Robert Lynch papers, 1963-1989

Collection Number: 7320

Division of Rare and Manuscript Collections
Cornell University Library


Robert Lynch papers, 1963-1989
Collection Number:
Robert Lynch, 1947-1989
8.1 cubic ft.
Forms of Material:
Correspondence, diaries, chapbooks of poetry, financial, legal, and business records, photoprints, photo negatives, videocassettes, slides, drawings, greeting cards, and miscellaneous printed material.
Division of Rare and Manuscript Collections, Cornell University Library
The Robert Lynch papers consist of correspondence, diaries, poems and chapbooks of unpublished poetry, and typescripts; also, financial, legal, and business records and mailings, miscellaneous collected printed material, brochures, photoprints, photo negatives, videocassettes, slides, movie films, children's drawings, greeting cards, perfunctory mailings, clippings, genealogical charts, a high school memory book, pressed wildflowers and other botanical specimens, and occasional notes left by others for Lynch.
Collection material in English


Robert Lynch was born with the name Larry O'Neal Lynch on 14 September 1947 near Enfield, in Halifax County, eastern North Carolina. He was the oldest of the five children of Izetta Hedgepeth Lynch and Randolph Lynch. After graduating from Eastman High School in Enfield, North Carolina and the University of North Carolina at Chapel Hill, he attended Harvard Law School. After practicing as an attorney in New York City, where he specialized in corporate and securities law, he became involved with the Dance Theatre of Harlem. In August of 1975, he returned to rural North Carolina, living for a time at "Redbird Cabin," a neglected cottage in the woods not far from the home in which he was a child. Lynch referred to this as his "Thoreauvian period"; there, for an especially intensive period of four years, and for the rest of his life, he wrote poetry, kept close and introspective poetic and impressionistic diaries, and researched his complex ancestries. In the 1970s, he also travelled and hitchhiked in America and internationally, frequently visiting friends in metropolitan areas. In 1979 he moved into "Izetta House," the home in which he had grown up. By 1980 he was referring to himself as Robert Benjamin Richardson Lynch, though his family and those who had known him as Larry, continued to call him that. He also spent periods of a year or less as the Officer of Housing, Economic Development and Cultural Affairs for Princeville, North Carolina, as Development Director for WVSP Public Radio in Warrenton, North Carolina, and as a consultant to the Dance Theatre of Harlem. In the early 1980s, Lynch became involved in studying and collecting folk art, (or primitive art, or l'art brut), which he referred to as "outsider art." As a field collector and dealer, Lynch acquired examples and assembled a large photographic representation of outsider art, and also created a video on the subject. In 1987 he became aware of having contracted AIDS. Lynch died on 13 March 1989.


The correspondence (1963-1988) consists mainly of letters to and from family members and to and from friends, particularly Paul Bridgewater, Siri V. Melchior, Michael D. Fullwood, Michelle Patrick, Ralph Hardee Rives, Wendy Walker, J. J. Hawthorne, and Vela Holmes. For a period of years (1973-1979) Lynch kept careful carbon copies of his outgoing letters, though the name of the correspondent was handwritten only on the original. In both the diaries and in his correspondence, Robert Lynch chronicled and monitored his life very closely, particularly in the years in Cambridge, and at Redbird Cabin and Izetta House. The correspondence pertains mostly to his persistent and habitual inquiry into his artistic sensibility, his constant awareness of his ancestral resonances, and to the cultural and physical environment of Redbird Cabin and Izetta House. In letters to his siblings, he is both explicit and discursive as he sorts out the relationships and pressures within and among his immediate and extended families. In one case, he includes a copy of a 1968 letter to him from his father in a 1987 letter to his sister. Family correspondence includes letters to and from his mother Izetta Lynch, signed "your mom," and sister Rhonda McFarland, and also his siblings Judith, Elliott, and Tobias. Family names used include Blie and Boy. Other correspondence deals with his relationship with Michelle Patrick, sharing news with friends, with Redbird Cabin and its conditions, and his attempt to purchase it; also Lynch's Possession of Marijuana case, his involvement with the Prison and Jail Project of North Carolina, his collecting of outsider art and the beginning of his career as an art dealer. There is minimal reference to AIDS or his illness in the correspondence. There are several letters by Lynch returned to him lacking a correct address. There are some unopened lists of job openings from the Harvard Law School Placement Service, and many never opened notices of threatened litigation from several commercial creditors referring to unpaid accounts.
