Richard Vetere Collection
The Richard Vetere Collection consists of the author's published and unpublished
manuscripts, screenplays, plays, and poetry; notebooks; correspondence; and memoranda.
Processed by Alison Huftalen with the assistance of Kristen J. Nyitray and F. Jason
Torre, December 2004. Online finding aid by Kristen J. Nyitray. Updated June 2015.
Special Collections worked collaboratively with Professor Fred Gardaphe, Director
of the Italian/American Studies Program at Stony Brook University, to obtain the Richard
Vetere Collection. Within the University Libraries' collections, there are over 1100
items which support the interdisciplinary minor in Italian American Studies. These
items consist of autobiographies, biographies, novels, poetry, studies of Italian
American communities, linguistic studies, films, materials on the migration process,
as well as genealogical sources.
The Richard Vetere Collection was donated in January 2004. It contains 12.5 cubic
feet (42 boxes) of material and includes manuscripts, published works, correspondence,
and research notes.
Prepared by Richard Vetere
Richard Vetere was born on 23rd Street in Manhattan on January 15th 1952 and raised
in Maspeth, Queens. His parents were Albert Vetere, from the West Village in Manhattan,
a clerk who worked over forty years in the Universal Movies warehouse on 57th Street
and 11th Avenue in Manhattan and Angelina Guiliano, from Lorimer Street in Williamsburg,
Richard was the first born and his two brothers to follow were named Robert and Albert.
Both sides of Richard’s family were abundant with passionate and outspoken men and
women. They were gregarious, hardworking and law-abiding. His father’s mother, Maria,
an orphan was active in the Women’s Suffrage movement. His mother’s mother, Anna,
was the first female shop steward in the electrical union in New York City at the
Brooklyn Navy Yard.
Richard’s grandfather on his father’s side owned a tailor shop on Spring Street and
Sixth Avenue in the 1920’s and several of Richard’s uncles were NYPD detectives and
many were electricians thanks to his grandmother. Angelina and Albert provided Richard
with a warm and loving childhood. They moved into a solid brick two-story house on
62nd Street in 1955. The house was surrounded on the exterior by cemeteries, factories
and truck lots. However the rolling hills, alleyways and empty lots were a paradise
of a playground for Richard’s rich imagination.
Richard attended Saint Stanislaus Catholic grammar school where he was an excellent
student and altar boy. A pretty, popular thirteen year old named June Arorryo who
ran with a much older crowd introduced Richard to poetry by showing him a poem one
day in class. The poem was sent in a letter to her from her eighteen-year old boyfriend,
who was serving and fighting in Vietnam. They were in the seventh grade and the year
was 1963. The poem was about horrors and loneliness of jungle warfare and after reading
it Richard was overwhelmed with feeling.
He went home and immediately wrote his first poem. It was a short rhyming poem titled
“Today I am Forty Years Old” about Richard’s friend who’s father was hit and disabled
by a enemy motor during the Normandy Invasion in World War II.
Richard showed the poem to June who handed it to Sister Maria. Sister Maria handed
the poem to the Mother Superior who brought Richard around to every classroom having
him stand in front of his fellow students as she proudly read the poem aloud to them.
Though shy Richard was petrified by all the attention he managed to survive the ordeal.
Richard soon graduated and was accepted into the all boys Monsignor McClancy High
School where he quickly gained the reputation as “poet” when he won the school’s Edgar
Allan Poe Poetry Contest with his poem titled “Thoughts Upon A Cloudy Day.” The Brothers
at McClancy appointed Richard Editor-in-Chief of the literary magazine The Voyager.
Richard filled notebook upon notebook with poetry during those years and every weekend
in the library taking out books on poets. Though he knew little about the poets themselves,
he read Keats, Shelly and Byron romanticizing about their short but exciting lives,
quite different from his prosaic but pleasant days in the middle class Queens neighborhood.
McClancy was where Richard learned the value of discipline and the skill of typing.
Though the school was strict, Richard and his neighborhood friends, often older, spent
their ‘off’ time ‘down the park’ and playing sports.
Richard graduated and was accepted into Saint John’s University and after years of
complying to a strict ‘dress code’ at McClancy Richard was thrilled to be able to
grow his hair long and wear jeans to school. He also bought a motorcycle and ‘hung’
out with a dangerous but exciting crowd in Williamsburg, Brooklyn, his mother’s old
During these days Richard filled even more notebooks of poetry dreaming of publishing
a book. At Saint John’s he won first prize in a poetry contest and his life was changed
forever. The contest’s judge, Professor Remo Iannucci befriended Richard and became
his mentor introducing him to the life and world of poets including the European poets
Rilke, Andre Gide, Yeats, T.S. Eliot, Bauldlaire among many. Richard was also made
the Poetry-Editor of the literary magazine Sequoia and quickly became famous on the
campus for publishing his work in national magazines at the age of seventeen.
