Photograph of Sam Shepard by Bill Wittliiff
Collection 054
Descriptive Summary
Creator: Shepard, Sam
Title: Sam Shepard Papers
Dates: 1980-1999
Abstract: The Sam Shepard Papers document the middle years of Sam
Shepard’s literary and acting career, from 1980-1999. The collection is comprised of the following series: Plays, Novels, Short Stories, Films, Literary Criticism, Notebooks, Correspondence, Clippings, Awards, Interviews, Readings, Published Compilations, Works by Others, and Framed Posters.
Identification: Collection 054
Extent: 27 boxes (13 linear feet)
Language: English
Repository: The Wittliff Collections, Texas State University
Biographical Sketch
Widely considered one of America’s greatest living playwrights, Sam Shepard was also an accomplished actor, director, screenwriter, and musician. Born Samuel Shepard Rogers IV on November 5, 1943 in Fort Sheridan, Illinois, Shepard was the oldest of three children. His family traveled extensively before settling in Duarte, California, outside of Pasadena, where his childhood experiences informed themes that mark much of his later playwriting. Shepard described Duarte as a “weird accumulation of things, a strange kind of melting pot – Spanish, Okie, Black, Midwestern elements all jumbled together. People on the move who couldn’t move anymore, who wound up in trailer parks.” (Rolling Stone, 1986). Shepard told biographer Don Shewey that his alcoholic father “had a real short fuse,” and that he was often the target of his father’s anger. In high school he began acting and writing poetry. He also worked as a stable hand at a horse ranch in Chino, California from 1958-1960. Thinking of becoming a veterinarian, Shepard studied agriculture at Mount Antonio Junior College for a year; but when a traveling theater group, The Bishop’s Company Repertory Players, came through town, Shepard joined them and left home. After touring with them from 1962-1963, he moved to New York City and worked as a bus boy at the Village Gate in Greenwich Village.
In New York, Shepard spent much of his time reading the works of playwrights and writing short “rock and roll” plays which frequently focused “on a single event, the characters often talking past one another or breaking into long monologues. However puzzling the action, these plays already ring out with Shepard’s deft rhythms,” (Contemporary Dramatists 1999). Shepard disavowed the narrative convention that required consistent character motivations, preferring instead to see his characters as capable of a wide variety of roles and actions. Shepard once told an interviewer that, “I preferred a character that was constantly unidentifiable, shifting through the actor, so that the actor could play almost anything, and the audience was never expected to identify with the characters,” (Shewey, Sam Shepard, 1997, p. 51). Shepard reconsidered this initial approach to his writing as a result of the influence of New York director and acting teacher Joseph Chaikin. As Shepard said, Chaikin helped him understand that there’s, “…no room for self indulgence in theater; you have to be thinking about the audience.” (Kevin Berger, salon.com, January 2, 2001) Chaikin also convinced Shepard to begin re-writing his plays in order to discover the essence of the experience. Prior to that, Shepard said, his “tendency was to jam, like it was jazz or something.” (Berger, salon.com, January 2, 2001)
Shepard’s playwriting debut took place at Theater Genesis on October 16, 1964, with a double bill of Cowboys and Rock Garden. In 1966, he received a grant from the University of Minnesota, the first of several he would receive in the coming years. Also in 1966, he won an unprecedented trio of Obie awards for Chicago, Icarus’ Mother, and Red Cross. The awards, presented by off-off Broadway champion The Village Voice, helped Shepard’s career gain momentum at a time when critics remained wary of his works.
In 1967, Shepard wrote La Turista, his first full-length play, which won an Obie the same year. More Obies for his early works followed, including Melodrama Play and Cowboys #2 in 1968. Shepard also received grants from the Rockefeller Foundation in 1967 and the Guggenheim Foundation in 1968. Also in 1968, Shepard joined a rock band, the Holy Modal Rounders, playing drums and guitar. Although he played with the band for three years, he continued to write and received a second Guggenheim Foundation grant in 1971.
Shepard married O-Lan Jones Dark, an actress, on November 9, 1969, with whom he had one son, Jesse Mojo Shepard. Shepard and Dark divorced in 1984. In 1971, Shepard had a much-publicized relationship with rock singer Patti Smith. Together they wrote Cowboy Mouth, acting the parts on stage in the first night’s performance.
