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The labor educator and activist Dale Melcher was both a graduate of UMass Amherst and a longtime member of staff and faculty. Melcher began her career at UMass Amherst as a student and then staff member in the newly formed program in Women, Gender, and Sexuality Studies, before joining the Labor Relations and Research Center in 1987 as its Labor Extension Coordinator. Interested in leadership development for union women, she taught courses over the years on women and work, immigration, and race and gender. She also maintained an array of other commitments to social justice organizations, including the Northeast Summer School for Union Women, the Women’s Institute for Leadership Development (WILD), and the Professional Staff Union/MTA.

Focused on the year just prior to the Reagan era, this collection contains an assortment of manuscript and printed materials relating to Melcher’s involvement with Socialist feminism and the women’s movement, economic justice, and he movement for Puerto Rican independence. The collection includes particularly valuable materials on feminism in the Pioneer Valley and the Valley Women’s Union, records of the People for Economic Survival, and a significant body of material for the Puerto Rican Solidarity Committee.

Gideon Wanton, a two-time governor of colonial Rhode Island, and his son John were Quaker merchants from Newport. During the middle years of the eighteenth century, they carried on an active trade who took an active part in the triangular trade.

This diminutive cash account book offers a window onto the business ventures of a powerful Newport Quaker family during the mid-eighteenth century. Kept during a five-year period, 1753-1759, the book contains terse records of cash expenditures in exchange for goods and services to Gideon and John Wanton. Records of the coastwise trade in commodities such as pork, flour, and mackerel to Philadelphia and other ports accompany notices of molasses from Surinam and rum. The lack of payments relating directly to enslaved people is likely the result of the sale of the human cargo in the West Indies prior to returning to Newport.

The McLean Asylum for the Insane was founded in 1811 though a charter granted by the Massachusetts Legislature. The original campus was built around a Charles Bullfinch-designed mansion in what’s now Somerville, Mass. and was fully completed by 1818, when it was officially opened. It became the first hospital in New England dedicated to the treatment of the mentally ill. The Asylum outgrew its original campus in the 1890s and moved to Belmont, Massachusetts in 1895, where it was renamed McLean Hospital. The Hospital is still active today as a division of Massachusetts General Hospital and is a teaching hospital for Harvard Medical School.

The eleven stereographs of what was then known as the McLean Asylum for the Insane were taken by Edwin N. Peabody of Salem, Mass. as part of a larger series called “American Views.” They depict the original Somerville campus of McLean Hospital, including the buildings and grounds and the “Ladies’ Park and Billiard Room,” with women patients on the grounds outside.

Select materials in this collection are restricted; consult an archivist for more information.

Martha Ramsey is the author of Where I Stopped, a memoir of rape in adolescence, and Blood Stories, a book of poems. Ramsey grew up in Flemington, New Jersey, a farming community 65 miles southwest of New York City. She had unusually creative, bohemian-minded, arts-oriented parents; her father was a pioneering jazz historian; both became alcoholics. She was a precociously intelligent child and was skipped two grades at her local elementary school; she escaped from the resulting loneliness and social insecurity into books and nature. She was happier as a day student at Solebury School, a progressive high school nearby in Bucks County, Pennsylvania. On a summer day in 1968, at age 13, while she was walking her bike up a back road near her home, she was attacked and raped by a 28-year-old man, a stranger. She insisted that her parents call the police immediately, “so it won’t happen to anyone else.” Her parents soon heard from neighbors that before Martha, the rapist had “molested other girls.” She endured a confrontation with him at the police barracks and giving testimony at the trial that resulted in his conviction and sentence of 15 years. Five years later she also endured the shock of learning on a visit home from college that he had, while released on parole, sexually assaulted and murdered a 16-year-old girl near the girl’s family’s farm, on the anniversary of the rape. This time he was sentenced to life. Where I Stopped, written when Ramsey was in her thirties, tells this story in detail and follows her attempts to understand what had happened to her and how it was affecting her over the years as she grew into adulthood, pursued her calling as a poet, and married. The memoir also chronicles her decision to return to the place where she grew up to speak with people who remembered the crime and who had participated in the trial and to unearth the police and trial records—all part of her effort to come to terms with what she remembered.

A powerful collection documenting the writing of her memoir, Where I Stopped, Ramsey’s papers include audio recordings of statements she and others made to the police shortly after her rape; a transcript of the trial; Ramsey’s notes from interviews she conducted with individuals who remembered the crime; and drafts of her memoir, containing comments from early readers and material cut from the final version. Ramsey’s unpublished writings, journals, and correspondence document her intellectual and emotional life from her teenage years forward, including the drafts of all her published and unpublished poems. Family papers focus on the author’s father, Frederic Ramsey, a noted jazz historian; they include correspondence, photographs, and the unpublished autobiography of Ethel Ramsey (1884–1965)—textile designer, painter, and participant in the artists’ colony in New Hope, Pennsylvania—that contains acerbic discussion of the struggles of women artists in the late nineteenth century and later.

A founder of the Western Massachusetts branch of the American Friends Service Committee and the Traprock Peace Center, Frances Crowe was a legendary peace activist. Born in Missouri in March 1919, Crowe became a committed pacifist in 1945 after learning of the devastation of the bombings in Dresden, Hiroshima, and Nagasaki. Moving to Northampton in 1951 with her husband Thomas, a physician, she began organizing for peace and against nuclear weapons, increasing her peacework during the Vietnam War, she she worked as a draft counselor in Northampton. A member of the Society of Friends, she joined the War Resisters League, SANE, and the Women’s International League for Peace and Freedom, among many other organizations, and was arrested dozens of times for civil disobedience during protests opposing war and militarism, nuclear energy, American imperialism in Central America, and apartheid, and she became a war tax resister after the first Iraq War. An activist to the very end, she died on Aug. 27, 2019, at the age of 100.