Robert Lynch's diaries represent the clearest depiction of his themes and perceptions. The diaries are chiefly poetic and impressionistic, but are occasionally narrative descriptions of events, family genealogies, or his poetic observances. His appreciation of and integration with nature are evident, both in the expository descriptions, and in his custom of pasting in wildflowers, leaves, and other botanical specimens. As a reader of T. S. Eliot, Lynch notes his self-conscious searching for the proper objective correlative: "occasionally configurations coag: writing; sex; family; work; the weather as now."
As with the correspondence, 1977 was a particularly fertile period, and the diaries for this year well document Lynch's chief concerns; outstanding among these is his engagement with his plural ancestries. As a member of a miscegenated group of African-Americans, Indians, mulattoes, whites, and other racial heterogeneities, Lynch describes his searches through his ancestries as his personal "vision quest." Describing the ways in which various cousins and family members lived in this complex descendence, Lynch notes that "some passed, some called themselves indians, and some blacks." The Haliwa-Saponi tribe, centered in Halifax County, North Carolina, were also called the Meadows Indians, the "Old Issue," and "the free people of color." He refers to his matrix of consanguinity, to his "grids of kinship," and genealogical "cloverleaf interloops." The elaborate Lynch, Richardson, Bass, and Hedgepeth patrimonies and matrilineal sequences are derived, and he notes as examples of these complex inter-familial relationships that his maternal grandmother was also a Lynch, and that "brother Elliott is dating my grandmother's aunt's great-grandchild." Lynch also expresses his perception of these self-referential heritages in a poem titled "Cousin Kissing." There is too a clear awareness of the "high yella" characterization of that part of his heritage which was African-American. He also refers to the homoerotic component of the American Indians' myth-rituals, and notes its personal and historical importance.
While the diaries show him piecing together these networks both practically and poetically, with some emphasis on the impressionistic, the clearest substantive exposition of his findings is most clearly put in the correspondence of 1977 and 1978. Writing his "family/tribal history" was chief among his pursuits. He several times refers to himself as a "sharecropper's son." When he begins a diary entry with a date, he often notes that it is "Judy's birthday," or "Blie's birthday" without any other comment. He refers to his dreams of the farm. The New South and its improved racial environment are an occasional concern, and he notes that when he left Rocky Mount for Chapel Hill in 1965, "it was from the colored waiting section." Another subject of his diaries is his travel and his observations.
In the years of the Harvard diaries and subsequently, he is also preoccupied with the difficulties occasioned by what he refers to as "lust." The Harvard diaries also document Lynch's often perplexing relations with Michelle Patrick. His attraction to men is expressed as well. Though there is little manifest reference to homosexuality, he chronicles his dilemmas with social and romantic affairs, and writes frequently of his dissatisfactions pertaining to his condition of lovelessness. Some of the later correspondence is overtly erotic, and a fair amount of the poetry also shows this preoccupation.
The diaries also describe his use of valium and drug experiences closely, his reactions to Harvard social life, his visits with a psychiatrist, his efforts to have siblings admitted to New England prep schools, his health, and his attention to and appreciation of visual art, dance, and jazz. Other topics include his academic problems, including his lack of commitment to Law School or to the law, and his indifference to a career. He read widely, and the diaries regularly register his reactions to Rilke, Woolf, Warhol, and many others. Lynch made verbatim typescripts of his handwritten diaries, particularly for the Harvard years. There were concurrently running diaries, and fragments whose span dates embrace the dates of other discrete diaries. There are no extant diaries for 1973-1974. He also employed an epistolary device in the diaries, with a "Ted" as his correspondent. Certain thematic phrases recur in various pieces, including "O lost, and by the wind grieved, ghost, come back again," (by T. W.), and "what are the roots that clutch." As with the correspondence, there is in the diaries minimal mention of AIDS. There are also attached numerous pieces of ephemera, including an occasional notice of delinquent finance and a note from his mother, which evidently serve as artifacts rather than conveyors of information.
