing music is expensive!

The lyrics to the arias "In Childhood Together" (Act I) and "This Land, This Dark Land" (Act II), also the duet "Love Calls" (Act II) were by Verna.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

Cable Address: MANUSCRIPT

July 23, 1948

Dear Langston:

As far as I see it you should have two separate memorandums or brief letters, one with William Grant Still and one with Mrs. Still. Before drawing these, I'd like to have you answer one question.

As matters now stand the City Center will pay $100 per performance and there will be three performances. This means William Grant Still will receive $300 before you receive a penny. Now, when you indicate that Still should be paid $440.02 for scores and parts, I assume that you mean to have the $300 represent a portion of this $440.02. Personally I think the arrangement is a little inequitable but, since you've entered into it, what can I do but condone. The idea is basically yours, he wrote a play, you might say he had expenses in connection with typing the play scripts, and then you wrote a libretto, all of which, it seems to me, should tend to equalize your contribution with William Grant Still. But, again I repeat, since you've more or less agreed to hide your light under a bushel, there's little left for me to do. So just answer the one question I've raised above.

I'm happy to learn that the script, the fifth script to be precise, will finally be recorded this coming Saturday. No wonder you can't be out in Philadelphia way with me helping to elect Wallace for president.

MLtes

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

Cable Address: MANUSCRIPT

489 FIFTH AVENUE

NEW YORK 17, N. Y.

July 29, 1948

Dear Mr. Hughes:

Let me apologize again for neglecting to remind Mr. Lieber the entire second-half of the advance due from Doubleday, less agency commission, should have been paid to you. The balance is enclosed, herewith.

And thanks for the tickets to the broadcast of SWING-TIME AT THE SAVOY. Incidentally, Mr. Benson called me yesterday after I had spoken with you. From our conversation I understand payment won't be received for at least ten days. When we deal directly with broadcasting companies, it usually takes about seven days to collect our fee. In this case, the Moe Gale office will have to send in their bill, which is not done until after a broadcast, consequently payment is delayed another day or two. However, we'll keep after them for payment and the new contract.

Thelma E. Slocum
Enc. $225.00

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

Cable Address: MANUSCRIPT

August 6, 1948

Mr. Langston Hughes
20 East 127th St.
New York 35, N.Y.

Dear Mr. Hughes:

I've just spoken with Mr. Benson of the Moe Gale office. He told me he had sent you registered notice to the effect that there would be only two more broadcasts of SWINGTIME AT THE SAVOY. For this reason they have not prepared a formal agreement, but would do so if they discovered the program would be continued beyond the next two broadcasts.

To date you have coming to you the sum of $300 which is payment for one audition and two scripts at $100 apiece. I understand the first payment of $200 for the July 28th broadcast (script and audition) will be in the mail today, and you can expect the $100 for your script for August 4th within the next ten days.

As you know, this is my last day at the Lieber office. However, this entire affair will be brought to the attention of Miss Mervis and Mr. Lieber and they will carry on

Thanks again for the tickets to the broadcasts. We've certainly enjoyed them and wish they were not going off the air.

Thelma E. Slocum

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

489 FIFTH AVENUE

Cable Address: MANUSCRIPT

NEW YORK 17, N. Y.

September 1, 1948

Dear Langston:

I've just been speaking with Miss Dietz of William
Katzell's office. She tells me that Katzell is not
responsible for the note that appeared several weeks
ago in the Sunday Times. They had, as a matter of fact,
assumed that we had done a little job in public re-
lations.

Nevertheless, she assured me that Katzell was definitely
interested, but is reluctant to enter into a contract
until he has some clear idea of your basic treatment
for dramatization for MASTERS OF THE DEW. That,
my dear Langston, is not unusual. All that Katzell
wants to make certain of is that he doesn't commit
himself to an unknown quantity. He will be satisfied
with a brief statement on how you see the play shaping
up, whether it is to be in three simple acts or in
a number of scenes, where the emphasis will lie, etc.,
etc.

Do you think you could let him have this sort of
prospectus? Through my office, of course. !!!

MImm
Mr. Langston Hughes
20 E. 127th Street
New York 35, N.Y.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

Cable Address: MANUSCRIPT

Sept. 17, 1948

Dear Langston:

The Literature Division of the N.Y. Council of the Arts, Sciences & Professions is planning a meeting of Writers for Wallace. We have taken the Main Ballroom at the Hotel Woodstock for the evening of October 5th, and we should like to have say 15 to 20 important writers speak for about 5 minutes each, giving their personal reasons why they are for Henry Wallace, why this is the only solution writers have if they are to maintain cultural freedom, etc., etc. I'm told by the organizing committee that about 20 letters have already gone out, and of these, Norman Mailer has already accepted.

Will you please let me know if you can be present on this very important occasion?

MLmm

Mr. Langston Hughes
20 E. 127th Street
New York City

20 East 127th Street
New York 35, New York

October 7, 1948

Mr. Maxim Lieber
489 Fifth Avenue
New York, New York

Dear Max:

Here are a few more SIMPLE columns which you might send off to Little, Brown. I have a few more in the rough but since I am well ahead on the column I do not expect to write them up soon.

Surely Little, Brown has enough material by now so that they can tell whether they wish to publish the book. The columns which are purely topical and would date very quickly, I am not including in the manuscript. But the Negro Problem is always with us and probably will be for the next 50-11 years, so most of these columns will hardly be dated for several literary seasons. Personally, I think there is too much material for a single book and we could weed some of it out. And if a publisher takes the book and gives an advance, I am perfectly willing to attempt a new editorial job on it — but my temperament at this moment will not permit me to make it into a novel. I am more inclined to making it into a radio program which I think it will become — that is, if radio can grow up enough to take a little controversial comedy.

My continued good wishes to you as you labor in the field of
literature and social advancement.

LH:HHS

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

Cable Address: MANUSCRIPT

Oct. 7, 1948

Dear Langston:

In answer to your query, the man you met in my office who used to write dramatic criticism for "Tomorrow" is Schuyler Watts. I've been out of touch with him for over a year. His last address which I had was 645 Madison Ave., telephone El. 5-2763. If he is still there, Meyrowitz might be in touch with him. And there is a chance that "Tomorrow" might have his present whereabouts if he has moved.

Today I had a call from John Rumsey. He finally reached Martin Jones by phone somewhere upstate. Jones recalls that the scenery for MULATTO was disposed of--someone called for it and paid a small sum, but he cannot remember who it was who took it. I can't think of any way to trace it further.

Thanks for sending me the additional "Simple" material. This is going up to Cameron.

MLmm
Mr. Langston Hughes
20 E. 127th Street
New York 35, New York

October 11, 1948

Dear Max:

Arna says he would like to have some money for Christmas (He
has six children) and, the Lord knows, I would like to have
some right now. So, between ourselves, we have decided to com-
pile immediately (since it simply means putting a couple of
typists to work) that Harlem anthology that we have been talk-
ing about for the last six months, providing, of course, that
you can sell it for us and get a large, reasonable, small, or
in fact, any kind of quick advance.--- because even a typist
devoted to art must be paid.

Therefore, I am enclosing for you to transmit to the nearest
available publisher likely to be interested in this idea a
tentative outline under the tentative title of, SO THIS IS
HARLEM.

In his letter Arna says: "I think it's the publishing house of Farrar and Straus that is bringing out the series of anthologies of states and cities. There has been one on New Orleans, among others, and they keep saying that many other geographic units will be presented in the same way. Harlem would fit beautifully, if you and Maxim think we should offer our idea to this series, rather than to one of the publishers with which we have connections." If Farrar, Straus is not the firm bringing out this series, could you discover which firm it is and find out if they would be interested in our proposed anthology?

Since most of the material we propose to use is immediately at
hand, either on my book shelves or in Arna's library, we could
have the manuscript ready in just about complete form by Nov.15,
so you might say that we have begun already the compilation,
since except for the introduction it is practically nothing more
than the matter of typing.

The collaboration contracts for the musical came today. I shall
read them over, sign, and return them to you, but can hardly be-
gin working with the fellows for at least a couple of weeks or so,
since I have taken on two or three other little things since
talking with them. But I think it will be an interesting job
and I am delighted about it.

All my good wishes to you.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

Cable Address: MANUSCRIPT

Oct. 18, 1948

Dear Langston:

I appreciate that you and Arna would like to make some money. God knows, I would, too! Because I was lunching with Buck Moon, I showed him your outline for SO THIS IS HARLEM. He was frankly dubious. For one thing he thinks that Harlem is no longer what it used to be a decade or more ago--but then he is a specialist, and he may have different notions.

I've just spoken with John Farrar at Farrar Straus & Company. He doubted whether the project would fit into their series on cities, but he wanted to take a look at the outline and study it because either they would possibly revise their opinion or consider it for publication outside of the series. So the outline has gone to them this afternoon.

ML mm

cc Arna Bontemps

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

Cable Address: MANUSCRIPT

Nov. 30, 1948

Dear Langston:

Glad to learn that work is proceeding agreeably and well with HAPPIEST DAY. I've just written Grace Morse about the balance of the advance which your collaborators should have submitted about ten days ago.

The De-Bop poems are now with Charm Magazine, having been rejected by Our World, Esquire, Tomorrow, and Mademoiselle. As for Simple, I was to have had a conference with Angus Cameron tomorrow. But yesterday the news came through that Macintyre, Little, Brown's President, had died. This throws a monkey wrench into Cameron's schedule, and we'll have to take the matter up when he's again clear.

Let's hope something comes of the Myerowitz audition.