Richard gave poetry readings at the university and through Dr. Iannucci’s recommendation,
Richard was accepted into Columbia University and received his master’s degree in
Comparative English Literature the following year. In that year Richard continued
writing poetry, giving poetry readings and wrote his master’s theses on the poetry
of Delmore Schwartz. Also, thanks to Dr. Iannucci’s introductions, Richard quickly
ran the Poetry Division of the Queens Council on the Arts.
The decade of the 1970s
After graduating from Columbia University with his master’s degree at the age of
twenty-two, Richard faced the ‘real’ world and had to devise a way to make a living.
He moved out of his family’s house moving into the apartment in Bayside/Flushing that
he still lives in.
Making ends meet was difficult and Richard, accustomed to hard work and odd jobs,
promised himself that he would take the leap to become a working writer. He was determined.
He went out socially hoping to make connections and he joined all the art organizations
available teaching himself how to write journalism, fiction, screenplays and plays.
Several people during those days helped Richard survive and gave him the confidence
to continue. Rudoph Marinelli, Jane Crowley of the Queens Historical Society and Dr.
Iannucci, all older and wiser, helped him through the decade. They worked to help
him secure grants and attain membership into Poets & Writers where he could earn money
giving readings of his poetry. Some of the grants he received during this time included
A Mary Roberts Rineheart Grant and a Cultural Council Foundation Grant/C.E.T.A. In
1976 Richard published his volume of poetry titled Memories of Human Hands and a novella The Last Detective.
But Richard was developing another passion and that was for the theatre. He had presented
plays in his backyard in the alley entertaining neighbors and family for several years
when he was only a child but while at Columbia his desire to ‘write plays’ possessed
him. He loved the interaction with actors and the thrill of seeing his work performed
for a live audience.
With monies from family and friends, Mr. Vetere co-founded an off-off Broadway Theatre
company aptly named the GAP. The idea was to be the ‘gap’ between commercial and avante-guard
theatre. He joined forces with a neighborhood friend who was an actor named Tony Cippola
and they produced several seasons at the Grove Theatre.
Richard’s very first play ever produced was titled Nero and was performed at the 18th Street Theatre. The play gained him good reviews but
it was his poetic play Hadrian’s Hill that brought him the best notices including
from the Village Voice which printed “In Mr. Vetere’s work imagery and metaphor blend, often brilliantly,
imparting beautiful word pictures.” These two plays were part of a trilogy that compared
New York City to ancient Rome. The third play was Night Over the Tiber and was produced at the Provincetown Playhouse.
However, Richard’s work was still far too poetic for the naturalistic stage and it
wasn’t until 1978 when Israel Horovitz (who became a life-long friend) accepted Richard
into the Actor’s Studio Playwright’s Unit that Richard wrote a play that was a stylistic
breakthrough for him.
Rockaway Boulevard was the realistic portrayal of a loving but conflicted couple who lived in Queens
and tended to the husband’s dying father. Dr. Iannucci helped inspire the play but
Richard found theatrical devises like the father’s banging on the floor above and
a rooftop scene inspired from films such as On The Waterfront, The Hustler and Hud, that gave him an instant reputation at the Studio.
A subsequent production of the play directed by Rudolph Marinelli at the Cubiculo
Theatre stated “Mr. Vetere demonstrates the ability to mix the poetic with the colloquial.
He shows promise indeed.” Michiko Kakutaini wrote that for the New York Times in 1981.
Over the following three decades the play continues to be produced in New York City
with crossover appeal having been done by African-American and Latino theatre companies
alike. In 1979 it was chosen to represent American theatre at the International Playwright’s
Conference at McGil University in Montreal.
Rockaway Boulevard led Richard to writing several more plays set in the borough of Queens populated
by characters who possessed a cutting sarcasm and wit and were always conflicted by
the choice of the dream on one hand and the realistic options on the other. These
plays performed at the Actor’s Studio included Johnny on the Pony and Joey ‘No Talk.’
While Israel Horovitz introduced Richard to the New York Theatre scene and Remo Iannucci
encouraged Richard’s poetry writing, Rudolph Marinelli introduced Richard to the commercial
world of film.