Robert Lynch noted frequently that his purpose in returning to Halifax County was to provide himself with time and to achieve a beneficent environment for the writing of his poetry. While at Harvard Law School, Lynch had studied with Robert Fitzgerald and Robert Lowell, but his work is classically imagist and haikuesque in nature. Among the many chapbooks which he composed and produced, there are very few narrative poems. Even in his expository prose, Lynch would use purely poetic images. There is evidence of fastidious reworking of some of the poems, including careful attention to metre. Though he entered the Yale Series of Younger Poets Competition to no effect, and submitted work to other publishers, apparently nothing was published.
The photoprints, negatives, and slides form three categories; family subjects, (including many he took of himself in a mirror); a collection of photos of black men, most of which are erotic; and the artworks and the outsider artists visited by Lynch during his field collecting. Very few are identified. The videos pertain to Lynch's collection of outside art.

Lynch, Robert, 1947-1989.
Lynch, Lawrence Oneal.

AIDS (Disease)--North Carolina.
Gay men.
Homosexuality and art.
Homosexuality, Male.
Indians of North America-- North Carolina--Halifax County.
Family--North Carolina-- Halifax County.
Harvard Law School-- Students.
Folk art--North Carolina--Halifax County.
Race awareness.
Indians--Mixed descent.
Afro-Americans--Race identity.
Indians--Mixed bloods.
Halifax County (N.C.)--Local history.

Form and Genre Terms:

Cite As:

Robert Lynch papers, #7320. Division of Rare and Manuscript Collections, Cornell University Library.

Series I. Correspondence (Incoming and Outgoing) Box 1
Series II. Writings Boxes 1-3
Series III. Datebooks/Diaries/Notebooks Boxes 4-18, 35
Series IV. Photographic Materials Boxes 19-33, 36
Series V. Videocassettes Box 34, V-213-V216


Series I. Correspondence (Incoming and Outgoing)
Box 1 Folder 1
Letter from Glenda, Apr. 10 1963
Box 1 Folder 2
Letter from Bertha Holmes, Aug. 20 1965
Box 1 Folder 3
Letters from Judith and Izetta Lynch, and from Larry Lynch to Wendy Walker, 1970-1972
Box 1 Folder 4
Carbon copies from Larry Lynch, 1973
Box 1 Folder 5
Letters from Izetta Lynch, 1973-1974
Box 1 Folder 6
Letters to Michelle Patrick, 1974
Box 1 Folder 7
Michelle Patrick marriage announcement, 1976
Box 1 Folder 8
Letters to Siri V. Melchior, and others without recipient's name, May 11 1976
Box 1 Folder 9
Copies of letters from Larry Lynch at Redbird Cabin, Dec. 1976
Box 1 Folder 10
Carbon copies of outgoing letters from Larry Lynch at Redbird Cabin, Jan. 1977
Box 1 Folder 11
Carbon copies of outgoing letters from Larry Lynch at Redbird Cabin, Jan. 2 1977
Box 1 Folder 12
Letters from Ted, Siri V. Melchior, Michael D. Fullwood, J. J. Hawthorne, and from Larry Lynch, Jan. 3 1977
Box 1 Folder 13
Letters from Vela Holmes, Rhonda McFarland, Frances Leila McFarland, Sharon, J. J. Hawthorne, and from Larry Lynch to Michelle Patrick and Ronald Norwood, Jan. 3 1977
Box 1 Folder 14
Copies of letters from Larry Lynch at Redbird Cabin, Mar. 4 1977
Box 1 Folder 15
Letters from Siri V. Melchior, Paul Bridgewater, Wendy Walker, J. J. Hawthorne, Ralph Hardee Rives, and an anonymous letter correcting Lynch's alleged mistakes in an article in Halifax County This Week, Apr. 7 1977
Box 1 Folder 16
Letters from J. J. Hawthorne, Wendy Walker, Michael D. Fullwood, Fletcher and Annie L. Lynch, and Ralph Hardee Rives, May 6 1977
Box 1 Folder 17
Carbon copies and drafts of outgoing letters from Larry Lynch at Redbird Cabin, Jun. 7 1977
Box 1 Folder 18
Letters from J. J. Hawthorne, Terry Gill, and Siri V. Melchior, and outgoing letters from Larry Lynch, Jul. 1977
Box 1 Folder 19
Letters from J. J. Hawthorne, Vela Holmes, Ralph Hardee Rives, John McGwigan, Michael D. Fullwood, Wendy Walker, and outgoing letters from Larry Lynch, Jul. 10 1977
Box 1 Folder 20
Letters from Bunyan Bryant, Vela Holmes, Paul Bridgewater, and Sharon, and outgoing letters from Larry Lynch, Jul. 11 1977
Box 1 Folder 21
Carbon copies of outgoing letters from Larry Lynch at Redbird Cabin
Includes an Aug. 4 1977 letter discussing the Lynch ancestries, and an Aug. 17 1977 letter in which he states: "I must say it startles one's historical conception to find oneself descended of slave owners."