This small collection of photographs was kept by Frances Crowe in her role as contributor to Peace Work, the newsletter of the American Friends Service Committee, or for inclusion in the AFSC files. Concentrated in the early 1980s, they depict a range of peace and antinuclear protests in western Massachusetts. The majority of the images were taken by Crowe’s associate, Miriam Leader.

The Sleeveless Theatre Company was an innovative political theater company with a strong feminist slant. Founded in 1989 by UMass Amherst alumnae Lisa Channer, Maureen Futtner, K. D. Halpin, and Kate Nugent, and Smith alumna, Terianne Falcone, Sleeveless was an actor-centered, highly collaborative ensemble company that wielded humor in staging original, socially- and politically-charged theater. Based in Northampton, Mass., the company toured nationally and internationally, presenting sometimes controversial works on themes ranging from reproductive rights to the Gulf War. As they evolved, they refined their mission to focus on telling stories about the lives and perspectives of women, but under the strains of growing within their collaborative model, they made the decision to disband in 1997.

In addition to minutes for the company’s formative years (1989-1992), the records of Sleeveless Theater Company include a small selection of production notes, background research, fliers, reviews and newsclippings, and a handful of publicity photos. Among the plays represtened are Womb for Rent (1989), War: The Comedy (1991), The F Word (1992), Emily Unplugged (1995), and Mill America (1996).

Funded by a grants from the National Library of Medicine and other agencies, the Holyoke Consumer Health Library was a freely-available community resource that provided the general public with access to reliable health information. With the goal of enabling citizens to make informed decisions about their health needs, the Library collaborated with six community partners (the Holyoke Public Library, Holyoke Health Center, Mercy Women’s Health Center, Girls Incorporated of Holyoke, and the Holyoke Council on Aging), training the staff at each site to use the available resources and to conduct outreach to potential clients.

The HCHL collection contains organizational records from an experiment in health information equity in the earliest years of the internet, including planning documents, grant applications, and promotional materials.

A town at the eastern periphery of Franklin County, Mass., New Salem was incorporated in 1753 and has never strayed far from its rural roots. In the 1840s, agriculture supplied much of the town’s work, supplemented by lumbering, hide tanning, and a cottage industry in palm-leaf hats, of which over 79,000 were manufactured in 1837 alone.

Although this daybook covers only a brief span of four years, it offers a fascinating glimpse into the vibrancy of a country store in antebellum Western Massachusetts. The store’s owner is not recorded, however the names of dozens of men and women from New Salem appear as purchasers of small quantities of consumable goods and the occasional luxury items like peppermint and candy. The last several pages of the ledger include accounts for particularly active customers, including several who supplied the store with large numbers of palm-leaf hats, which the store’s owner may have exported, and records of receipt for various kinds of paper, almanacs, toy books, and textbooks in mathematics and spelling.

Cheryl Evans singing at Medford High School, ca. 1962

A lifelong activist, performer, and educator, Cheryl Lorraine Evans was born in 1946 in west Medford, MA, the eldest of five. As a high school student, Evans attended the march on Washington in 1963, and was then the first in her family to attend college, in 1964 joining the largest class at UMass Amherst to date. She graduated four years later as a pivotal organizer of African American students across campus, the Five Colleges, and in the region – during the period when Black student groups, the Black Cultural Center, and the Black Studies department all had their origins at UMass. Evans was the first elected president of an African American student organization at UMass, and remains an organizer to this day, particularly as a key connector for Black alumni and through her UMass Black Pioneers Project.

Evans went on to work at UMass as an assistant area coordinator of Orchard Hill, an area housing the majority of the students of color and CCEBS students on campus at the time, and then for the Urban University Program at Rutgers University. She worked for over a decade in early childhood education, mostly in New Jersey and New York City, then while working for the State of Massachusetts received her MA in Communication from Emerson College, partially to help her public radio show, “Black Family Experience.” Evans was the first African American woman to run for City Council in Medford, and was appointed to the Massachusetts Area Planning Council by Governor Dukakis. She taught for five years at Northshore Community College, received her PhD from Old Dominion University in 1997, and ended her career at Bloomfield College, where she was a professor for 18 years until her retirement in 2016. A prolific singer as a child and young adult, Evans was, and continues to be, a performance artist, with several theater pieces focused on Black history, all in addition to her outreach, organizing, and workshops, many focused on increasing the number of Black graduate and doctoral students.

The Cheryl Evans Papers document over 60 years of the life of the educator and activist, including childhood report cards and essays, clippings from the civil rights movement she followed and joined as a high school student, undergraduate records and ephemera, documentation of Black UMass alumni events, and records from her careers in public advocacy, education, and the theater. Evan’s time at UMass is especially well documented, including schoolwork, numerous photographs of student life on campus, social and political organization records, including contact lists of and correspondence with Black students, and the original protest demands from the 1970 Mills House protest and march to Whitmore.

Judy Norsigian is a prominent advocate for women’s reproductive health and was a co-founder of the Boston Women’s Health Book Collective, better known by its later and the title of its best-known book, Our Bodies, Ourselves. Editor of each of the nine editions of the book and executive director of the collective from 2001 to 2015, Norsigian is an important public intellectual on women’s health issues and has served on numerous boards and advisory groups relating to reproductive health, contraception, and medical research.

Consisting primarily of the sort of ephemeral political literature that abounded in the late 1960s and early 1970s, the Norsigian collection offers insight into the feminist movement and the early milieu of Our Bodies, Ourselves. Many of the publications are devoted to issues in contemporary feminism or pertain to women’s conferences, however several (especially those published by the New England Free Press) take on other political and social movements.