The older Mr. Marinelli, an editor and film producer, hired Richard to re-write a
movie script. After that work was complete, Richard quit his security guard job at
the Queens Mall and worked for Mr. Marinelli as an editor during the day and the two
worked on screenplays in the evening.
During those years Richard assistant edited movies such Bergman’s Face to Face and Scenes from a Marriage as well as Bertolucci’s 1900 and co-authored several screenplays with Mr. Marinelli
which they eventually sold including Nuts & Bolts and Rage of the Blue Moon.
Richard continued his theatre career being one of the co-creators of The New Living Newspaper which was a political satire ripped from the headlines in the tradition of the 1930’s
social plays and was presented at Playwright’s Horizons Theatre in 1979.
By the end of the decade, Richard had garnered the beginnings of success. He published
his first book of poetry, he had become a playwright-in-Residence at the Actor’s Studio
and he was on the verge of having his first screenplay produced.
The Decade of the 1980s
Mr. Vetere was introduced to film director William Lustig by fellow alumni of Saint
John’s University, Russ Banham in 1980. Mr. Banham, an actor, who had a meteoric but
short-lived Hollywood career, was a former member of the GAP Theater Company. The
introduction was made and Mr. Lustig, having seen Mr. Vetere’s Rockaway Boulevard at the Actor’s Studio, quickly hired Mr. Vetere to write what he called ‘a working
class Death Wish.’
The indie film, starring future Oscar nominated actor Robert Forster titled Vigilante, premiered at the Cannes Film Festival in 1983 and exploded in American’s theatres
becoming the 20th grossing motion picture of that year.
During this time Mr. Vetere also took on adjunct lecturing positions at Saint John’s
University as well as Queens College. He taught screenwriting at Queens College for
The following year Mr. Vetere published his second volume of poetry A Dream of Angels and despite still not having an agent to market his work, the success of Vigilante
gave Mr. Vetere an international reputation and in 1987 he was flown to Paris. He
lived for three months in Paris splitting his time between there and the south of
France re-writing French screenplays (already translated into English) for French
producers and directors.
It was also in the late 80s that Mr. Vetere was flown out to Los Angeles by Fame producer David DeSilva. Mr. Vetere’s first trip to Los Angels was to work with director
Though that project never materialized any further, Mr. Vetere made many subsequent
trips to Los Angels in the 80’s and always stayed on the beach at 2121 Ocean Avenue.
It was at the apartment in beautiful Santa Monica of former GAP Theatre Company member
Nick Hardin aka Nick Mariano who has also become a life-long friend.
Mr. Vetere had numerous productions of his plays in small Los Angeles theatres and
it was during this time that Mr. Vetere developed the screenplay adaptation of his
stage play Rage of the Blue Moon which became a Lifetime Cable movie over a decade later.
It was also during this time where Mr. Vetere continued to give poetry readings in
nightclubs in New York city including the China Club and Heartbreaks to name a few.
Because of this notoriety he became a welcomed member to the famous restaurant and
celebrity hang-out in New York City called Columbus. It was there where he met the
brilliant literary agent Mary Meagher who enhanced his career for the following decade.
It was in the mid-90s that Ms. Meagher brought Mr. Vetere over to the William Morris
This relationship brought other stage productions to Mr. Vetere including productions
of his plays at theatres like New York Film and Stage company at Vassar, Naked Angels,
EST, HERE Theatre, Circle Rep among a few in NYC. Two of his most produced plays of
this time were the oddly dark Painting X’s on the Moon and Black and White City Blues. Mr. Vetere also developed his stage play The Marriage Fool with actor Farley Granger playing Richard’s father produced at Circle Rep. The play
developed from a one-act into a full-length inspired by his father’s death. And it
was in the ‘80’s where Mr. Vetere began the early drafts of his novel The Third Miracle which has refined his literary reputation more than anything he has written before
The Decade of the 1990s
The 1990s were teaming with film, television and theatrical productions for Mr. Vetere.
It was also a decade where Mr. Vetere saw numerous publications of his work and a
time where he accomplished an enormous amount writing.
It all started when Mr. Vetere’s teleplay adaptation of his stage play Hale the Hero! premiered on A&E as part of the General Motors Playwrights Theatre starring Elizabeth
Shue and Kevin Anderson. It garnered a rave review in the LA Times. At the same time
his play The Engagement was produced at the George Street Playhouse. This was quickly followed by the Penguin
Repertory Theatre Company’s production in Nyack, New York of his stage play The Marriage Fool. Mr. Vetere was immediately hired to adapt the play for CBS and in 1997 it aired
as a Sunday night TV movie of the week starring Walter Matthau, Carol Brunet, John
Stamos and Teri Polo. It was the highest rated TV movie of year.