Box 1 Folder 22
Carbon copies of outgoing letters from Larry Lynch at Redbird Cabin, Sep. 1977
Letters concerning the Lynch ancestries
Box 1 Folder 23
Letters from Anne Melchior Scott, Fay Hauser, and Izetta Lynch, Oct. 12 1977
Box 1 Folder 24
Letters from Ralph Hardee Rives, Michael D. Fullwood, Izetta Lynch, Anne Melchior Scott, Siri V. Melchior, Alfred D, Lynch, and the Harvard Law School re: delinquent loan repayments, Oct. 12 1977
Box 1 Folder 25
Letters from Izetta Lynch, J. J. Hawthorne, Rhonda McFarland, Ralph Hardee Rives, Terry Sanford, Vela Holmes; also lists and drafts of poems, Nov. 12 1977
Box 1 Folder 26
Letters from Jonathan Williams, Paul Bridgewater, Jamake Highwater, Thomas La Farge, Michael D. Fullwood, Vela Holmes, Siri V. Melchior, J. J. Hawthorne, John Ashbery, and the Harvard Law School, Jan. 5 1978
Box 1 Folder 27
Copies of outgoing letters from Lynch at Redbird Cabin, Apr. 1978
Box 1 Folder 28
Copies of outgoing letters from Lynch at Redbird Cabin, 5 1978
Letters pertaining to Lynch ancestries, May 1978
Box 1 Folder 29
Copies of outgoing letters from Lynch at Redbird Cabin, Jun. 1978
Letters pertaining to Lynch and other forbearer ancestries
Box 1 Folder 30
Letters from Izetta Lynch, Michael D. Fullwood, Siri V. Melchior, Philipp von Turk, Ralph Hardee Rives, J. J. Hawthorne, Weston La Barre, Frances McFarland, Jun. 7 1978
Box 1 Folder 31
Letters from Weston La Barre, Rhonda McFarland, and Siri V. Melchior, Aug. 9 1978
Box 1 Folder 32
Letters from Siri V. Melchior, Dawn Clayton, Paul Bridgewater, J. J. Hawthorne, and John McGwigan, 1979
Box 1 Folder 33
Letters from Fay Hauser, Paul Bridgewater, Vela Holmes, and drafts of letters from Robert Lynch, one pertaining to his efforts to qualify for the North Carolina bar which describes the ways his life has taken, 1980
Box 1 Folder 34
Letters from Wendy Walker, Willie D., Gene Holloway, and Larry White, 1981
Box 1 Folder 35
Letters from Tony Richardson, Siri V. Melchior, Bunyan Bryant, and Willie D., 1982
Box 1 Folder 36
Letters from Willie D. and Siri V. Melchior, 1982
Box 1 Folder 37
Letters from Darryl Walden, Izetta Lynch, Bunyan Bryant, and Prison Project and WVSP correspondence, 1983
Box 1 Folder 38
Letter from Wendy Walker, and letter from Robert Lynch, 1984
Box 1 Folder 39
Letters and cards from Wendy Walker, 1985
Box 1 Folder 40
Letters from Sharon Epstein, Roger Manley, Jonathan Williams, and Paul Bridgewater, 1985
Box 1 Folder 41
Correspondence, 1986
Box 1 Folder 42
Letter from Paul Bridgewater, and perhaps unsent letters from Robert Lynch to Ann Shengold referring to an art exhibition, and to Chuck at the Dance Theatre of Harlem, 1987
Box 1 Folder 43
Letter from Robert Lynch to the Editor of The Progress re: John Mcgwigan and George Eastman, and letters to Charles Lane re: the "Robert Lynch Collection Of Outsider Art"; also letters from Judith Lynch, Randolph Lynch, Barbara Archer of The High Museum Of Art in Atlanta, Ann Shengold re: an art exhibition, and a proposal to WVSP from Robert Lynch, 1987
Box 1 Folder 44
Letter from the Duke University Medical Center re: Robert Lynch's test use of Oral Retrovir, and letters from Roger Manley, Wendy Walker, 1988
Box 1 Folder 45
Two envelopes of slips of paper with names, addresses, and phone numbers, n.d.