MLmm

Mr. Langston Hughes
20 E. 127th St.
New York City

PAUL, WEISS, WHARTON & GARRISON

ATTORNEYS AND COUNSELLORS AT LAW

61 BROADWAY

NEW YORK 6, N. Y.

RANDOLPH E. PAUL*
ROBERT E. SAMUELS
LOUIS S. WEISS
JOHN F. WHARTON
LLOYD K. GARRISON
HARRY J. LEFFERT
RUSSELL H. WILDE
MYER D. MERMIN
HOWARD A. SEITZ
H. RUSSELL WINOKUR
MORTIMER S. EDELSTEIN
SAMUEL J. SILVERMAN
ALEXANDER HEHMEYER
ADRIAN W. DE WIND

*WASHINGTON OFFICE
1614 EYE STREET, N.W.
WASHINGTON 6, D.C.

ARTHUR J. COHEN
COUNSEL

December 13, 1948

Mr. Maxim Lieber
489 Fifth Avenue
New York City

Street Scene

Dear Mr. Lieber:

Pursuant to our telephone conversation of today, I am
forwarding to you herewith five copies of a memorandum of agree-
ment regarding the advances paid for motion picture rights in
"Street Scene". Each of the enclosed copies has already been
signed by Mr. Rice.

I understand that you will take the matter up with Mr. Hughes and will let me know at your earliest convenience whether he is prepared to go along with the other parties in the payment of $2,500 which is contemplated to be made to The Pickford Corporation prior to December 29, 1948.

MDM:RG

Encls.

<table><tr><td>CLASS OF SERVICE</td></tr><tr><td>This is a full-rate Telegram or Cable-gram unless its deferred character is indicated by a suitable symbol above or preceding the address.</td></tr></table>

WESTERN
UNION

JOSEPH L. EGAN
PRESIDENT

1201

<table><thead><tr><th colspan="2">SYMBOLS</th></tr></thead><tbody><tr><td>DL</td><td>Day Letter</td></tr><tr><td>NL</td><td>Night Letter</td></tr><tr><td>LC</td><td>Deferred Cable</td></tr><tr><td>NLT</td><td>Cable Night Letter</td></tr><tr><td>Ship Radiogram</td><td></td></tr></tbody></table>

(35).

The filing time shown in the date line on telegrams and day letters is STANDARD TIME at point of origin. Time of receipt is STANDARD TIME at point of destination.

..NA168 DL PD=NEWYORK NY 14 424P=
LANGSTON HUGHES=
:20 EAST 127 ST=

HAVE ARRANGED SESSION FOR WEDNESDAY SEPTEMBER 22ND
800PM WITH JOE SHERMAN, ABBY MANN AND THEIR AGENT GRACE
MORRIS AT HER HOUSE TO NEGOTIATE CONTRACT BOYS PREPARED TO
PAY ADVANCE $500 ON SIGNING PLEASE CALL ME AT NOON
WEDNESDAY 15TH=
MAXIM=

22 800PM $500 15=

THE COMPANY WILL APPRECIATE SUGGESTIONS FROM ITS PATRONS CONCERNING ITS SERVICE

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

Cable Address: MANUSCRIPT

Dec. 28, 1948

Dear Langston:

I've just been speaking with Abbe Mann who tells me he has been sick and has had to pay his hotel rent, and doctor's bills, and consequently has not been able to meet his share of the commitment.

From my very brief meeting with Mann and Sherman, I feel quite certain that they are honest, but their youth and inexperience are probably the only things we could accuse them of. I was very firm with Mann and I think I scared him a little by suggesting that you might stop working until he and his colleagues had met their obligations in full. To be sure, the advance they are paying is an advance against future royalties; I assume that you feel that the potential in this musical is sufficient to warrant the risk of spending as much time as you are doing, otherwise you would not have undertaken it in the first instance. That being so, perhaps you won't be too hard on the lads.

A more important matter, of course, is the release from Bick. This matter I also discussed with Mann, and pointed out that we would not be satisfied with the formulations contained in Bick's statement. Mann assured me he would contact Bick and ask him to get in touch with me at once. It may perhaps be advisable for you to go slow on your work until this matter has been satisfactorily settled.

"Holiday" has the photostats of all five of the Jacob Laurence illustrations which you left here. They did not indicate in their conversation with me whether they would use any of them.

Mmm

Mr. Langston Hughes
20 E. 127th Street
New York City 35, N.Y.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

Cable Address: MANUSCRIPT

Jan. 19, 1949

Dear Langston:

Many thanks for your note of the 18th enclosing copies of your letters to the City Center and to Leeds Music Corporation.

As for personal matters, the baby arrived at 9:30
Tuesday morning, as per schedule, and to all appearances,
the young man looks hale and hearty; he weighed all of
7 pounds and he yawned--already he is tired of it all.

Minna is doing well, thanks at the Sydenham Hospital.

MLmm

Mr. Langston Hughes
20 East 127th Street
New York 35, New York

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

Cable Address: MANUSCRIPT

March 8, 1949

Dear Langston:

Elie Siegmeister was in to see me in connection
with a manuscript of his.

In the course of conversation he mentioned that
the American Opera Company of Philadelphia, in
conjunction with the Pennsylvania Federation of
Music Clubs have approached him to write an opera
that would be connected with the history of Pennsyl-
vania.

This opera company has been in existence for some
time, and has produced, in a first-class manner,
with excellent orchestras and excellent casts. They
offered Siegmeister $1,000 for a libretto and score,
and he wondered whether you would want to undertake
the libretto, in which case he would let you have
50% of the proceeds. The American Opera Company
would release all rights to Siegmeister, and to
you, of course, if you associated with him, merely
retaining for themselves the privilege to one or
several performances in Philadelphia.

Now that you are an established hand at opera, I
imagine that you would welcome this idea.

MLmm
Mr. Langston Hughes
20 E. 127 St.
New York City

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

Cable Address: MANUSCRIPT

March 14, 1949

Dear Langston:

Here is my check in the amount of $2.94 covering the
royalty on "Bedside Esquire," as per Esquire statement.

Hope all goes well.

Mmm

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

489 FIFTH AVENUE

Cable Address: MANUSCRIPT

NEW YORK 17, N. Y.

March 30, 1949

Dear Langston:

I thought you would be interested in seeing what
Grosset & Dunlap had to say on the possibility of
producing a cheap edition of the anthology of humorous
Negro verse.

By now all of the cheap reprint firms have had a
crack at the book. And so obviously, we will now be
obliged to offer it to the regular trade publishers.
This will present several problems. Doubleday might
not like the idea of making this book available,
since even if it is in a different category, they
would nevertheless regard it as competition with
your and Arna's existing anthology. We might offer
it to Knopf, your regular publisher, but we wonder
whether they would take kindly to such a project.
And now we also have Simon & Schuster in the picture
in view of their contract for SIMPLE.

I should like to have your good judgment on the
subject before I take the next step.

Best to you,

MLmm
cc Arna Bontemps

Mr. Langston Hughes
20 E. 127th Street
New York City
Enc.

GROSSET & DUNLAP, INC., Publishers
1107 Broadway, New York 10, New York

28 M arch 1949

Dear Max:

Thank you for the chance to read the Langston Hughes-Arna Bontemps anthology of Negro verse. Berney Geis and I have both read it and feel that it is decidedly a project for what we call the "originating" publishers. While it is true that this material might lend itself to re-publication in a cheap edition, I feel that it needs the cachet of initial appearance on the list of a house such as Scribner's, Harper's or Knopf. If the verses were all "humorous" as the title indicates, the story might be different. But actually, there are very substantial sections of blues and folk poetry which scarcely fit into the "humorous" category. I think that you will have little trouble convincing one of these other houses that this would represent a very worthwhile addition to their list.

With best personal regards,

Mr. Maxim Lieber
489 Fifth Ave.
New York 17, N.Y.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

Cable Address: MANUSCRIPT

March 30, 1949

Dear Langston:

Thanks for sending me the Italian version of MULATTO. I wish I could read it. As for trying to have a play production in Manhattan by some Italian drama company, I must throw up my hands, because I simply do not know any such organizations. And even if I did, I would have no way of checking what they would do with the production because of language barriers.

On Monday night I attended an audition of Meyrowitz's opera, MULATTO. It may be that the house was stuffy; it may be that some of the singers were nervous; and I'm sure that Mrs. Meyrowitz's diction and voice got upon a lot of people's nerves. At any rate, I thought the audition left much wanting. It was tedious and uninspired. Meyrowitz had persuaded me to invite Audrey Wood and her husband, Bill Liebling. They came, sat in front of me, and squirmed throughout the performance, and sneaked out immediately at its conclusion. When Meyrowitz asked me how they reacted, I told him, and he promptly labeled them a couple of idiots. He may be right; I may be wrong--but I still don't like strawberries and cream!

Will Minna and I be seeing you on Thursday night?

MLmm

Mr. Langston Hughes
20 East 127th Street
New York City

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

Cable Address: MANUSCRIPT

April 8, 1949

Dear Langston:

We have a letter from Holiday explaining that be-
cause of the virtual sell-out of the April issue,
they plan a special reprint, to be run without
advertising, between board covers.

They would like to reprint COLLEGE FORMAL and
BALLAD OF THE LANDLORD which ran in the original
edition, and for this they will pay 20% of the
the original amount paid for the poetry, or $20.00,
with the added clause that in the event of an
additional printing beyond the first 200,000 copies,
there would be additional payment of a proportionate
amount.