Mr. Vetere wrote several more plays that were produced at Penguin Rep. during the
decade including The Vows of Penelope Correli; One Shot, One Kill; Gangster Apparel and First Love. Gangster Apparel had its world premiere at the Old Red Lion in London in 1993, produced at Penguin
in 1994 and at HERE in NYC off-off Broadway in 1995. The movie rights were then sold
to Paramount Films and Mr. Vetere wrote the screenplay adaptation.
Mr. Vetere also wrote an evening of one-act plays that were presented in 1993 at
the West Bank Café including How to Go Out on a Date in Queens; A Coupla Bimbos Sittin’ Around Talkin’; A Piece of Property and The Spot.
In 1995 the Dramatic Publishing House at last published Mr. Vetere’s plays. His play,
The Classic, produced by Manhattan Theatre Source was added to their catalogue. In 1997 Mr. Vetere
was hired to write for the CBS TV series Dellaventura which starred Danny Aiello where he was nominated for a People’s Choice Award for
Because of his growing reputation, Mr. Vetere was offered to write a movie in Rome
called The Zip for director Giacomo Battiato. Mr. Vetere lived in Rome as he worked on the screenplay.
In 1997 the publishing house of Carrol & Graf released his novel The Third Miracle to rave reviews in Publishers Weekly, Kirkus and the Library Journal chose it as one of the best debut novels of the year. Simon & Schuster immediately
issued the trade paperback edition. Since then the novel has been published in many
languages. Francis Ford Coppola optioned the novel in 1997 and Mr. Vetere co-authored
the screenplay adaptation which was filmed in Toronto, Canada by internationally famous
director Agneiszka Holland starring Ed Harris, Anne Heche and Armin Mueller-Stahl
and produced by Mr. Coppola. It premiered at the Toronto Film Festival in 1998 and
was distributed by Sony Picture Classics that same year. The film and novel continue
to be taught in Universities in Catholic Theology classes as well as classes entitled
from ‘Fiction to Film.’
The Decade of 2000
In 2000 Mr. Vetere’s film adaptation of his stage play How To Go Out On a Date in Queens was filmed by Michele Danner starring Jason Alexander and Kimberly Williams and Alison
Eastwood. In 2001 Mr. Vetere acted in his stage play Safe at the Manhattan Theater Source Theatre company returning to Bleeker and McDougal
Streets where he wrote and acted in his very first stage play when he was only nine
years old. He adapted the screenplay of Safe for director/actor Chaz Palmintieri to star in and direct.
Mr. Vetere play One Shot, One Kill was produced at Primary Stages during the 2002 season in New York City to rave reviews
where it was nominated for a Pulitzer Prize. In 2003 Mr. Vetere was Story Editor on
the ABC series TV Threat Matrix and lived in Tuloca Lake in Los Angeles for that season. In 2004 Mr. Vetere performed
his piece Fired at Second Stage and was cast in a major role in Debra Einstadt’s second film The Limbo Room as understudy actor Shelly Meyers. The movie stars Melissa Leo. He was also cast
in Jane Ainbender’s movie Nail Polish.
Currently, Mr. Vetere has completed his novel Passion City as well his commission for Phil Ramone, Sonny Grosso and Pierre Cosset of a book
for the musical on Mario Lanza titled Be My Love. There are also upcoming productions of his book for the musical 100 Years Into the Heart and a commercial run New York City run planned for his stage play Gangster Apparel. Mr. Vetere is also currently working on a screen adaptation of the book Programmed to Kill for producer Kim Rubin titled As Seen On TV.
Mr. Vetere’s family includes his mother and brothers Robert and Albert as well as
his sister-in-laws June and Kathy and his nephews Robert, Tommy and Albert. He continues
to write and live in Queens.
The year 2005 found Mr. Vetere working on the screenplay adaptation of his stage play
Caravaggio for producer Lili Zanuck with actor Russell Crowe to play Caravaggio.
However, despite all the interest, a director could never be agreed upon. Mr. Vetere
also found his musical 100 Years Into the Heart be chosen by the Broadway Bound series at the Kaufman Center and present at Lincoln
Center. It was then produced at the Spirit of Broadway in Norwich, Connecticut and
later that year Mr. Vetere won the Best Book and Best New Show at the black tie award
Other events that year included Mr. Vetere selling a TV show idea to Fox Studio but
unlike the success he had with George Clooney executive producing along with Warner
Bros. his TV pilot, The Wonder, Mr. Vetere along with Fox Studio producers Brad Johnson couldn’t sell his new idea.