In 1971, Shepard and family traveled to England, where four more plays premiered (The Tooth of Crime, Blue Bitch, Geography of a Horse Dreamer, and Little Ocean). Tooth of Crime was later presented in the U.S., winning an Obie in 1973. The next year, Shepard returned to the United States and served as the playwright in residence for The Magic Theater in San Francisco, a post he held for the next ten years. It was during this time that Shepard made his mark on mainstream American drama, winning the Pulitzer Prize for Drama in 1979 for his play Buried Child and producing his best-known plays, among them, True West in 1980.
In 1975, he took part in Bob Dylan’s “Rolling Thunder Review,” a nationwide touring group that included Joan Baez, Joni Mitchell, Allen Ginsberg, and William Burroughs. Shepard eventually published an account of the experience in 1987, titled Rolling Thunder Logbook. In 1978, Shepard began his film career, appearing in Bob Dylan’s Renaldo and Clara and later that year in Days of Heaven, directed by Terence Mallick. Also in 1978, Shepard began his collaboration with Joseph Chaikin, with the theater piece, Tongues. Chaikin and Shepard would also collaborate on Savage/Love (1979), and The War in Heaven, which was presented on WBAI radio in 1985.
In the 1980s, his works continued to win awards. He won his eleventh Obie for Fool for Love (1984.) A Lie of the Mind won the New York Drama Critics Award in 1986. Also during the 1980s, Shepard’s screenwriting and acting career began to grow. Screenplays included Me and My Brother, Zabriskie Point, and Fool for Love. His most popular and critically acclaimed film, Paris, Texas, won a Golden Palm Awards at the Cannes Film Festival in 1984. This screenplay was commissioned by German director Wim Wenders, and was based loosely on Shepard’s Motel Chronicles. His acting roles included Resurrection (1980), Raggedy Man (1981), Frances (1982), The Right Stuff (1983), for which he received an Academy Award nomination, Country (1984), Fool for Love (1985), Crimes of the Heart (1986), and Steel Magnolias (1989). He wrote and directed Far North (1988), which starred Jessica Lange.
Shepard continued to write new plays in the 1990s, though his output has slowed from the dizzying pace of the 1960s-1970s. States of Shock premiered in 1991, and in 1992 a revised version of True West was nominated for a Tony Award for Best Drama. Simpatico opened in 1994, and his revision of Buried Child opened on Broadway in 1996 and received a Tony Award nomination. Another collaboration with Joseph Chaikin, When the World Was Green (A Chef’s Fable) also premiered in 1996. Shepard’s collection of stories, Cruising Paradise, was published by Knopf in 1996. Curse of the Starving Class opened in 1997 and Eyes for Consuela (based on an Octavio Paz short story) was produced in 1998. In 2001, Shepard returned to San Francisco’s The Magic Theater for the premier of his new play The Late Henry Moss.
Shepard’s acting career also flourished through the 1990s and 2000s, with appearances in Defenseless (1991), Thunderheart (1992), The Pelican Brief (1993), and The Good Old Boys (1995), among others. Shepard wrote and directed the feature film Silent Tongue (1992). Some of his additional film appearances include All the Pretty Horses (2000), based on the novel of the same name by Cormac McCarthy, Blackhawk Down (2001), Swordfish (2001), The Notebook (2004), Stealth (2005), Walker (2005), and Bandidas (2006).
Shepard was inducted into the American Academy of Arts and Letter in 1986. In 1992, he received the Gold Medal for Drama from the Academy and in 1994 he was inducted into the Theater Hall of Fame. From 1983 to 2010, Shepard was in a committed relationship with actress Jessica Lange, with whom had two children, Hannah Jane Shepard and Samuel Walker Shepard.
Shepard passed away on July 27, 2017. His impact on modern theater can be gauged by the numerous scholarly books and articles devoted to his work, as well as the hundreds of productions of his plays, both in the U.S. and abroad.
Further readings:
American Dreams : The Imagination of Sam Shepard. Edited by Bonnie Marranca. New York : Performing Arts Journal Publications, 1981.