I thought this offer fair and accepted it in your
behalf.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

MUrray Hill 2-3135-3136

Cable Address: MANUSCRIPT

April 28, 1949

Dear Langston:

Here is your copy of the contract for NEGRO MOTHER,
now signed by Jack Mills of Mills Music publishers.

The three assignment of Canadian copyright forms
are for your signature. Will you sign all copies
and return them to me for forwarding back to
Mills Music? They will take care of the witnessing
and notarization in their office, inasmuch as
your signature is known to them.

Hope this finds you in good spirits and enjoying
the academic life.

Best wishes,

MLmm

Mr. Langston Hughes
International House-755
1414 E. 59 Street
Chicago 37, Illinois

Enc. 4

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

MUrray Hill 2-3135-3136

489 FIFTH AVENUE

Cable Address: MANUSCRIPT

NEW YORK 17, N. Y.

Mr. Langston Hughes
c/o International House
1414 E. 59 St.
Chicago, Ill.

May 6, 1949

Dear Langston:

As you can see from the enclosed, Maria Leiper has sent along the *Simple* material as well as some extensive editorial comment and suggestion. I am upholding the enclosures of the readers' reports (11 pages), the copy of "Mrs. Leiper," and the jacket blurbs on other authors. The editorial suggestions should of course be studied in conjunction with the mss. Now since I am not sure exactly when you will return (the people in your house say in three weeks), and I don't know how heavy your program is, I will leave it to you whether I should ship the mss. to Chicago. It may be as long as a week getting to you, and then you may not be able to work on it properly.

I am myself going through the reader's reports and the suggestions both of the readers and of Maria Leiper. The whole effort of Simon & Schuster in this connection strikes me most favorably; their teamwork is splendid, and a great many of the ideas they have for the revision seem eminently feasible and worth while.

Do look over Maria's letter as a starter. If you want the rest of the material, I'll get it to you without delay; otherwise it can wait upon your return.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

Cable Address: MANUSCRIPT

May 11, 1949

Dear Langston:

I'm happy to enclose my check for $28.50 which represents the advance fee from Macmillan for the use of the two stories, ON THE ROAD, by yourself, and THE PROTECTOR, by Salinas, and translated by you. These stories have been included in the Macmillan anthology, "Short Story Craft," edited by Gilkes and Bower. A copy of the volume went last week to Nate White, to hold for your return to town.

The advance fee was $25.00 for each story, and my commission was deducted from the total Macmillan payment of $50.00. From the $45.00 balance I deducted the amount of $16.50, which represents commission against the $165.00 payment which your "Happiest Holiday" collaborators paid in cash in December, and which I did not deduct when I turned the cash over to you.

Incidentally, the Macmillan payment is supposed to be only an advance; royalties (so our agreement stipulates) are to be eventually distributed through the Authors' Guild.

Hope this finds you well, cheerful, and enjoying the Chicago interval.

With best wishes,

MLmm
Mr. Langston Hughes
c/o International House
1414 E. 59 St.
Chicago, Ill.

International House, 755,
1414 East 59th Street,
Chicago 37, Illinois,
May 16, 1949.

Mr. Maxim Lieber,
489 Fifth Avenue,
New York 17, N. Y.

Dear Max,

Thanks for all of your kind communications. After this
Friday, do not post anything to me here as I expect to be head-
ing Eastward by degrees around the 24th, finishing up my work
at the Lab School this week.

Frank Mariott writes today that an outfit called Century
is interested in producing MULATTO in summer stock. (Mariott
is the actor of THE ICE MAN COMETH and the original company of
THE RESPECTFUL PROSTITUTE and will be in the show, if done.)
He requests that we adjust the royalties to suit summer stock,
which is OK by me. I have referred him (or Century) to you.

Perry Bruskin writes that Anna Sokolow is interested in
doing my music-skit, "BLUES IS WHAT'S THE MATTER" as a part of
series called "Television's Lyric Theatre" and requests my per-
mission to use the script without charge for an audition for the
prodeucers, which I have granted, referring him to you when it
gets around to business.

The character "Simple" made his debut on the speaking stage
last night out here and came off right well, being the hit of the
evening (a program by a little theatre group of my songs and skits).
I'll be prepared to give the book version my serious attention as
soon as I get back to town.

I've also just bought a tape recorder so I can take down Joe
Sherman's music to work on the musical show without his having to
come all the way over from Brooklyn each time (or me go there---
which is worse! Until they pay us our remaining $85.00 my energies
are low!) What kind of is-ness is show business?

Seems like the University of Chicago's Music Department is
seriously considering MULATTO as one of its operas for next season.
I'm to have a conference with the man tomorrow! (Could you bear to
hear another one?????)

Peace be with you.

Sincerely,

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

Cable Address: MANUSCRIPT

June 29, 1949

Dear Langston:

I have written Pober that he can go ahead on the Czech
translation of THE POETRY OF THE NEGRO, but that he
would have to do the job of clearing copyright per-
missions for the volume.

I'm delighted that you agree to sponsor the Cultural
Center of the National Council of the Arts, Sciences
and Professions, and can appreciate your feelings
about declining the post on the Executive Board. But
this doesn't mean that some day I'm not going to break
you down for this job!

Your activity on the new SIMPLE is admirably steadfast.
In case Maria Leiper should ever ask me, I can tell
her that you are staying up all night to work on the
script.

With best wishes,

Mmm

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

Cable Address: MANUSCRIPT

June 22, 1949

Dear Langston:

Thank you for your letter of the 22nd. I don't think it will be feasible to negotiate the Czech rights to Arna and your anthology, The Poetry of the Negro, simply because you would have to go through the motions of securing copyright permissions from all of the authors and owners involved. If you think this can be arranged, let me know, and I will advise my friend Pober in Prague accordingly. If you cannot, I will tell him what the problem is, and will see whether he will struggle with it--though I doubt that he will.

I'm delighted to learn that the musical is moving ahead to your satisfaction. I wish the boys could move ahead on the coin, but since you are not worried, I won't press them, and I promise I won't scrounge around to secure any other assignments for you knowing that your time will be occupied with the musical and the completion of the Simple book for S & S.

There is one thing, however, that I should like to ask you to do. At a recent membership meeting of the Literature Division of the Arts, Sciences and Professions (now baptized "The Writing and Publishing Division of the Arts, Sciences and Professions"), your name was offered for nomination for membership on the Executive Board. Now I know that you have frequently declined to accept in the past, but I wish you would accept this time, recognizing that you have some responsibilities towards the arts and the enlightenment of the arts. Also this would encourage Negro writers to join the organization, at the same time giving the organization a sense of responsibility towards Negro writers, and perhaps fight more vigorously for their recognition in editorial offices. You see, all of these things hang together.

The other thing I should like you to do is to agree to sponsor the formation of a Cultural Center of the National Council of the Arts, Sciences and Professions. I am enclosing a little leaflet which describes the purposes of such a cultural center. This does not involve you in anything--not even in attending a meeting, but it does help the cause and enables us, who do work, to secure financial assistance, etc., etc. Can I count on you in both of these matters?

Yours with love, patience, and devotion,

June 28, 1949

Dear Max,

I meant to write you last night, but I worked until
seven A.M. on SIMPLE---a new beginning and a new end to conform
with the slight plot sequence I am working out.

I put in the week-end on the show, trying to fit lyrics
to tunes already---which is contrary to my original agreement.
(But, true to show business, those young men put down a slight
hype! Some of their original tunes are quite good, though, and
I don't blame them for wanting to retain them. But I told them
in front I didn't play, wasn't musical, and found it hard to fit
up words to tunes already written. I can do it, although it is
a slower process for me. But then they have been slow with their
dough, too!)

We can provide Prague with the addresses of most of the poets
in THE POETRY OF THE NEGRO. But they would have to put down a BIG
advance to persuade me to write all of them for permissions. Let
them tackle it, if they choose.

I would be happy to sponsor the formation of the new Cultural
Center of the National Council of the Arts, Sciences and Professions.
But I cannot accept a nomination for any Executive Board. I shall
probably have another "Poet In Residence" job at another college in
the fall, in February my lecture tours begin again, so I am never
in New York to attend such meeting and do not wish to hold offices
of policy and responsibility unless I can take part.

Sincerely

July 18, 1949

Mr. Maxim Lieber,
489 Fifth Avenue,
New York, N. Y.

Dear Max,

By messenger I am sending you 27 poems from the book
manuscript, MONTAGE OF A DREAM DEFERRED, newly revised, and
this time arranged in short sequences to make them more
appealing to editors, with a notation that the poems may be
used in sequence or individually, as desired.

I am enclosing the Jacob Lawrence drawings with ident-
fying captions on the back of each one indicating the poems
or sequences they best suit. The magazines that I recall as
sometimes using decorations, end-pieces, or drawings with
material are:

TOMORROW
HARPER'S BAZAAR
MADEMOISELLE
SURVEY GRAPHIC
NEW YORKER
MASSES & MAINSTREAM
COMMON GROUND

I suggest you try the poems on those most likely also to buy
the pictures first.

Other possibilities are POETRY, HARPER'S, ATLANTIC MONTHLY, and
THE COMPASS. Also NEW DIRECTIONS yearbook or whatever that liter-
ary compilation is called that they publish ever so often.

I'm still working on the show (naturally) and the SIMPLE book----
on which I'm going to put a spurt of a week or ten days and finish
up shortly as it is really not difficult to rearrange.

Here's hoping you-all are keeping cool at least part of the week.
Hope to see you soon.