In 2005 Mr. Vetere also completed his new novel Baroque about minor painter Mario Minitti set in Rome in 1600 and he wrote a new play called
Poet On A String about Delmore Schwartz and James Agee. He also did a reading of his play Johnny On the Pony with actor Paul Sorvino.
The year 2006 was a very busy year beginning with his novel The Third Miracle becoming a Book of the Month Club selection in Spain and with his play Machiavelli having its world premiere at the Manhattan Theater Source then moving to an Off-Broadway
run at the ArcLight Theater later that year. His play Caravaggio opened in Chicago at the Silk Road Theater and Mr. Vetere was asked to be a guest
speaker about Caravaggio by the Chicago Humanities Festival.
His movie How to Go Out On A Date in Queens had its world premiere at the Lemley Theater in Beverly Hills and is now a big seller
on DVD. The film he acted in The Limbo Room was accepted into Slamdance and many other film festivals and Mr. Vetere continued
to help run the Queens International Film Festival in its new home at the Museum of
the Moving Image in Astoria. Mr. Vetere was also asked to teach a masterscreenwriting
class at NYU and was asked back to lecture on screenwriting at Queens College. He
also had a presentation of his musical of his novel The Third Miracle with lyrics by Jeff Hughes and music by Scott Eithier. On a personal note his mother,
Angelina Vetere, passed away and his best friend over many years, Alan Czak also died.
His long time agent, Mary Meagher who he had lost contact with over seven years earlier,
died of liver and heart failure at the age of 47.
In 2007, early in the year, Mr. Vetere was commissioned to write the stage adaptation
of Alfred Hitchcock's film Rear Window. Mr. Vetere also wrote an early draft of his new play Poet On a String a dramatic piece about the real life meeting of poets Delmore Schwartz, James Agee
and Gertrude Buckman, Delmore's wife, in July of 1939 on Monk's Farm in New Jersey
. Dramatic Publishing released Mr. Vetere's published plays Machiavelli and Caravaggio . 100 Years Into the Heart was presented at the Village Theater Musical Theater Festival in Seattle and Mr.
Vetere's other musical Be My Love: The Mario Lanza Story was presented at the Tilles Center for the Performing Arts with the Nassau Pops to
a one night only sold out performance of 2,500 people. Mr. Vetere continued as the
Senior Advisory Board member for the Queens Film Festival which had its most successful
festival at the Museum of the Moving Image. The Staten Island Center for the Arts
presented An Evening with Richard Vetere with Mr. Vetere and actresses Antoinette LaVecchia, Margo Passalaqua, and Angela Rauscher
read poetry from Mr. Vetere's volume Memories of Human Hands and dramatized scenes from his novel The Third Miracle . Richard Vetere also wrote a new play titled Three Sister From Queens and a ten minute play titled An Epic Story of Love and Sex Told In Ten Minutes: Chapter One.
In 2008, Mr. Vetere directed a reading of Three Sisters in Queens at the Cherry Lane Theater and An Epic Story of Love and Sex Told in Ten Minutes: Chapter One which was named one of the best short plays of the year and published by Smith and
Kraus. Penguin Rep performed a new draft of Mr. Vetere's play The Vows of Penelope Corelli and Caravaggio was optioned for an Off-Broadway production. Mr. Vetere also wrote his first young
adult play,Bird Brain, and it was given its first staged reading at the Lindenhurst High School. That year
Mr. Vetere also saw a production of One Shot, One Kill at Colin University outside Dallas . Mr. Vetere continued teaching film writing at
Queens College and was asked to teach film writing at Montclair State University .
He was also asked to create a playwrighting/theater class at Lang College at the New
School. Mr. Vetere also collaborated with director Eddie Shieh and wrote a short film
You & Me which they coproduced and shot in around New York City. The short film was a love
story told in ten different languages. Mr. Vetere also adapted his novel The Third Miracle for the stage and the film was presented at MOMA (the Museum of Modern Art ) as a
part of a retrospect of director Agnieszka Holland's work. Mr. Vetere was asked to
introduce the film with Agnieszka and actor Ed Harris. That winter The Sundance Chanel
presented The Limbo Room and actress Melissa Leo, also in Limbo Room, was nominated for an Oscar for her work in Frozen River. Mr. Vetere also wrote two
new plays this year, Murder in the Dark, a mystery set in NYC 1948 and Lady MacBeth's Lover. He also worked on his screenplay Couple Wanted.