Auerbach, Doris. Sam Shepard, Arthur Kopit, and the Off Broadway Theater. Boston : Twayne, 1982.
Mottram, Ron. Inner Landscapes : The Theater of Sam Shepard. Columbia : Univ. of Missouri Press, 1984.
Shewey, Don. Sam Shepard. New York : Dell, 1985.
Patraka, Vivian M., and Siegel, Mark. Sam Shepard. Boise, Idaho : Boise State University, 1985.
Oumano, Ellen. Sam Shepard : The Life and Work of an American Dreamer. New York : St. Martin’s Press, 1986; London : Virgin, 1987.
Hart, Lynda. Sam Shepard’s Metaphorical Stages. Westport, Conn. : Greenwood Press, 1987.
King, Kimball. Sam Shepard : A Casebook. New York : Garland, 1988.
Trussler, Simon, ed. File on Shepard. London : Methuen, 1989.
DeRose, David J. Sam Shepard. New York : Twayne, 1992.
Benet, Carol. Sam Shepard on the German Stage : Critics, Politics, Myths. New York : Peter Lang, 1993.
Wilcox, Leonard, ed. Rereading Shepard : Contemporary Critical Essays on the Plays of Sam Shepard. Basingstoke, Macmillan, 1993.
Wade, Leslie A. Sam Shepard and the American Theater. Westport, Conn. :Greenwood Press, 1997.
Bottoms, Stephen J. The Theater of Sam Shepard : States of Crisis. Cambridge: Cambridge University Press, 1998.
Administrative Information
Access Restrictions
Some materials restricted. Please contact the SWWC for information about access.
Preferred Citation
Sam Shepard Papers, Southwestern Writers Collection, Texas State University-San Marcos
Acquisition Information
Donated by Sam Shepard, 1992-2000
Processing Information
Processed by Amanda York, 2000
Inventory revised by Amy Ruthrauth, 2005 and Katie Salzmann, 2019.
Notes to Researchers
The Southwestern Writers Collection also holds the Sam Shepard and Johnny Dark Collection (SWWC Collection 106)
The Harry Ransom Humanities Research Center at the University of Texas at Austin additional Sam Shepard Papers.
Boston University houses a collection of Sam Shepard Papers.
Scope and Contents Note
The Sam Shepard Papers is comprised of the following series:
Plays
Unpublished Novels
III. Short Stories
IV. Films
V. Literary Criticism
VI. Notebooks
VII. Correspondence
VIII. Clippings
IX. Awards
X. Interviews
XI. Readings
XII. Published Compilations
XIII. Works by Others
XIV. Framed Posters
Series I: Plays, 1982-1999
Boxes 1-9
The series for Plays is the largest of Shepard’s works and includes notes, annotated typescripts, playbills, programs, correspondence, sound recordings, rehearsal schedules, reviews, and publicity. This series is notable in that Shepard meticulously identified each annotated draft with the date and place (by city and state) of each revision, and there tend to be multiple drafts of each work represented.
Series II: Unpublished Novels 1991, undated
Boxes 9-10
Two annotated typescripts of Stray Hand (working title Slow Dawning of a Sudden Loss), 1991.
Series III: Short Stories, 1989-1998
Boxes 10-14
Many of the short stories represented in this series were published in short story compilations Motel Chronicles (1982) and Cruising Paradise (1996). The series has been arranged by those compilation titles. Volador was a working title for Cruising Paradise; those files immediately precede the files labeled Cruising Paradise. The files for Volador / Cruising Paradise include multiple drafts of stories, correspondence, while files for Motel Chronicles include annotated typescripts and production information, but no multiple drafts.
Series IV: Films, 1982-1998
Boxes 14-18
This series is divided into two subseries. The first, films for which Shepard wrote the screenplay, includes: notes, annotated drafts, dialogue rewrites, publicity, correspondence, contracts, music notes, production notes and schedules. Of the films in this subseries, Silent Tongue includes the most information (1 linear foot), followed by Far North, (.25 linear feet.), Onibaba (.25 linear feet), Paris, TX ( 4 folders), and Plain Fate, an unfinished work (1 folder).