Sincerely,

July 23, 1949

Dear Max,

Mr. Joel Spector (who is connected with the Arts and Sciences entertainment projects, so perhaps you know him) called on me today. He wishes to present the Meyerowitz opera, MULATTO, in an off-Broadway theatre next season with probably Boris Tumarin as director, Meyerowitz as conductor, and H.A. Condell (of the Civic Opera) as set designer. All of which has met with Meyerowitz approval as indicated by the enclosed paper he has already signed.

The paper seems O.K. to me, and I am willing to sign if you approve it. If so, send it back and I'll sign and return it to Mr. Joel Spector, 71 West 96th Street, Apt. 1, New York. (Ac. 2-8785 in case you need to talk with him).

He is going up to Tanglewood next week to see Meyerowitz and hear his one-act opera being done there August 2nd, so would like this taken care of this week, if possible.

STREET SCENE, so they tell me, is being performed in concert version at the Stadium July 30th.

Writing words TO MUSIC in thishot weather for those 3 young men who owe us $85.00 is about to get me down! I think I shall let it lapse for a week and turn to SIMPLE which is shaping up pretty well I think and with a couple of weeks full time, ought to be ready for Simon & Schuster.

Ice cream & ices to you,

MAXIM / LIEBER

253 W. 101 Street
New York 25, New York

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

Ri. 9-3059

Cable Address: MANUSCRIPT

August 18, 1949

Dear Langston:

Here is a rather cheerless set of figures from Doubleday
covering the sales of THE POETRY OF THE NEGRO for the
six months ended April 30, 1949.

The permissions costs have so far outdistanced sales.
A lesson may be gleaned from these figures: perhaps
editorship does not pay?

Well, let's hope the rewards of your and Arna's labor
will show up more noticeably in further returns.

MLmm
Enc.

P.S.: PLEASE NOTE OUR NEW ADDRESS!

August 29, 1949

Mr. Maxim Lieber,
253 West 101 Street,
New York 25, N. Y.

Dear Maxim,

I have delivered today to Miss Maria Leiper at Simon & Schuster the completed manuscript of "LISTEN FLUENTLY", the Simple book, due, according to contract on September 1. As you will see from the carbon of my letter to her, enclosed, I am of course willing to make further revisions should they seem desirable after they have given the new version a reading.

We must get for Simon & Schuster transfer of copyrights from the sources where the material first appeared. Would you attend to that since you know just what to ask, and how? 99½% of the material is from:

THE CHICAGO DEFENDER,
3435 Indiana Avenue,
Chicago 16, Illinois.

Address the Managing Director, Mr. Charles Browning there. It might be wise to get clearance on all Simple columns used there. The chapter, "Down Under In Harlem" is from the NEW REPUBLIC. And a small portion of another chapter is from "Simple And The Rosenwald Fund" which appeared in PHYLON, Atlanta University, Atlanta, Georgia, Vol IX, No. 3, 1948.

I am sending you by messenger today a carbon of "LISTEN FLUENTLY" in case you'd like to glance at it, your own self, and I'd love to have Minna see it. But tell her if it seems too long, NOT to read it all. Wait for the cut version---in print.

Since the movies seem to be going in for Negro themes right now--- why not MR. SIMPLE as a character for Rochester or one of their other cullud comedians? Maybe you could sell it to them, then we could pay our phone bill ALL next year.

Thanks a lot for that Doubleday report on THE POETRY OF THE NEGRO with nary a dime. It's all so familiar, I did not bat an eye nor turn a hair.

Mon cher ami, adieu,

Sincerely,

MAXIM LIEBER

253 W. 101 Street
New York 25, N.Y.

AUTHORS' REPRESENTATIVE

Riverside 9-3095-6

Murray Hill 2-3135-3136

Cable Address: MANUSCRIPT

489 FIFTH AVENUE

NEW YORK 17, N. Y.

September 1, 1949

Dear Langston:

Many thanks to you and Nat White for your labors in
collecting the complete list of SIMPLE COLUMNS. Acting
in accordance with the advice of Peter Schwed, the copy-
right expert at S & S, we have already asked The Defender
for a blanket re-assignment on all the columns. Now,
however, if there is any hitch, we can supply them with
specific titles and dates. We've also asked Phylon for
its copyright clearance, but The New Republic can't
find a record of having published "Down Under in Harlem."
Are you sure this title did not appear in The Nation?
I don't think we'll need clearance on the re-prints which
appeared in THE BEST OF NEGRO HUMOR, 1945.

Enclosed herewith are copies of correspondence between
me and Kurt Weill. I need not add that I find Weill's
arrogance and high-handedness typical of him and other
exiled Teutons.

MLmm
Mr. Langston Hughes
20 E. 127th Street
New York 35, N.Y.

Enc. 3

September 6, 1949

Mr. Maxim Lieber,
253 West 101 Street,
New York 25, New York.

Dear Max,

Thank you very much for sending me copies of your correspondence with Mr. Kurt Weill. It does seem to me that even where no monies are forthcoming, you as my representative should have a report of performances wherever tickets are sold....However, I wouldn't single out the poor "exiled Teutons" for excoriation alone since, you will recall, Mr. Martin Jones, a 100% American, wouldn't send reports on a whole New England road tour of MULATTO....That is just the way folks behave in the theatre, nationality regardless.

Now to what seems to me a much more polite business—that of books:
Re SIMPLE:

The article, "Down Under In Harlem" appeared in the NEW REPUBLIC, March 27, 1944. At that time it had nothing to do with Simple.

I have come across three additional columns from the DEFENDER that
should be added to the list I sent you for clearance:

SIMPLE AND THE HEADS................April 27, 1946
RESOLVING AIN'T SOLVING............April 13, 1949
BAD SOUTHERN GOP....................April 24, 1943

And on the following two the dates on your list are wrong and
should be corrected in this manner:

GOD, WAR, AND SWING................June 5, 1943
SIMPLE LOOKS FOR JUSTICE............August 28, 1943

BAD SOUTHERN GOP (April 24, 1943), A VETERAN FALLS (December 7, 1946), and MISSISSIPPI (March 16, 1946, of which a portion is used in the book) were not originally Simple columns, so should we ask the DEFENDER for a separate clearance on these?

Sincerely yours,

HERBERT B. KATCHER
Suite 1408
225 West 34th Street
New York 1, N. Y.

October 14, 1949

Mr. Leo Katcher
1237 N. Havenhurst
Los Angeles 46, California

Dear Leo:

This afternoon Commissioner Battle, Langston Hughes and I had a conference concerning the rights of Commissioner Battle's life story.

Commissioner Battle is morally committed to Mr. Hughes as far as the book rights are concerned. However, at the moment this is the agreement which is in a discussion stage:

1. You will prepare the movie script alone and all proceeds therefrom will be divided equally between Commissioner Battle and you. Commissioner Battles may make personal arrangements with Mr. Hughes which would not concern you.

2. As far as the book is concerned, Commissioner Battle would like very much to have you collaborate with Mr. Hughes. We did not discuss any final arrangement as to the book.

3. Commissioner Battle would like to have, in our contract, a clause that his total fee, before taxes and before agency fees, from the sale of the movie script, would be roughly $5,000.00.

Mr. Hughes has just recently finished a book for Simon & Schuster which will be published shortly; Mr. Hughes is extremely well acquainted with the life of Commissioner Battle and will be in an excellent position for both writing and giving background material, so that a complete and honest portrayal of negro life in America may be depicted.

I am enclosing two synopses of Commissioner Battle's life. In the event that you can consummate a sale to the movies, in line with the above provisions, you may telegraph Commissioner Battle for his approval. Of course, the clause that Commissioner Battle must be retained as a technical advisor stands.

Sincerely,

Herbert B. Katcher:ss
Enc.

MAXIM LIEBER

Riverside 9-3095

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

489 FIFTH AVENUE

Cable Address: MANUSCRIPT

NEW YORK 17, N. Y.

Oct. 18, 1949

Dear Mr. Hughes:

Here is Maria Leiper's encouraging letter which you may
use at the next meeting with Messrs. Battle and Katcher.

I've ordered four collaboration contract forms from
The Dramatists' Guild for the new project.

mildred mervis:m

P.S.: Now word as of this morning from The Defender. MM

Enc.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Riverside 9-3095
Murray Hill 2-3135-3136

Cable Address: MANUSCRIPT

Oct. 19, 1949 (by messenger)

Dear Mr. Hughes:

Here are four copies of the collaboration contract
for AT THE JAZZ BAND BALL.

I think the adaptations from the previous (HAPPIEST HOLIDAY) collaboration contract are in order; however, you may compare the rider pages for necessary variations. Please note that I have indicated Mr. Lieber as agent in connection with the $1,000 advance to be paid by Mr. Fabian.

We will now be looking for a return of one copy of
this agreement, fully executed for our own file, and
in due course Mr. Fabian's check for the advance.

I hope by now you have Maria Leiper's letter on BATTLE OF HARLEM; if it doesn't come in by tomorrow, perhaps you'll ring me. It seems a pretty firm expression of interest on the part of Simon & Schuster. Of course, I cannot answer her questions on when you expect to get started until you have completed your conferences with Messrs. Battle and Katcher.

mildred mervis:m

Mr. L. angston Hughes
20 E. 127th Street
New York City
Enc. 4

MAXIM LIEBER

Riverside 9-3095

AUTHORS' REPRESENTATIVE

Attn: X111 9-3135-3136

Cable Address: MANUSCRIPT

Oct. 21, 1949

Dear Mr. Hughes:

I am enclosing herewith a copy of my letter to Mr. Sengstacke, and a copy of the assignment form, which, you will note, contains a full listing of all of the articles. This should make everything perfectly legal and clear for copyright registration, that is, unless our friends at The Defender see fit not to make use of this form.