SERIES I: CORRESPONDENCE AND MEMORANDA, 1967-2001 (14 boxes)
SERIES II: POETRY, 1965-1988 (4 boxes)
SERIES III: PLAYS, 1972-2001 (6 boxes)
SERIES IV: SCREENPLAYS, 1975-1993 (5 boxes)
SERIES V: TELEVISION and SHORT STORIES/NOVELLAS (1 Bbox)
SERIES VI: NOVELS (4 boxes)
SERIES VII: ESSAYS (2 boxes)
SERIES VIII: NOTEBOOKS, 1973-1997 (1 box)
SERIES IX: OTHER AUTHORS' MANUSCRIPTS (1 box)
SERIES X: PUBLICATIONS (2 boxes)
SERIES XI: OVERSIZED MATERIALS (1 box)
Rights and Permissions
Stony Brook University Libraries' consent as the physical owner of the collection
does not address copyright issues that may affect publication rights. It is the sole
responsibility of the user of Special Collections and University Archives materials
to investigate the copyright status of any given work and to seek and obtain permission
where needed prior to publication.
Richard Vetere retains copyright to his personal papers and publications.
In citing the collection, please credit it as follows: Richard Vetere Collection,
Special Collections, Stony Brook University Libraries, Stony Brook University. Correspondence
for Mr. Vetere may be addressed to: 53-40 62nd Street, Maspeth, NY 11378 or VETRICH88@aol.com.
[Item], [Box], Richard Vetere Collection, Special Collections and University Libraries,
Stony Brook University Libraries.
Series I: CORRESPONDENCE AND MEMORANDA, 1967- 2001 (14 boxes)
Personal letters and greeting cards, professional correspondence with publishing
houses, managers, actors and venues, teaching correspondence and newsletters and announcements,
calendars and datebooks and press
1984 – 1985
calendars and datebooks, 1974, 1985-1991, 1994, 1982-83* (located in box 42, oversized)
Queens Council on the Arts Literary Happenings
Curriculum vitae and resumes
SERIES II: POETRY, 1965-1988(4 boxes)
poetry collections and poems
Note: arranged by date, then alphabetically by title
1965-1970, writings from high school
1972-1974, notes for poems and essays for Torch, St. John’s University newspaper
1970s, published poems, clippings
Winter/Spring 1972, notebook: “From the Lost” Collected Poems
1972-1973, “Memories of Human Hands” (3 folders)
undated, notebook: “Memories of Human Hands”
undated, “Memories of Human Hands”
May-Oct. 1973, Notebook: “A Verse of Cities”
1973-1975, “The Earth is a Man” poems
1974, Notebook: “The Earth is a Man” and loose poems
1974, “Dead Body”
1974-1975, miscellaneous poems
1974-1975, poetry binder
1975, “Knot Endings”
1975-1976, “Stone House Notes”
1976, published book: “Memories of Human Hands”
Jan-Feb 1976, “Surfaces”
1976, miscellaneous poems
1985-1988, miscellaneous poems
undated, “Messages from the Outpost”
undated, “Voices, Visions, and other Places”
undated, “The Year Before the Year”
undated, poems (7 folders)
undated, notebooks: “Autumn Unattached and One More Winter”
“Beneath the Earth Blazed Sky”
“Cain and the Unknown God”
“Cruelty of the Touch”
“Jesse in the Winter City”
“Life’s Tarnished Rainbow”
“A Tender Rage”
“To the Empty Ruins of my Heart”
“The Violent Summer of Byron Kane”
“Voices from the Stage”
“The Worn Wishes of a Forgotten Man”
SERIES III: PLAYS, 1972- 2001 (6 boxes)
note: arranged by date, then alphabetically by title
July 23, 1972, draft “The First Born”: an opera
1972, “The Hangman’s Love”
1973, “Nero” – first draft
1973?, “Nero” (2 folders)