The second subseries of films is for those which Shepard did not write the screenplay but in which he appears as an actor, Bright Angel (1989-90) and Voyager ((1990-91) both include screenplay typescripts with Shepard’s annotations. Thunderheart (1991) includes storyboards and color photographs, Dash and Lily (1998) includes an advertisement.
Series V. Literary Criticism, 1984
Box 18
This series is comprised of a review by Shepard of Peter Handke’s novel The Weight of the World, including a letter from Handke’s editor, Shepard’s draft, and a copy of the essay as published in Vanity Fair, Sept. 1984.
Series VI. Notebooks, 1981-1995
Boxes 19-20
The Notebooks series includes handwritten notes, dialogue ideas, small drawings, and journal entries, usually in spiral bound notebooks. Some entries are personal and many were or were intended to be developed into longer works.
Series VII. Correspondence, 1982-1998
Boxes 20-21
Topics include the publication of Shepard’s works in magazines and Journals as excerpts, as well as in their entirety; correspondence with agent Lois Berman. Aside from general correspondence, this series also includes correspondence from Joseph Chaikin and Barry Daniels and correspondence from Shepard’s son, Jesse, as noted [Restricted]. For Shepard’s 40-year correspondence with Johnny Dark, see the Southwestern Writers Collection 106, The Sam Shepard and Johnny Dark Collection.
A. Chaikin, Joseph, 1984-1987 The majority of these letters from Joseph Chaikin to Shepard relate to plays the two collaborated on. Because they date from after Chaikin’s strokes, many of the letters include fragments of sentences and ideas.
B. Daniels, Barry, 1984-1989 This subseries includes correspondence regarding the volume Daniels edited entitled Joseph Chaikin & Sam Shepard : Letters and Texts, 1972-1984. Also included is an advance proof, articles on Shepard and Chaikin, and a photograph of Chaikin by Ray Maichen.
Series VIII. Clippings, 1983-1998
Box 22
This series includes news clippings regarding Shepard and his work. A file of undated clippings also includes photocopied fragments of others’ work, annotated by Shepard.
Series IX. Awards, 1988-1998
Box 22
This series includes award certificates, correspondence, presentation programs, and clippings for awards Shepard received from the American Academy and Institute of Arts and Letters, among other institutions.
Series X. Interviews, 1980-1997
Box 22
This series is comprised of a conversation between Bob Dylan and Shepard, ca. mid 1980s to early 1990s. No transcript currently exists for these 3 audiocassettes, but the tapes have been transferred to CD as listening copies. Also included are the typescript and galleys for an interview of Shepard by Paris Review, regarding Shepard’s writing process, 1997, and an interview with Shepard on National Public Radio’s “Fresh Air”, August 1996.
Series XI. Readings, 1991-94
Box 22
This series is comprised of Shepard’s notes, correspondence and annotated photocopies of excerpts of his work read at various events. Arranged in chronological order by the event’s date.
Series XII. Published compilations, 1984-1993
Box 23
Cover art proposals and galleys for compilations of Shepard’s work published by Vintage and Bantam comprise this series.
Series XIII. Works by Others, 1984-1998
Boxes 23-25
Arranged by genre (articles, books, sound recordings, screenplays, short stories and teleplays), most of the works in this series are based on or inspired by Shepard’s works. Authors mailed the works to Shepard for his comments, and many items include typescripts annotated by Shepard and correspondence.
Series XIV. Framed Posters
Includes 4 posters that were removed from the collection and framed for exhibit. Additional unframed posters can be found listed within the collection.
Detailed Description of the Collection
Series I: Plays, 1982-1999, undated
Box Folder
Tooth of Crime (1972)
1 1 Annotated typescript re-write, 1996
1 2 Folder with March 1996 and October 1996 re-writes, December 1996
schedules, contact sheets, reviews, for New York Production. Includes photograph of Mohammed Ali.
1 3 Correspondence regarding Tooth of Crime, including: correspondence
from Signature Theater, 2 audiocassettes of T. Bone Burnett music, and contract for Burnett’s musical score.