Peter Schwed of Simon & Schuster called up and asked me about copyright clearance. I told him that we have two assignments ready (from The New Republic and from Phylon) and that the third, from The Defender, should be coming through presently.

I've also drafted a memo for Maria Leiper re The Defender's ideas for joint publicity and requests for preface credit. She promises faithfully that all of these points will be taken up when promotion gets under weigh.

mildred mervis:m

MAXIM LIEBER

253 W. 101st St.
New York 25, N. Y.

Oct. 21, 1949

Miss Maria Leiper, Editor
Simon and Schuster, Inc.
1230 Sixth Ave.
New York 20, N.Y.

Dear Miss Leiper:

This morning I had a call from your Mr. Peter Schwed re assignments of copyright, and I assured him that we have transfer documents on hand from all sources but The Chicago Defender; however, I pointed out that we had a letter from John Sengstacke, the publisher, assuring us that he approved of the copyright transfer. To facilitate matters, I drafted a copyright transfer form on which are listed all of the articles used by Mr. Hughes as a basis for the material in the book. I see no reason, now that the publisher approves the clearance, why The Defender shouldn't sign and notarize the document. As soon as it is in our hands, Mr. Schwed will be sent the batch of assignments for Washington filing.

Both John Sengstacke the Publisher and Charles P. Browning, their Director of Public Relations have written us separately urging joint promotional activity on the part of both Simon & Schuster and The Defender in connection with the publication of the Hughes book. Here are the points they bring up, and which you promised me on the phone you would direct to your Promotion Department when your own publicity machinery got under way.

1) That the Chicago Defender's part in this promotion should be worked out in advance.

2) That a percentage arrangement or agreement be worked out to cover the Chicago Defender's development of this promotion.

3) That the Chicago Defender be given full credit for the original or first appearance of these articles.

4) That some reference should be made to the Chicago Defender in the preface-- in appreciation to Mr. John H. Sengstacke, Publisher and Editor of The Chicago Defender, for his cooperation in making this assistance available."

5) Some comments should be made with reference, for instance, as to how through conferences with the Chicago Defender this column was started, and through the active inspiration of the Chicago Defender readers the column was continued and developed."

In answering Sengstacke and Browning we made them no specific promises, but we did mention the fact that you are of the opinion that joint promotion would be mutually beneficial, and you would have your Publicity Department work along with the Defender once the final editorial work on the mss. is cleared.

MAXIM LIEBER

Riverside 9-3095

AUTHORS' REPRESENTATIVE

Murray Hill 9-3135-3136

Cable Address: MANUSCRIPT

November 1, 1949

Dear Langston:

My calendar tells me that about this time our friend Spector should have started his payments of $50--that is provided the Columbia production of MULATTO has been made. Have you had any word from him?

The Defender signed and notarized the assignment of copyright covering all of the SIMPLE material, and now all assignments of copyright have gone to Peter Schwed at Simon & Schuster.

Best wishes,

MLmm

MAXIM LIEBER

Riverside 9-3095
McLean Hill 2-3135-3136
Cable Address: MANUSCRIPT

AUTHORS' REPRESENTATIVE

Nov. 10, 1949

Dear Langston:

We called Grace Morse today as you suggested reminding her about the $85 unpaid balance on HAPPIEST HOLIDAY.

She hasn't received the money, and promises to get after the boys. However, she says that the boys have told her there are a large number of lyrics as yet unwritten. I reminded her that the $500 was an advance (which can be construed as an advance against any work done), although of course I could not argue with her about the amount of work done or not done.

Any word yet on the Battle round-table?

minna lieber@m
Mr. Langston Hughes
20 E. 127th Street
New York 35, N.Y.

November 22, 1949

Miss Mildred Mervis,
Maxim Lieber Office,
253 West 101st Street,
New York 25, New York.

Dear Miss Mervis,

Here are the lyrics completed up to now of the Sherman-
Mann-Drew show, JUST AROUND THE CORNER. The composer, Joe
Sherman, has completed music for all but two of them. On
three we plan to do rewrites or additions.

This set of lyrics does not include the innumerable
differing versions done for them, nor the various songs
written but discarded or not approved.

I have ready today for the composers consideration six
additional lyrics to submit at our conference tomorrow.

As it stands, there being nineteen numbers in the show,
excluding the ballets which need no lyrics, more than half
the show has been completed; in fact, almost two-thirds. As
you know, the complete advance was to have been paid within
one month after I began work. It has not yet been paid in
its entirety. Therefore, I suggest you show these lyrics to
Miss Morse, agent for the fellows, that she might see what has
been done and, we hope, collect for us the amount outstanding.
Please ask her to return the lyrics to you. And kindly keep
them for me. I'll pick them up someday when I am in the office.

Continued good wishes to you, as ever,

Sincerely,

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

Cable Address: MANUSCRIPT

489 FIFTH AVENUE

NEW YORK 17, N. Y.

253 west 101 street

November 30, 1949

Dear Langston:

Here are two checks to gladden your
heart--Chappell & Company and Dutton--
the latter for a reprint of THE WAY HOME
by Whit Burnett in "Story, The Fiction
of the Forties."

The material has gone over to Grace
Morse...maybe she'll cough up something
now.

Are you collecting and preparing your
stuff for Maria Leiper?

Max is improving and I think he'll be
back in another two weeks or so...hurrah!

As always and regards to
Mr. and Mrs. Harper,

encl: checks: #8782, $22.50
#8785, $206.71

MY TREASURE
SO LONG HERBERT
I CARE
WHEN I WAS YOUR AGE, YOUNG MAN
MY SON, MY SON

December 9

1949

Mr. Maxim Lieber
253 West 101st Street
New York 25, New York

Attention Miss Mervis

Dear Miss Mervis:

I am enclosing carbons of the remaining lyrics that I had to do to complete the initial list of songs according to the script of the show now called, JUST AROUND THE CORNER, by Abby Mann and Bernard Drew, with music by Joe Sherman. There is, of course, some rewriting to be done on several of the numbers.

However, I think that since I have now done work on every number in the book, and have finished completely enough numbers for the boys to have held one audition, they should certainly come through with the remainder of the advance which was originally to have been paid before I was to have done any work at all.

The other day Mr. Mann gave me $10, which leaves $75 due. I told him that this money should be sent directly to your office, that is, the remainder due us -- since I thought I had better take that $10 cash right then and there.

Do you reckon we will get the rest before Christmas? I do so pray.

My continued good wishes to you.

LH:HHS

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Riverside 9-3095

480 FIFTH AVENUE

Cable Address: MANUSCRIPT

NEW YORK 17, N. Y.

Jan. 13, 1950

Dear Langston:

Just in case Maria Leiper has not sent you a copy
of this release, I'm letting you look at mine. You'll
note that your book is included in S & S's forthcoming
double-publication project calling for the simultaneous
publication of regular and pamphlet style editions.

I endorse this method most heartily. It has long
been successful for many years in Europe. My own
feeling is that a prominent reason for the decay of
the publishing industry here is that publishers and
booksellers bend all of their efforts to meeting the
needs of a limited, moneyed readership, and overlook
the vast potential of a literate market which can
afford dollar or fifty cent editions only.

I am today sending the agreement between ourselves
and Commissioner Battle to Mr. Battle for his
approval and signature before submitting it to you
for same.

MLmm

Mr. Langston Hughes
20 E. 127th Street
New York 25, N.Y.

Enc. 1

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Riverside 9-3095
Muncie, Ind. 31355-3136

489 FIFTH AVENUE

Cable Address: MANUSCRIPT

NEW YORK 17, N. Y.

January 31, 1950

Dear Langston:

This morning I received a check from Samuel Battle. His accompanying note pointed out that in accordance with the agreement, you are to start working on the project on or before February 6th, so this is to put you on notice in order that you may prepare your schedule accordingly. I'm enclosing one copy of the agreement for your files. Battle has the 2nd, and I the 3rd, to make sure no disagreements occur.

I will acknowledge your letter of January 30th this morning. With some of the items I am already familiar, since you brought some of them up in your letter of January 18th. Up to the present moment, I've had no inquiry from your Argentine translator or from Miss Eusebia Cosme. I shall, of course, be able to tackle only one matter at a time. For example, if the producers of *Respectful Prostitute* want to read your script, they will tie it up for some time. If we are to submit it for motion pictures, there is the prospect of sending it out to Hollywood to the producers of *Home of the Brave*, or to Mexico; but should we send it to one or the other of these two places, there is the prospect that we may never see the copy again. However, since you tell me that you have another one available, and others can be made, perhaps there is no point in my worrying about this.

There was a nice column on *The Barrier* in yesterday's Times, but I suspect it was all a piece of personal publicity issued by Joel Spector. I spoke with him to find out what his plans are, and he was as barren of any as a rock in a salt sea. He has a mysterious hush, hush air on the phone, which may, however, conceal the fact that he is bluffing or he is ignorant. On the several occasions I have offered him my services, he has cavalierly turned me down. But after all, he is designated as the producer, and I cannot quarrel with him on that score, except that I should like to know when he will begin to pay you something for your efforts. I raised this question, very delicately, I assure you, last Friday, and he was a little astonished that I should speak of such vulgar things as money. The contract does, however, give him 9 months in which to arrange for a Broadway production.

I'm much more excited by what you tell me about a meeting with you and Sam Wanamaker and Lee Sabinson.

Best wishes,

Mmm
Enc.