1973, “The First Born” – sheet music to opera *Located in Box 42 oversize
Oct. 26, 1974 “Hadrian’s Hill”- draft (2 folders)
1975, “Hadrian’s Hill” – final draft
1975, “The First Born”: an opera
12.31.1976, “Downfall of a Girl” – first draft
1976?, “Downfall of a Girl”
1976?, “Jack and Jill”
1976?, “Night Over the Tiber” – first draft
1976?, “Night Over the Tiber” (3 folders)
1978?, “Rockaway Boulevard”
1978: “Disco Fever”
1978, “Paradise” – draft
1978, “Paradise” – working draft
1978, “Paradise” (2 folders)
1978, “Paradise” – final draft
1979, “Johnny on the Pony: - draft
1980?, “Brooklyn Voices”
1981? “The Arrogance of a Fat Man” – first draft (2 folders)
1981? “The Arrogance of a Fat Man”
1981? “The Arrogance of a Fat Man” – second draft
1986, “The Marriage Fool”
1989, “Rage of the Blue Moon” (alternate title: “Claudia”)
1990, “Hale the Hero” (3 folders)
1990, “Lonesome Cowboy”
1990, “Local Politics” (2 folders)
1991, “Gangster Apparel”
1992, “Local Politics”
1992, “Four Cops”
1994. “The Classic”
1999?, “Painting X’s on the Moon” – early draft
1999?, “Painting X’s on the Moon”
March 1999, “Painting X’s on the Moon” - third draft
“Behavior Unbecoming an Officer:
“Claudia” (3 folders)
"Caravaggio" (1 folder)
“Desperado” (2 folders)
“The Hooker and the John” – first draft
“I Didn’t Know the Gun Was Loaded” (2 folders)
“I Didn’t Know the Gun Was Loaded”
“I Didn’t Know the Gun Was Loaded” – discussion draft
“Don John” (3 folders)
“The Living Newspaper”
“Rockaway Boulevard” – first draft
“Rockaway Boulevard” (2 folders)
Unidentified, set in Texas
Unidentified (2 folders)
Unidentified, Pola Negri
SERIES IV: SCREENPLAYS, 1975-1993 (5 boxes)
1975-76, “N8 St.”/ “North Eighth Street” (4 folders)
1976, “The Arms of Venus de Milo”
1978?, “Disco Fever” – notes
1978?, “Disco Fever” – screen treatment with William Lustig
1979, “The Tax Man Cometh” – proposal
Late 1970s, “Nuts and Bolts” – first draft (4 folders)
Late 1970s, “Streetwise”
1981, “The Honoured Society” – screen treatment, first draft
1981, “The Honoured Society” – treatment
1981, “Vigilante” – third draft
1983, “For Better or For Worse”/”The Right Lane” – first draft (2 folders)
1983. “For Better or For Worse”/”The Right Lane” – index cards
1983, “For Better or For Worse” with David deSilva
1985, “The Original Cast” – first draft
1987, “The Original Cast” – final draft
1990, “The Hanging Ground”
1990? “Son of the Jaguar” – adaptation
1990? “Son of the Jaguar” - research information
1990, “Toni Goes to Mars”
1.1992, “Rage of the Blue Moon” – notes on draft
1992, “Rage of the Blue Moon”
7.15.1992, “In the Name of Love” – treatment
1992, “The Zip”
8.23.1993, “The Place to Be” – first Draft
10.21.1993, “The Place to Be”
5.15.1993, “What’s on Your Mind” – first draft, with Frank Pesce (2 folders)
6.15.1993, “What’s on Your Mind” – revised first draft
“A & P” – adaptation, “Cinehaus” – treatment
“Downtown” – synopsis
“End of the Line” – also by Marc Levin
“Home Movies” – early drafts
“Joey No Talk” (2 folders)
“Lies that Bind” (2 folders)
“Royal Blue” – proposal for documentary
“A Tender Rage” – first draft
“A Tender Rage”
unidentified first draft
SERIES V: TELEVISION AND SHORT STORIES/NOVELLAS (1 box)
Television series proposal and short fiction
1978, “Cover Girls”
1978, “K.O. Joe”
1978, “The Silver Screen”
1982, “The ‘Out to Lunch’ Gang”
1983, “The ‘Out to Lunch’ Gang”
undated, “David Co.”