1 4 Review, New York Times, 1996
Sad Lament of Pecos Bill on the Eve of Killing His Wife (1976)
1 5 Manuscript musical score by Loren Toolajian, 1997 [housed in box 26]
1 6 Audiocassette recording of Pecos Bill, undated
1 7 Reviews, 1997
1 8 Advertisement
Curse of the Starving Class (1977)
1 9 Press kit, including: credits, potential cast, synopsis, biographies, and
letters of support.
1 10 Reviews, 1991
Buried Child (1977)
1 11 Published script with Steppenwolf/Chicago re-write annotations
1 12 Final Steppenwolf re-write, annotated typescript, 1996
2 1 Re-write, annotated typescript, 1996
2 2 Production calendar and correspondence, Brooks Atkinson Theater New
York, 1996
2 3 Playbills (2), Brooks Atkinson Theater, New York, April-May, 1996
2 4 Correspondence, includes: telegram from Bob Dylan, correspondence with
agent Judy Boals, and American Theater magazine regarding publication of Buried Child, 1995-1996
2 5-6 Reviews, 1995-1996
2 7 Steppenwolf Chicago Poster, 1996
True West (1980)
3 1 Correspondence regarding film rights, 1983-1985
3 2 Repertory Theater of St. Louis program, 1983-1984
3 3 Program for Dutch production, February 1984
3 4 Playbill from Le Theatre National de Belgique signed by Shepard, 1985
3 5 Program for Ojai, California production, 1998
3 6 Posters for French (2) and Turkish (1) productions - FRAMED
True West, continued
3 7 Scripts for New York City radio spots (2), 1983
3 8 Reviews, 1983-1984; London: 1994
Fool For Love (1983)
3 9 Bound annotated typescript with cover featuring Elvis kissing a blonde
woman. Signed by Shepard, October, 1982
3 10 Stage Notes for Magic Theater, handwritten orange notebook, 1983
3 11 Correspondence, 1983-1985
3 12 United States reviews, 1983-1996
3 13 Japanese production documents, including: Circle Repertory Company tour
program, Tsurumi Shoten publication of script, and Bi-lingual
program for KSK Hall production.
3 14 Brazilian reviews, 1988
3 15 Australian reviews and publicity, 1984
3 16 French program, 1984
3 17 Czech publicity materials
3 18 British (London) reviews, 1996
A Lie of the Mind (1985)
4 1 Correspondence, 1985-1992
4 2 Programs
4 3 CD and audiocassette musical recording by Red Clay Ramblers
4 4 Audiocassette musical recording by Token Oldies
4 5 Reviews, 1985-1993
4 6 Latvian translation by Karina Petrsone, hardbound, 1990
The War in Heaven (1985)
4 7 Annotated work play, February 1984
4 8 Audiocassette tapes of rehearsals (2), 1984, n.d.
4 9 American Place Theater annotated re-write, February 13, 1991
4 10 American Place Theater re-write with music percussion notes, February 13,
1991
4 11 American Place Theater annotated re-write, February 1991
4 12 American Place Theater re-write, heavily annotated cover page, February
13, 1991
4 13 Programs, 1991
4 14 News clippings, 1991
5 1 Correspondence with Joseph Chaikin regarding The War in Heaven, 1995
5 2 Photocopy of the poem, “What Is the Word,” by Samuel Beckett, last
Beckett poem to Chaikin
Sacred Ground (1989)
5 3 Partial manuscript, 100 handwritten pages in blue spiral notebook includes
set drawings, 1989
Sangre de Cristo (unfinished) (1989)
5 4 Original manuscript bound in spiral notebook, August 25, 1989
5 5 Annotated unfinished typescript, November 1989
States of Shock (1991)
5 6 Partial manuscript and annotated typescript titled States of Panic, crossed
out titles include Lost Partners, A Fear of Unknown Origin, and The Man Who Couldn’t Stop Weeping, November 12, 1988
5 7 Notes and dialog, January 1989
5 8 Manuscript and typescript pages for early draft titled Chattanooga, Fanatics,
and Chattanooga Breakdown (January-May 1989)
5 9 Annotated typescript subtitled Friendly Fire (2) (January 1991)
5 10 Second draft, annotated typescript, March 1991
5 11 Stage set drawings and letter from Bill Stabilie, undated
6 1 Folder containing final draft (March 1991) and re-writes, April 4, 1991 and