MAXIM LIEBER

Riverside 9-3095
MURRAY CHM 9-3095

AUTHORS' REPRESENTATIVE

Cable Address: MANUSCRIPT

February 8, 1950

Mr. Joel Spector
71 W. 96th Street
New York City

Dear Mr. Spector:

This morning I received Langston Hughes sent me a copy of the agreement entered into between yourself on the one hand and Jan Meyerowitz and Langston Hughes on the other, on the 12th day of September, 1949. This is the contract you will recall my discussing with you last week, which at that time you said had not been signed.

When I spoke with you yesterday, you told me that the contract had been signed, but that Clause 1, concerning advance payments had been waived. And then you hurried to send a copy of the contract, after making such a notation alongside paragraph 1. Mr. Hughes will not initial the change because he does not intend to waive the advance which is due him.

Mr. Meyerowitz telephoned me shortly after you had spoken with me. He had obviously heard from you and was disturbed. I assured him that I would take no action detrimental to his interest for the balance of this week, so that any negotiations proceeding with Messrs. Wildberg and Myerberg would not be affected. My assurances to Mr. Meyerowitz on this point, however, do not prejudice Clause 1 referred to above, and unless I receive the payment provided for by Tuesday, February 14th, the agreement referred to will become null and void.

Sincerely yours,

MLmm

(letter not mailed)

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Riverside 9-3095

Monday, Nov. 2, 1954, 3:13 p.m.

480 KENT AVENUE

Cable Address: MANUSCRIPT

NEW YORK 17, N. Y.

Feb. 15, 1950

Dear Langston:

I'm happy to turn over to you my check in the amount of $225, representing the $250 advance received from our friend Joel Spector. I know you'll agree this is a bit of a moral victory for us, aside from the blood, sweat and tears.

M.Lmm

MAXIM LIEBER

Riverside 9-3095

KANSAS CITY, MO. 63135-3816

Cable Address: MANUSCRIPT

AUTHORS' REPRESENTATIVE

March 2, 1950

Dear Langston:

I am enclosing a leaflet which we are now mailing out, and my reason for sending it to you is as follows:

To begin with I'm sure that you have a wide acquaintance among young Negro writers who might be interested in one of the courses listed. Beyond this, we are determined to create a number of scholarships for talented young Negro writers, knowing that they frequently cannot afford even the $15 fee. Now it occurred to me that some of the wealthy Negro publications like _The Chicago Defender_, or _The Baltimore Afro-American_ would be happy to let us have money to establish two or three scholarships for each of the courses, or an approximate total of twenty scholarships annually. What it would mean to them in terms of money is only about $300 a year, but certainly, the prestige and the amount of good they would do would be far in excess of this nominal sum.

Could you use your influence with either of these journals--or any other journals--or for that matter, with any organizations you know of which might want to assist young Negro writers?

I would appreciate hearing from you as soon as possible, because you will see from the leaflet that registration will be on all of next week, and while this is not a criterion, we would like to know that we can admit a number of worthy Negro candidates.

MLmm

## REGISTRATION

You may use the coupon, below, to register or apply in person at A.S.P. Headquarters, Hotel Iroquois, 49 West 44th Street, Phone: MU 7-2161, from 7:00 to 10:00 p.m., March 6 through 10 and all day March 11, or at the Malin Studios, at the opening session of each class.

## CLASSES

Each course will be composed of ten sessions. Emphasis will be on practical work rather than lectures. All courses will be held at the Malin Studios, 245 West 52nd Street.

**FEE** $15 per course ($17 to non-members of A.S.P.)

This is a non-profit school; the fee covers administrative costs and a nominal payment to instructors. Scholarships are available to qualified persons. Two dollars of the non-members' fee may be applied to A.S.P. membership.

## MEET THE INSTRUCTORS

THE SCHOOL FOR WRITERS will hold a party at the home of O. John Rogge, 400 East 52nd Street, Sunday, March 5, 3:00-7:00 p.m. Students are invited to come and discuss their work with the instructors.

MIRIAM HIRSHENSON, Secretary

### THE SCHOOL FOR WRITERS

New York Council, Arts, Sciences & Professions
49 West 44th Street, New York 18, N. Y.

Please enroll me in the following courses...

I am (not) a member of A.S.P. I do (do not) wish two dollars of my enrollment fee applied to A.S.P. membership. Enclosed is a check (money order) in the amount of $

NAME

ADDRESS

(Make checks payable to Miriam Hirshenson)

209

Writing &
Publishing
Division,
New York
Council
of the Arts,
Sciences & Professions

## ANNOUNCES

the
school
for
writers

MALIN STUDIOS

245 WEST 52nd STREET

MARCH 13 — MAY 19

WORKSHOP CLASSES FOR WRITERS • TAUGHT BY WRITERS

THE NOVEL

Charles Humboldt

Study of writing techniques and aspects of the novel, past and present; workshop procedure; individual conferences with instructors on work planned or in progress; group appraisal of readings from students' work.

Tuesday—8:30-10:30 p.m.

ELEMENTARY SHORT STORY

Phillip Bonosky

Practical workshop for all persons interested in the short story form; analysis of outstanding writers' work and discussion of elements of structure, plot, characterization and conflict; reading and group discussion of students' work.

Tuesday—8:30-10:30 p.m.

ADVANCED SHORT STORY

Myra Page

Intensive workshop for those who already have knowledge of basic techniques of short story writing; review of market requirements; detailed criticism by instructor and group discussion of students' work.

Wednesday—7:30-9:30 p.m.

PLAYWRITING

Harry Granick

Intensive drama writing workshop; group reading and discussion of students' work; conferences with instructor; reading and analysis of plays.

Monday—8:30-10:30 p.m.

POETRY

Milton Blau

Reading and discussion of contemporary world poetry and influences; relationship of poetry to reality, form to content; reading and group discussion of students' work; guest lectures and readings by contemporary poets.

Friday—8:30-10:30 p.m.

ARTICLE WRITING

(Instructor to be announced)

Practical class in all types of non-fiction; survey of literary markets and techniques required by each; the various types of magazine articles—the picture story, science writing, profiles, etc.—how to prepare and submit outlines; guest lecturers; group analysis of students' work.

CREATIVE WRITING

Michael Sayers

A course designed to acquaint the beginning or would-be writer with all literary forms. The basic purpose of this course is to stimulate rather than criticize new writers. It will be valuable for trade unionists, students, for anyone who has something to say and wishes to find the form to say it best.

Monday—8:30-10:30 p.m.

COPY EDITING AND PRODUCTION

Lloyd Brown

A practical workshop for all those desiring a knowledge of editorial techniques; practice in copy editing, proofreading, layout, preparation of copy for printers and discussion of production requirements, type faces, etc.

Thursday—8:30-10:30 p.m.

RADIO AND TELEVISION WRITING

Arnold Perl

Practical workshop; analysis of scripts from documentary to soap opera; discussion of special techniques—adaptations, continuity, special effects, field trips to studios, study of production methods; group discussion of students' works.

Thursday—8:30-10:30 p.m.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Cable Address: MANUSCRIPT

April 7, 1950

Dear Langston:

The Honorable Mr. Battle has again come through with the third and final installment of payments against your writing of "Battle of Harlem." Here's my check to cover. How's the work coming along? I have been having a battle of my own with Simon & Schuster about the proof of an advertisement they sent me for SIMPLE. The serious elements in Simple's dialogues are entirely overlooked -- at least by this ad writer, who plays safe by mentioning only Simple's girl, Harlem lunch counters, women in general, and the uses of a bar. The element of underlying minority protest which to me gives the book its real weight and importance -- is not even touched on in this copy.

I blew off a lot of steam on the telephone this morning. Whether any good will come of it I don't know.

MLmm

MAXIM LIEBER
Riverside 9-3095

AUTHORS' REPRESENTATIVE

253 W. 101 St.
New York 25, N.Y.

Murray Hill 2-3135-3136

Cable Address: MANUSCRIPT

489 FIFTH AVENUE
NEW YORK 17, N.Y.

April 14, 1950

Dear Langston:

Mrs. Wakefield is obviously enthusiastic about SIMPLE SPEAKS HIS MIND. Let's hope she reports a million readers. It is too bad that her name does not carry weight. Otherwise, one could expect a good deal from her letter for an ad.

Your column on how SIMPLE became a book is of course excellent. I'd like you to let me have about a dozen copies because I think this column is more eloquent than any letter I could write in an effort to steer them into arriving at a quick sale to foreign publishers.

MLat
Mr. Langston Hughes
20 E. 127 St.
New York 36, N.Y.

P.S. I'm enclosing a check for $31.50 which represents a $35.00 fee paid by Houghton Mifflin Company for permission to reprint ONE FRIDAY MORNING in their new text entitled SHORT STORIES FOR OUR TIMES.

MAXIM LIEBER

Riverside 9-3095
McDonnell 2-3135-3136

AUTHORS' REPRESENTATIVE

Cable Address: MANUSCRIPT

April 14, 1950

Dear Langston:

Now that the book is published, I think it
would be a good time to begin discussing radio and
television possibilities.

Will you therefor get your friend to communicate
with me or, perhaps, it might be advisable to have
him contact his agent to arrange an appointment with
me.

I shall be prepared to do the necessary as soon
as I hear from either one.

MLat
Mr. Langston Hughes
20 E. 127 St.
New York 35, N.Y.

April 15, 1950

Mon cher Maxim,

Thanks for your notes of April 14 and the enclosure gratefully
received, comme tourjours.