Box 1 Folder 46
Letters from John McGwigan and to Michelle Patrick, n.d.
Box 1 Folder 47
Letters from Anthony Moto, Tom Walden, Izetta Lynch, Cary P. Bell, and Peter Edward Bent, and postcards from Larry Lynch, n.d.
Series II. Writings
Box 1 Folder 48
Poems, 1968-1969
Box 1 Folder 49
Poems, drafts of letters, diary fragments, 1969
Box 1 Folder 50
Diary pages, Jun. 8 1969
Box 1 Folder 51
Typescript of diary, Jul. 8 1969
Box 1 Folder 52
Typescript of diary, Sep. 1969-May 1970
Box 1 Folder 53
Poems, including "Cat In Gloves", Oct. 1969-Apr. 1970
Box 1 Folder 54
Poems, poem fragments and re-workings, notes, Nov. 1969-Jan. 1970
Box 1 Folder 55
Poems, drafts Of "Cat In Gloves", Nov. 1969-May 1970
Box 1 Folder 56
Poems: "Cat In Gloves," "To Izetta Mon Fils, Quel Monstre!"; drafts of letters and essays, lists, notes, Feb. 1970
Box 1 Folder 57
Essay, poems, diary entries, notes, Feb. 3 1970
Box 1 Folder 58
Poems, draft of "Cat In Gloves", Mar. 4 1970
Box 1 Folder 59
Typescript of diary, Apr. 8 1970
Box 1 Folder 60
Typescript of diary, 1970-1971
Box 1 Folder 61
Poems, Oct. 1970
Box 1 Folder 62
Diary pages, Dec. 1970-Apr. 1972; notes for poems
Box 1 Folder 63
The poem "Cat In Gloves" in The Harvard Advocate, Jan. 1971
Box 1 Folder 64
Typescript of diary, May 1971-Feb. 1972
Box 1 Folder 65
Typescript of diary, Mar. 7 1972
Box 1 Folder 66
Diary pages, Oct. 1975-Jan. 1977; draft of a letter to Fitzgerald
Box 1 Folder 67
Poems and fragments of diary entries, Dec. 1976-Jan. 1977
Box 1 Folder 68
Draft of a story, poems, and drafts of an essay "What Are The Roots That Clutch" concerning Lynch's memories of his childhood and his family's narrative history and traditions, Jan. 2 1977
Box 1 Folder 69
Poems, drafts of diary entries, drafts of an essay, Jan. 2 1977
Box 1 Folder 70
Prose, in letter form, concerning life at Redbird Cabin, ca. Feb. 1977
Box 1 Folder 71
Drafts of "What Are The Roots That Clutch," ca. Feb. 1977
Box 1 Folder 72
Poems, prose pieces, and drafts of "Rattling Eliotic Bones" and "O Lost, and by the Wind Grieved, Ghost, Come Back Again", ca. Feb. 1977
Box 1 Folder 73
Article by Lynch in Halifax County This Week concerning his family history and personal ancestries, May 26 1977
Box 1 Folder 74
Draft of prose poem "Atmospheric Suburbs" - scroll, Nov. 1977
Box 1 Folder 75
Drafts of poems, drafts of diary entries, and drafts of letters, Dec. 1977
Box 1 Folder 76
Sonnets; vita, ca. Dec. 1977
Box 1 Folder 77
Prose writings: "A Family Excursion" and "Making It Back Then", 1977
Box 1 Folder 78
Prose writings: "I Received a Superlative Education at White Oak School," "Brer Rabbit and the Terrapin," "A Lovesong," and drafts of the poem "Timothy Three", 1977
Box 1 Folder 79
Prose writings, and drafts of "Timothy Three", 1977