May 5, 1991. Heavily annotated typescript with music and sound cues, and rehearsal schedule for American Place Theater production
6 2 Final script of American Place Theater production, 1991
6 3 Final draft, undated
6 4 Sample pages of proposed publication
6 5 Dramatists Play Service publication, 1992
6 6 Playbill from American Place Theater production, April 1994
6 7 Reviews, 1991
6 8 Correspondence from 7 Stages director Faye Allen and from lighting
designer Ann Millitello regarding the death of a friend named John Dodd, 1991, 1998
Simpatico (1993)
6 9 First draft, annotated typescript subtitled Life in the Wake, September 20,
1992 - July 13, 1993
6 10 Re-writes, September 1992, July 1993, and June 1994
6 11 Typescript draft with minimal annotations, July 1993
6 12 Final draft/working rehearsal script with minimal annotations for Public
Theater, September 1992-August 1994
7 1 Annotated typescript, undated
7 2 Working script for Joseph Papp Public Theater production, November 1994
7 3 Final corrected version, November 1994
7 4 Notebook with rehearsal notes, rehearsal schedule, correspondence, Fall 1994
7 5 Final Version, April 1998
7 6 Playbill and publicity from Queensland Theater production, April 1996
7 7 Trade book cover art sample
8 1 Reviews, 1993-1995
8 2 Reviews, 1996-1998
8 3 Correspondence, 1993
Seduced (1995)
8 4 Play program from New York production: Kraine Theater, and correspondence
The Unseen Hand and Other Plays (1996)
8 5 Page proofs with annotations and typesetting marks.
When the World Was Green (1996)
8 6 Annotated typescript, December 1994
8 7 Annotated typescript, September 1994-August 1995
8 8 Typescript, undated
8 9 Folder for Chicago production includes: correspondence, contact sheets,
rehearsal schedules, and heavily annotated working scripts
8 10 Reviews and play program for Atlanta production, 1996
8 11 Reviews and play program for San Francisco production, 1997
8 12 Reviews and play program for Boston production, 1997
8 13 Correspondence from Judy Boals. 1996
9 1 Correspondence with Joseph Chaikin, 1994-1995
9 2 Press release for Gradiva Best Play Award, 1997
Eyes for Consuela (1998)
9 3 First draft, annotated typescript, October 31,1996
9 4 Working draft, annotated typescript, September, 1997
9 5 Folder for Austin production: working script, rehearsal schedules, 1998
9 6 Playbill for Manhattan Theater Club production, January, 1998
9 7 Reviews, 1998
Unfinished Unidentified Play (1990)
9 8 Heavily annotated typescript, dates and places include: November 1990,
Virginia, December 1990, Florida, and December 1990, Virginia. Character names include: Reeves, Raynelle, Parnell, Clayton, and Joelie. 78 pages total, undated
Unfinished Play Fragment, undated
9 9 Annotated typescript, characters include Clayton, Mitch, and Kaylee, undated
Series II: Unpublished Novels, 1991, undated
Stray Hand / Slow Dawning of a Sudden Loss, 1991-1993
9 10 Annotated typescript, 256 pages with 13 additional pages of re-writes at end
titled “Stray Hand,” undated
10 1-2 Annotated typescript (2 copies) titled “Slow Dawning of a Sudden
Loss,” 1991-1993.
Series III: Short Stories, 1989-1998, undated
Motel Chronicles (1982)
10 3 Signed bound annotated typescript, 1992
10 4 Program for Paris production, undated
Volador/Cruising Paradise (1989-1998)
10 5 Spiral bound handwritten draft of Volador includes note, story drafts,
clippings, and photographs. Subjects and titles include: Train Film outline, Chain Chain Chain, Wayne Grace, Madagascar, Phone Call, “Apart,” Chappy, Rich Hole, Papantle, Spencer Tracy Had the Right Idea, Nightmare, How I Came by Train, Blythe, Paris, Train to Munich, and Athens, 1989-1991
10 6 Drafts of stories and letter from LuAnn Walther at Random House Publishers
inviting Shepard to submit a collection of short stories for publication.