I am very glad SIMPLE is out because it has just about worked me
down!

I'll try to get a dozen or so copies of that column for you. Had
I though, I could have had them run off a hundred or so reprints
for me. But they've probably melted it down by now, since the next
weeks issue is gone to press.

The radio-television guy has gone back to Chicago to be city editor
of the new Negro labor-union-backed weekly there, THE CHICAGO GLOBE.
His address is:

Mr. Robert Lucas,
1131 West 111th Place,
Chicago, Illinois.

He probably hasn't scripted another script since the income tax one.

Get my new song, COOL SATURDAY NIGHT, The Striders Quartette, Apollo,
for your juke box, out this coming Thursday. Other side is mine, too.
A blues... And Juanita Hall is singing my BALLADS IN BLUE these days
every Monday, Wednesday, and Friday at midnight at the Shelburne
Lounge in case you feel like night-clubbing. (Tell your son who likes
my songs.)

I want to be published in seven languages. 7 is lucky!

Seven 7's to you,

MAXIM LIEBER

253 W. 101 Street
New York 25, NY

Riverside 9-3095
Murray Hill 203-3135/3136

AUTHORS' REPRESENTATIVE

Cable Address: MANUSCRIPT

April 20, 1950

Dear Langston:

You will recall that at the end of January, in sending a copy of a revised script of MULATTO you outlined a list of 9 projects for potential exploring. Some of the projects you proposed involved having people call me; there was, for example an Argentine translator who was to contact me; there was a Miss Cosme who was to contact me as well.

Since they have not done so, I have done the next best thing by submitting the script (the revised copy) to Samuel French who is by far the best amateur and stock right agent in the country.

Now if I possessed Aaron's rod, or if I could perform the miracle of the loaves and the fishes, I could do some of the other things you suggest. But since I'm only an ordinary mortal and have only one revised script to work with, I'm limited. However, it occurred to me that the revisions were not too basic to prevent submission to some of these outlets, and a comparison of the revised script with copies of the original I still hold in my file proved me right. I therefore took the two remaining copies of the original script and sent one to Astor Films of Mexico and one to Stanley Kramer. And that's about all I can do unless you think you can gamble on getting out duplicates of the revised version for further use.

I'm enclosing a letter and a memorandum which came to me obviously by mistake from Maria Leiper's office. Maria is an incredible fount of energy and good will; we should consider ourselves fortunate that she is the guardian of your interests at S & S.

MLmm

Enc.

MÁXIM LIEBER

AUTHORS' REPRESENTATIVE

Riverside 9-3095-3096

253 WEST 101st STREET
NEW YORK 25, N. Y.

Cable Address: MANUSCRIPT

May 8, 1950

Dear Langston:

As you can see from the enclosed, I've just completed
the sale of SIMPLE to the Italian publisher, Mondadori.

I think I should point out to you that the terms are
unusually good for Italy.

Will you sign and return all copies of the contract
so that I can turn them over to Mondadori's man for
execution?

MImm

Mr. Langston Hughes
20 E. 127th Street
New York 35, NY

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Riverside 9-3095-3096

Cable Address: MANUSCRIPT

May 9, 1950

Dear Langston:

Maria Leiper sent me the enclosed with the comment, "Note enclosed order from Macy's with SIMPLE LEADING ALL THE REST. Of course, that may be because they didn't order so many copies to start with; but whatever the reason it's encouraging."

I'm passing this along to you for said encouragement. Who knows--maybe one day SIMPLE may be climbing over THE BABY!

MLmm

Enc.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Riverside 9-3095-3096

Cable Address: MANUSCRIPT

May 24, 1950

Dear Langston:

I am very happy to enclose my check in the amount
of $22.50 covering the sale of your story to the
Department of State for reprint in the Government's
German newspaper, "Die Neue Zeitung" of your story,
ON THE WAY HOME.

Enclosed also are the various purchase order
documents connected with the transaction.

MLmm

Mr. Langston Hughes
20 E. 127th St.
New York 35

Enc. 3

756

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Riverside 9-3095-3096

Cable Address: MANUSCRIPT

May 26, 1950

Dear Langston:

We have granted permission for the reprinting of your
two poems,

"Trip: San Francisco" and

"City: San Francisco"

in an anthology entitled PROSE & POETRY ADVENTURES (4th
edition) to be published by the L.W. Singer Company
of Syracuse, New York. They will pay $5.00 for the use
of each poem and are willing to employ proper copyright
notice.

The publisher now wants exact wording for the copyright
line, and since I don't know where these poems first
appeared, perhaps you will enlighten me so that I
can give the publisher the copyright information he seeks.

MLmm

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Riverside 9-3095-3096

Cable Address: MANUSCRIPT

June 6, 1950

Dear Nate White:

Do you know if there is a printed musical score
for TROUBLEDISLAND? I know that there was a possi-
bility that one would be published.

The reason I ask is that the question has been
raised by our British associate to whom we have
already sent the libretto of TROUBLE DISLAND
in order to explore the possibilities of a British
production. We were told that little could be
done unless a score accompanied the libretto, and
now he reminds us again that we promised to get the
score to him as soon as it became available.

Perhaps you can let me know if I can get hold of
a printed score.

MLmm

Mr. Nate White
c/o Langston Hughes
20 E. 127th Street
New York 35, N.Y.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Riverside 9-3095-3096

Cable Address: MANUSCRIPT

June 15, 1950

Dear Langston:

I'm happy to enclose my check in the amount of $128.99 which represents payment from Anderson & Ritchie covering royalties on sales of CUBA LIBRE through May 15, 1950, in accordance with the publisher's enclosed statement.

It is my understanding that you will take care of the further division of these royalties, that is to say, the payment of a proportionate share of these royalties to Carruthers and to the poet, Guillen.

MLmm

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Riverside 9-3095-3096

Cable Address: MANUSCRIPT

June 19, 1950

Dear Langston:

Thanks for yours of the 18th and enclosures from Mr. Buster. I've written him to send me his manuscript for a preliminary reading, stating that after I had finished, I would communicate with him as to the next step.

I note that if you are ultimately to be asked to revise it, you won't be able to touch it before January of next year, and that you would like to have the kind of proposition that we've arranged with Mr. Battle. In view of the fact that Mr. Buster already has a completed script, your request may be a little unreasonable, but let's not go into this until I've had a chance to read Mr. Buster's opus.

Your plans for the immediate week are most impressive and I do hope to be able to get a portion of Mr. Battle's script before too long.

MLmm

Mr. Langston Hughes
20 E. 127th St.
New York 35, NY

Enc.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Riverside 9-3095-3096

Cable Address: MANUSCRIPT

July 10, 1950.

Dear Langston:

I enclose my check which covers
royalty from Chappell.

I also enclose your copy of the
contract for the Italian rights to SIMPLE SPEAKS
HIS MIND.

In return will you please send me
a good photo of yourself, "just head and shoul-
ders" and up to date biographical data for your
British publisher, Victor Gollancz. This ma-
terial is needed for publicity purposes as soon
as possible.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Riverside 9-3095-3096

Cable Address: MANUSCRIPT

August 24, 1950.

Dear Langston:

Doubleday & Co. have just sent me the statement for the anthology you edited with Arna. It shows an earning of $79.50, but from this there has been deducted $31.39 for the purchase of books. Now before I split the boodle I'd like to know which of you two has purchased all these books.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Riverside 9-3095-3096

Cable Address: MANUSCRIPT

August 28, 1950.

Dear Langston:

I take pleasure in
sending you herewith my check for
$30. which represents your third
of the hundred dollars advanced
by Todd against his option on JUST
AROUND THE CORNER.

We've not yet had the
session with him, so there's nothing
else to report.

MAXIM LIEBER

253 West 101 Street.

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

Cable Address: MANUSCRIPT

480 FIFTH AVENUE
NEW YORK 7A, N. Y.

Sept. 11, 1950.

Dear Langston:

I suppose you had just
about given up the idea that Holt really
meant to enter into a contract for your
volume of poetry. But you see, all one
needs is faith, and then one can move....

Please note that in almost every respect this contract is superior to yours with Knopf. You grant them less rights and get more royalties. One thing you should particularly remember when you come to buy copies of this Holt volume: Clause 23 allows you to buy copies at one half the cost but on these you get no royalties. You are better off getting copies at 40% discount and earning royalties on them. This you will have to point out to Holt at the appropriate time.

Please sign both copies and
have them witnessed. ALSO INITIAL Clause
1, 2, 4, 5, 8, 13, 14, 17, 18, 19 and 24
to take care of the changes. Return both
copies to me.

HENRY HOLT AND COMPANY, INC.
257 Fourth Avenue
New York, New York
Orchard 4-4140

Editor: Theodore Amussen

November 24, 1950

Dear Max,

I am just back from a ten day lecture trip to the colleges of Virginia, Maryland, and North Carolina—about twenty-five appearances in all as I usually did two or three grammar or high school assemblies each day and then a main program at night. Sold about two hundred Simples among other books.

Thanks for the Italian MULATTO contracts which I have returned to you. Ask them to let us know when the production comes off. We might run over to see it. Since the play is a little short, and they don't mind long plays in Europe, I'm having the prologue we used at Columbia for the BARRIER retyped to put in front of the dramatic version. I'll send it to you in a few days to air-mail on to Italy.

I'm glad you liked Thyra Edwards bee book and hope you have some luck with it.

I have another charming little juvenile book of Southern games illustrated by kids I'll send you to take a look at soon as it might have some appeal, too. (By a cousin of mine in North Carolina who has been working with children for years).