undated, “E.S.P.” Episode #1
undated, “Foreign Bodies”
undated, “Inside Out”
undated,, “SDS: Decade of Rebellion 1960-1970” – draft
undated, “Decade of Rebellion: - discussion draft
undated, “SDS: Decade of Rebellion 1960-1970
undated, “Streetwise” with Rudolph Marinelli
1974, “From the Sky” – first draft (2 folders)
1976, “The Last Detective” – first draft
1976?, “The Last Detective” – working drafts (2 folders)
1978, “The Last Detective” book (removed and cataloged for Main Stacks)
undated, “The Conductor”
undated, “The Dead”
undated, “First Love” (2 folders)
undated, “Love Struck”
undated, “Maspeth” – first draft
undated, “Maspeth” – working drafts (2 folders)
undated, “Money,” “White Man”
SERIES VI: NOVELS (4 Boxes)
3.7.1976, “White Summer” (3 folders)
10.10.1976, “White Summer”
undated, “White Summer”
1976, “White Summer” (3 folders)
6.25.1977, “Don John”
1977, “Don John” (2 folders)
1991, “The Third Miracle” (5 folders)
August 1991, “The Third Miracle” (3 folders)
November 1991, “The Third Miracle” (2 folders)
undated, “The Conductor”
“The Capitalist” – Part I
“The Irony Factor” – Synopsis and Prologue
“The Irony Factor” – notes and draft
“Maniac” – based on screenplay, bound
“Vision of Vincent Spark”
SERIES VII: ESSAYS (2 boxes)
1976?, “Ashberry’s Poetry: The Audience that isn’t Listening”
1977, “Behind the ‘Scenes’”
1977, “Gilbert Sorrentino, interview and notes
1977, “Gilbert Sorrentino and the Writing of Serious Fiction”
1977? “Italian/American Theatre Now!” – research materials
1977? “Italian/American Theatre Now!”
Dec 1979, “The Poet as Performer: Magician of the Moment”
June 1980, “The Movie was Great but Wait Until You Read the Novel” Journal Vol.3/5
Feb 1980, “Poets, Fiction Writers Face Shrinking Markets During 1980s”
May 1980, “The World of the Small Press, Is it too Small?”
Spring 1994, “Gangster Apparel in London”
11.8.2000, “Poets & Writers Talk” – Speech
undated, “Bertolucci’s NOVECENTO (1900)”
undated, “A Bond of Blood”
undated, “Class, Style & Warmth: The Italian/American Woman”
undated, “Lawrence Ferlinghetti”
undated, “Film: Art Form, But Whose?”
undated, “Invisible Voices: Our Contributions to American Art”
undated, “King of Off-Off Broadway”
undated, “More for the Price”
undated, Queens Council for the Arts
undated, “A Serious Writer”
undated, “Tony, the Bricklayer”
undated, “VOCI INVISIBILE: Ethnic Responsibility on Stage”
undated, “Woman with a Mission”
undated, unidentified draft
1969, high school essays
1971, Shakespeare notebook
1972-73, St. John’s University essays
1972-74, Columbia University notes (3 folders)
1973-74, “Delmore Schwartz” – masters essay (3 folders)
SERIES VIII: NOTEBOOKS 1973-1997 (1 box)
contain organizational notes for plays, from workshops, etc.
note: organized by date
1978-79, Actor’s Studio
Spring 1993 - New York Writer’s School, Spring 1994, Summer 1994
Spring 1995, Spring/Summer 1996, Fall 1996
Winter 1997, Spring 1997, Summer/Fall 1997
undated – 2 notebooks
SERIES IX: OTHER AUTHORS' MANUSCRIPTS (1 box)
manuscripts by other authors
note: organized by title
“Chum”, Michael Hirtz – screenplay
“Dates and Nuts”, Gary Lennon - Play
“Daughter”, Peter J. Katopes – Novel (3 folders)
“Gypsy Lover”, “Thunder”, Don Linder
1960, “The L-Shaped Room”, Lynne Reid Banks – published novel
1993, “The Place to Be”, Bob Giraldi – Screenplay Outline
1993, “The Place to Be”. Anthony Polemini & Nancy Vaughn
“The Sound of Poetry: Best Poems of the 90s” – audio cassette
1994, TV Pilots
“Visions,” Diana Kwiatowski Rubin – audio cassette
SERIES X: PUBLICATIONS (2 boxes)
college and professional literary magazines and papers
Early Spring, 1947, Sequoya
January, 1947, Sequoya
1966, McClancian – high school yearbook
June 1967, The Voyager – Msgr McClancy High School
June 1968, The Voyager – Msgr McClancy High School
Spring 1969. The Voyager – Msgr McClancy High School
1970?, The Voyager – Msgr McClancy High School
1970, Sequoya vol.xxxiv no.II
1971, Sequoya (4 copies)
Spring 1972, America Sings College Poetry Review
Spring 1972, Sequoya – St. John’s Undergrad Literary Magazine
1972, The Torch – St. John’s University
May/June 1973, Cardinal Poetry Quarterly
Spring 1973, Sequoya: After the Black Book
1974, Sequoya, third edition and epilogue – English Literary Society, St. John’s
undated, Source Literary Magazine – submission material
undated, Source vol.1 no.2
SERIES XI: OVERSIZED MATERIALS
1973, “The First Born” – sheet music to opera