Box 1 Folder 80
Drafts of poems, 1977
Box 1 Folder 81
Poems, drafts of poems, draft of a letter, Apr. 5 1978
Box 1 Folder 82
Poems, drafts of poems, Apr. 5 1978
Box 1 Folder 83
Drafts of poems, May 1978
Box 1 Folder 84
Poems, drafts of poems, ca. May 1978
Box 1 Folder 85
Part of a letter/prospectus re: Lynch ancestries, ca. May 1978
Box 1 Folder 86
Typescript of diary, May 6 1978
Box 1 Folder 87
Drafts of poems, May 6 1978
Box 1 Folder 88
Drafts of poems, prose writings, Jun. 1978
Box 1 Folder 89
Drafts of poems, Jun. 11 1978
Box 1 Folder 90
Poems, Sep. 1978
Box 1 Folder 91
Drafts of poems, Oct.-Nov. 1978
Box 1 Folder 92
Poems and drafts of poems, 1978
Box 1 Folder 93
Poems and notes for poems, 1978
Box 1 Folder 94
Draft of a Letter to the Editor, ca. 1978
Box 1 Folder 95
"A Proposal To The National Endowment For The Humanities To Research And Develop A Series Of Radio Broadcasts: 'Under All Is The Land: A Series On Land Ownership, Use, And Exchange In The Rural South'," ca. 1978-79
Box 1 Folder 96-97
Draft "A Proposal To The National Endowment Of The Humanities: 'Black Land Loss And Related Agricultural Problems'," ca. 1978-79
Box 1 Folder 98
Drafts of poems, Jan. 1979
Box 1 Folder 99
Drafts of poems, Feb.-Mar. 1979
Box 1 Folder 100
Drafts of poems and a prose poem, Mar. 1979
Box 1 Folder 101
Princeville Facilities and Services Report, Jun. 1979
Box 1 Folder 102
Drafts of poems, 1979
Box 1 Folder 103-106
The Redbird Poems, 1979
Box 1 Folder 107
Drafts of The Redbird Poems, 1979
Box 1 Folder 108
Nine Songs, 1979
Box 1 Folder 109
Drafts of The Redbird Poems, 1979
Box 1 Folder 110
Songs To My Self, 1979
Box 2 Folder 1
Drafts of poems, "Redbird, Redbird, Lay In My Hand", 1979
Box 2 Folder 2-3
Drafts of poems, 1979
Box 2 Folder 4
Drafts of "Bye Blackbird", May 1980
Box 2 Folder 5
The Lover, 1981
Box 2 Folder 6
In A Huge Temple, 1982
Box 2 Folder 7
Joint Pieces, 1983
Box 2 Folder 8-10
The Brides/Sonnets, 1983
Box 2 Folder 11
All Sorts, 1983
Box 2 Folder 12
Worked In, 1984
Box 2 Folder 13
Writings, 1984
Box 2 Folder 14
Harlem Suite, 1984
Box 2 Folder 15
What's That?, 1985
Box 2 Folder 16
What Wanting, 1986
Box 2 Folder 17
Selection of poems from various chapbooks serving as specimens for a North Carolina Arts Council Writer's Fellowship application, 1986
Box 2 Folder 18
Summer In Spring/Final Sonnets, 1987
Box 2 Folder 19
The Anthony Poems, 1987
Box 2 Folder 20
Selected Poems (1975-1988)
Box 2 Folder 21
As It Is/Briefer Sonnets, Switcheroo/Briefer Sonnets, 1988
Box 2 Folder 22
Ask No Man, 1988
Box 2 Folder 23
An Addendum To Love (More Anthony Poems), 1988
Box 2 Folder 24
The Jessica Songs/The Jessica Poems, 1988
Box 2 Folder 25
Shamanism, Berdache, and Homoeroticism in Amerindian Culture, n.d.