I am phoning OUR WORLD about the FREEDOM TRAIN copyright on Monday in case Holt hasn't gotten it by now. The proofs of MONTAGE were here on my return and I am sending them back to the office on Monday, too.

Muriel Rahn would like to do the dramatic version of MULATTO as a package show in summer theatres and perhaps the Apollo in Harlem in the fall where ANNA LUCASTA and TOBACCO ROAD were done last season to good houses. Could you help on this any? Do you know any package show or summer theatre producers you could contact? If so, please broach it to them. It might also tour the Brandt houses again, as they report it did good business before for them.

This week-end I'm going to Brooklyn for a few days work with Eli. Then back to the Battle book. I hope to make MUCH headway on both projects by the holidays.

DID WE EVER COLLECT THE WASHINGTON "BARRIER" MONEY—and the 4 performances on Broadway? If so, lemme know. If true, gimme a few (dollars).

And would you take care of this Philadelphia request, please, maybe charging him a few dollars?

Good wishes, as ever, to you,

MAXIM LIEBER

AUTHORS'

253 West 101 Street.
REPRESENTATIVE

Murray Hill 2-3135-3136

Cable Address: MANUSCRIPT

November 28, 1950.

Dear Langston:

Thanks for returning the contracts for the Italian production of MULATTO. These are already half way across the ocean. Since there seems to be an urgency on the part of the producers to do the play, I doubt if there will be time for the prologue, seeing it would have to be shipped over, translated and put into rehearsal. Anyway, I've querried my agent about this, also telling him to expect the prologue in the next day or so.

Delighted to learn that you have another juvenile for me. If it's as good as Thyra Edwards', I shall be in your debt twice (though I haven't yet sold the first).

I'm sure Holt's will be happy to get the release from Our World which they didn't have when I wrote you last.

Apronia of Muriel Rahn doing MULATTO, can you tell me whether she has an agent? If she has, I ought to get together with (him? her? depending upon sex), because the problem here will be to sell talent plus a play. As for the royalty due us on THE BARRIER, no sign of it yet. The Guild is in the peculiar position of not being able to enforce its former regulations, but I shall press for arbitration if the Guild should be helpless.

I'm glad that you're back at work on the Eli and Battle projects. Who knows but one of these may get us the pot of gold (though I'd settle for a saucer).

Finally, will you tell me something about that Writer's War Board script IN THE SERVICE OF MY COUNTRY which a Mr. Hoffman would like to reprint? Have you a copy, and who holds the copyright?

November 30, 1950

Mr. Maxim Lieber,
253 West 101st Street,
New York, New York,

Dear Max,

The radio script, IN THE SERVICE OF MY COUNTRY, was mimeographed
by the Writers War Board in cooperation with the Association for
Education by Radio for non-commercial use royalty free for the
duration and sent to stations throughout the country as the War
Script Extra for January, 1944. I have several of their scripts
and none of them bear any copyright notices.

Re MULATTO, please send the Prologue on to Italy anyhow, as I have
a feeling that play is too short for Continental theatres. Besides
the Prologue helps set the situation.

Muriel Rahn's agent is her husband, who has a concert and booking

bureau:

Dick Campbell,
81 East 125th Street, Suite 506,
New York 35, N. Y.
(Sa. 2-8666)

He is quite excited about the summer theatre idea for MULATTO, so I
suggest you phone him.

795

December 16, 1950

Mr. Maxim Lieber,
253 West 101st Street,
New York 25, N. Y.

Dear Max,

You'll probably recall that I told you:

Sr. Alfredo Alberto Casey,
6-778,
La Plata, ARGENTINA

who was here in the U. S. A. for a year and came to see me a couple of times,
took MULATTO back with him to translate. He says he has interested theatres
there in it, and also wishes to interest a publisher, so would like an autori-
zation from you as my representative to negotiate for these things. I see no
harm in granting it to him with a limit of a year perhaps. He writes and speaks
on things Negro quite a little there, and seems to be well known in Buenos Aires
literary circles judging by what other Argentine writers tell me about him. His
HISTORY OF NORTH AMERICAN LITERATURE is being published by Claridad there.
So write him, please, sir.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Riverside 9-3095-3096

Cable Address: MANUSCRIPT

December 19, 1950.

Dear Doctor Hughes:

Yours of the 16th inst.
respectfully acknowledged, and thy will be
done.

I am informing Sr. Casey
to contact my agent in Buenos Aires with re-
spect to Spanish negotiations for publishing
or producing MULATTO.

Doctor Langston Hughes, D.D Litt.
New York City,
U. S. A. Western Hemisphere.

AÑO DEL LIBERTADOR GENERAL SAN MARTIN

LAWRENCE SMITH, B. A., DIP. ED.

AUTHORS' & PUBLISHERS' REPRESENTATIVE

TELEPHONE
76, BELGRANO 3610
73, PAMPA 3051

CABLE ADDRESS
LITAGENT BAIRES

VIRREY DEL PINO 2446
BUENOS AIRES

December 30th 1950.

Maxim Lieber, Esq.,
253 West 101st Street,
New York 25, N.Y.

Dear Mr. Lieber:

Thank you for your letter of
December 19th about the play

MULATTO by LANGSTON HUGHEES

I have not yet heard anything from
Mr. Casey, so am writing him today. La Plata
is quite a long way from Buenos Aires, which
is the center of the theatrical world in this
country, and Mr. Casey may have some difficulty
in finding a producer there. However if I can
help him I shall be delighted to do so.

I shall let you know if anything interesting results.

With my very best wishes for 1951,

Re:"Simple Speaks His Mind"

Refce. No. FD/H 16242 Lynwood Road,

Thames Ditton,
Surrey.

22nd. March 1951

UNITED KINGDOM INCOME TAX

Sir,

With reference to the Declaration made on Form M3 (Indiv)
by You
on the 15 Jul 1951, I have to inform you that authority
has been issued for payment of the income derived from
payable by Pearson Pollinger &
Hughes Ltd, London, England

to be made without deduction of United Kingdom Income Tax.

This exemption is subject to review and a fresh declaration
may be called for from time to time. Any change in the circumstances
affecting the relief or in the description of the account should be
notified to this office without delay.

I am, Sir,

Your obedient Servant,

To Mr L Hughes

No. 242 (D.T.) S.C.

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Murray Hill 2-3135-3136

Cable Address: MANUSCRIPT

480 FIFTH AVENUE
NEW YORK 17, N. Y.

April 19, 1951.

Dear Langston:

It is a bit of a shock to learn that Nate has resigned. Have you found someone to fill the very substantial niche he occupied? Incidentally, I know of a fine typist who could handle scripts at her home. She is in real need, a woman with two children, so if you can use her services, I'll be happy to arrange this for you.

Alas, no money yet from England, but I enclose a letter giving assurance of some to come. As you see, an application for permission to transfer money must first be presented to the Government, and weeks later, it is granted and the transfer is effected. Hold your horses.

I mean to read the 100 odd pages of your sequel to SIMPLE which, you say, you are casting more in the style of a novel. I hope you succeed, and I hope S & S give us a contract and sell a huge quantity. I'll get the script to Maria Leiper early next week.

Thanks for sending me a carbon of your letter to Mrs. Jerrold Stern re another presentation of SIMPLE. I've written her to ask for a $25. fee per performance, seeing admission is being charged.

How did the audition at Philadelphia go? Is everyone satisfied and are we going to get a smell of the balance of $250.?

Of course if Mr. Battle wont tell all, he can't expect to make a killing. Books without some sex just aint got no appeal.

With best wishes as ever,

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Riverside 9-3095-3096

Cable Address: MANUSCRIPT

May 1, 1951.

Dear Langston:

Three cheers for the good old British, and three cheers for the Italians. I'm sure you will want to join me when you see the enclosed two checks. One represents the advance against the Italian production of MULATTO; the other, the advance against SIMPLE SPEAKS HIS MIND from Gollancz.

May 9, 1951

Mr. Maxim Lieber
253 East 101st Street
New York 25, New York

Dear Max,

Thank you very much for the "Street Scene" check. By the way, I have been
that there have been additional amateur of same-professional performances
various
of "Street Scene" in New York places during the past year. Should we not receive
royalty reports on these, or at least reports? Would you kindly check with
Chappell on this.

Maria Leiper writes that she has not received from you the manuscript of Simple
from you.

I am working hard on Mr. Battle's book this week, trying to clear the way for
a June start on the childern's book for Watts.

Best regards to you, sincerely yours

LH:dm

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Riverside 9-3095-3096

Cable Address: MANUSCRIPT

May 16, 1951.

Dear Langston:

I thought Maria's
considerate attitude expressed in
her note was so characteristic, I
decided to send it along with the
statements.

As for the latter, it is
pleasant to contemplate that the dog
day of August will feel a trifle less
impossible with the promise of this
money. Can you already anticipate
the pleasure?

MAXIM LIEBER

AUTHORS' REPRESENTATIVE

Riverside 9-3095-3096

Cable Address: MANUSCRIPT

June 13, 1951.

Dear Langston:

Here is a small check to
cover the payment for one broadcast of
THE MINSTREL MAN by the British B.B.C.

Eli Siegmeister phoned me
today. He assured me he was not going
behind your back, but that you knew he
would be trying to get me to bring my
influence (?) to bear on you to the end
that you hurry up on the libretto for
the Pennsylvania Opera. Time is of the
essence, and he'd like to spend this
summer writing his music, but he can't
until you've finished the libretto.
Man, o, man, everybody is in a rush,
including the tax collector and the
mortician.

What do you say?