Box 2 Folder 26
Outside Art From A Critical And Collector's Perspectives, n.d.
Box 2 Folder 27
The Meadows, n.d.
Box 2 Folder 28
Lynch Family reunion programs and printings, Johnny Richard Hedgepeth annual family reunion program, and other miscellaneous family documents, 1986-1987
Box 2 Folder 29
Note Of Izetta (?): "Lord You Promised To Be A Present Help..." n.d.
Box 2 Folder 30
Outsider art material, including Jeffrey Williams agreements and correspondence; Bridgewater Gallery miscellany, n.d.
Box 2 Folder 31
Names of outsider artists (cards originally filed with the photoprints), n.d.
Box 2 Folder 32
Letter from Paul Bridgewater to Audrey Kates, n.d.
Box 2 Folder 33
Sketches of living quarters, n.d.
Box 2 Folder 34-40
Miscellaneous printed material, n.d.
Box 3 Folder 1
Drafts of poems, diary fragments, 1970
Box 3 Folder 2
Drafts of poems, May 7 1976
Box 3 Folder 3
Draft of essay; A Christmas Story and diary fragments; Christmas greetings list, Dec. 1976-Jan. 1977
Box 3 Folder 4
Prose fragments, 1977
Box 3 Folder 5
Notes for an essay on Flaubert's l'Education Sentimentale; other literary notes; miscellaneous prose fragments, ca. 1977
Series III. Datebooks/Diaries/Notebooks
Box 4
Datebooks and address books, and three envelopes of slips of papers with names and addresses: 1975, 1981, c. 1981, 1982, 1983, 1984, 1985, and 1987
Box 5
Volume: Senior Memories 1965; diary 3/13/1971 - c. 4/25/1972; five folders of enclosures (consisting of ephemera, botanical specimens, found items, and other miscellaneous items and written material pinned, pasted, or otherwise attached to the diary pages, or loose between the sheets); diary 5/4/1972 - 4/12/1974; four folders of enclosures
Box 6
Diary 8/27/1974 - 6/6/1975; two envelopes of enclosures; diary 7/10/1975 - 10/24/1975; one envelope of enclosures
Box 7
Diary 10/26/1975 - 3/18/1976; four envelopes of enclosures
Box 8
Diary 11/15/1975 - 12 1975; one envelope of enclosures; diary 3/20/1976 - 6/19/1976; three envelopes of enclosures
Box 9
Diary 6/26/1976 - 12/29/1976; three envelopes of enclosures; diary Jan.-Feb. 1977
Box 10
Diary 2/25/1977 - 5/30/1977; one folder of enclosures; diary 6/7/1977 - 11/9/1977 (three folders); four envelopes and one folder of enclosures
Box 11
Diary 11/1/1977 - 4/15/1979; two envelopes and two folders of enclosures
Box 12
Diary 5/18/1979 - 6/26/1980; four envelopes and one folder of enclosures
Box 13
Diary 8/9/1980 - 8/28/1982; one folder and one envelope of enclosures
Box 14
Diary 8/28/1982 - 9/14/1984; two envelopes of enclosures
Box 15
Diary 10/5/1984 - 1/1/1986; two envelopes of enclosures
Box 16
Diary 1/4/1986 - 6/16/1987; one envelope of enclosures
Box 17
Diary 6/28/1987 - 7/12/1988; one envelope of enclosures
Box 18
Diary 7/12/1988 - 9/7/1988; one folder and one envelope of enclosures
Box 35 Folder 1
Photocopies of selected diaries: 6/28/1987 - 1/12/1988
Box 35 Folder 2
Photocopies of selected diaries: 1/23/1988 - 7/12/1988
Box 35 Folder 3
Photocopies of selected diaries: 7/12/1988 - 9/7/1988
Box 35 Folder 4
Photocopies of selected diaries: 9/18/1988 - 1/9/1989
Series IV. Photographic Materials
Box 19-23
Photoprints: outsider art, works and artists, including Joe Kingsberry, Betty Lou Lynch, Izetta Lynch, Lizzie Burgess, Jerry Cook, Allan Pops Cooper, Temperance Copeland, James Boyce, Herman Bridgers, George Eure, Emily Deloatch, Earl Evans, Nevin Evans, John Fenner, Shayira Gamble, Raymond Coins, Lillah Hedgepeth, Queen Hedgepeth, Vernetta Hedgepeth, n.d.
Box 24
Photoprints: family members; black male nudes, n.d.
Box 25
Slides: sheets 1-6, quilts; sheets 7-9, house, n.d.
Box 26
Slides: sheets 1-5, Mr. Persons; sheets 6-17, Burwell; sheet 18, Clyde Jones, n.d.
Box 27
Slides: sheets 1-4, Allen "Pops" Cooper; sheets 4-7, HB/Bridges; sheets 7-9, Jeff Williams; sheets 9-11, W. W.; sheet 12, Henry Davis; sheets 12-16, O. J. Stephenson; sheet 16, J. Cooke; sheets 16-18, Owens, Evans, Kingsberry, Gamble, Boone; sheet 18, Delouth/Ewell; sheets 18-19, Person Furniture, Edward M. Bannister, A. Watford, G. Wiggin; heet 19, miscellaneous unknown; sheets 19-21, miscellaneous thrift shop, unknown, n.d.
Box 28
Slides: sheets 1-7, family, n.d.
Box 29
Slides: sheets 1-2, Spring 1976, "Central Park" (2_"); sheets 3-4, Spring 1976, "Jim's T.V., N.Y.C. 7154"; sheets 5-7, Winter, 1976 "St. Thomas"; sheets 8-9, May-Jun. 1974, "Ocracoke and W. 69th"; sheet 10, Feb. 1974, "69th St, Apt., Michelle Patrick, Desk Film For Filter"; sheets 11-12, Spring 1974, "69th St, Apt., Michelle And Friends"; sheet 13, Feb. 1974, "69th St. Apt. Roof"; sheets 14-15, Aug. 1974, "69th St. Apt. Fruit And Vase"; sheet 16, Winter 1974, "N.Y.C."; sheet 17, Fall 1975, "The Old House, Toby And Blie"; sheet 18, Jan. 1976, "Home"; sheet 19, Spring 1976, "Enfield"; sheet 20, Jan. 1976, "Winter House"; sheets 21-22, Spring 1976, "Blie, Dad, Aunt Henrietta, Uncle Tussie"; sheets 23-24, Spring 1976, "57th St. Siri Melchior"; sheet 25, Spring 1976, "Jim's 71st St. Wanna Fuck"; sheets 26-27, Winter 1976, "Durham *3 Good"; Untitled: sheets 28-29, N.D., Cabin, Male Friend, Rhonda And Friend; N. C.; sheets 30-31, N.D., Lynch And Family, N. C.; sheets 32-33, N.D., cabin and person, N. C.; sheet 34, N.D., White Church, N. C.; sheets 35-36, Jun. 1976, Cats On Sill; sheets 37-38, Jun. 1976, people; sheets 39-40, Nov. 1976, cabin, still life landscape; sheets 41-42, Nov. 1976, cabin landscape; sheet 43, Feb. 1974, N. Y. C., Michelle Patrick; sheet 44, Jan. 1974, miscellaneous still-lifes
Box 30
Slides: sheets 1-14, black male nudes (originally kept in orange bag), n.d.
Box 31
Negatives: folk art, n.d.
Box 32
Negatives: family, also landscapes, n.d.
Box 33
Negatives: nudes, n.d.
Box 36
Family photographs and slides, n.d.
Series V. Videocassettes
Box 34
Orange bag that contained videos, 1987
Box 34 V-214
Larry Lynch - Outside Art In Izetta House, 6/28/1987, VHS
Box 34 V-215
Larry Lynch, 6/28/1987, VHS
Box 34 V-216
For Love Not Money: The Robert Lynch Collection Of Local Art, CBS Cable, Umatic
Box 34 V-217
Unidentified, Umatic