11 1 Draft of stories titled Volador and letter to LuAnn Walther at Random House
Publishers, June 13, 1989
11 2 Draft of stories titled Volador and letter to LuAnn Walther at Random House
Publishers. Story titles include: “The Real Gabby Hayes, Nuevo Mundo, Cruising Paradise, Wild to the Wild, A Small Circle of Friends, Thin Skin, Lily and the Judge, More Urgent Emergencies, The Devouring Lion, Falling Without End, Homage to Celine, Gary Cooper on the Landscape, The Self-Made Man, Hail from Nowhere, Synthetic Pink, Temporary Entrance, Papantla, See You In My Dreams (1 original, 1 photocopy), undated [1989]
11 3 Draft titled with photocopied photographs. Also titled “Slave of the Camera
(an actor’s notes), “July, 1990
11 4 Volador reading typescript, October 6, 1995
12 1-4 Annotated typescript (in 4 folders)
13 1 Page proofs, 1995
13 2 Typescript with typesetting marks, undated
13 3 Uncorrected proof of Knopf publication, 1996
13 4 Dust jackets for Knopf publication, undated
13 5 Cover art proposals, undated
13 6 Unbound Knopf signatures, undated
13 7 Knopf catalog featuring Cruising Paradise, Spring 1996
14 1 Audio book cover art proposals, undated
14 2 Publicity, 1996
14 3 Reviews, 1996
14 4 Correspondence regarding reviews, rights to publish excerpts, and foreign
editions, 1996-1998
14 5 Cover art proposals for foreign publications: Minerva, U.K. and La Font,
France, 1997
The Fire in Jeremy’s Lap, undated
14 6 Annotated and signed typescript, 2 pages. Undated
Series IV: Films, 1984-1991
Subseries A: Films written by Shepard, 1982-1992
Paris, TX (1984)
14 7 Notes: dialog re-writes, editing notes, 10 p. March 22, 1984
14 8 Correspondence from Peter Kaminsky and Wim Wenders, 1982-1983
14 9 Advertising sample (5.5 x 8.5 color card)
14 10 Reviews, 1984
Far North (1988)
14 11 Notes regarding make-up, hospital scene, and synopsis, undated
14 12 Notes on second draft regarding budget, music and sound, 10 p. February,
1987
14 13 Notes on cutting/editing, 8 page. January, 1988
14 14 Vehicle card, undated
14 15 Advertisements, undated
14 16 Reviews, 1988-1989
14 17 Black and white publicity photograph of Sam Shepard on set
14 18 Correspondence, includes: program for Minnesota film premiere and
program and materials from 1988 Telluride Film Festival, 1988-1989
14 19 Audiocassette of New York City-New Orleans music sessions, undated
14 20 VHS Videocassette of film transfer with visual time code, second cut. January
28, 1988
15 1 VHS Videocassette of film transfer with visual time code, transfer number
four, March 4, 1988
Plain Fate (unfinished, February, 1988)
15 2 Signed annotated typescript, February 1988
Onibaba (1991)
15 3 Handwritten notes and partial draft in blue spiral notebook, 18 p. May 1992
Notebook also contains notes, sketches, and dialogue for play, “States
of Shock, 1991; screenplay, “The Homesman,” May 1991; and play original deception,” May 1991
15 4 First draft outline, annotated typescript, July 11, 1992
15 5 Clippings regarding 1965 Japanese film Onibaba directed by Kaneto Shindo.
15 6 Contract with Toho International for film rights purchased by Shepard,
September 21, 1992
Silent Tongue (1992)
15 7 First draft May 1988, Virginia and August 1988 Natchidoches, La.
15 8 Contact sheet for Red Clay Ramblers, March 19,1988
15 9 Location notes, memos, and map, October 24,1988
15 10 Third revision, slightly annotated in blue, black and red ink, January, 1992
15 11 Third revision typescript annotated in red ink
16 1 Third revision typescript lightly annotated in black ink and blue highlighter
January, 1992
16 2 Third revision lightly annotated in red and black ink and minimal blue
highlighter, January, 1992
16 3 Notebook with headings of outline, personnel, and notes, 1988
16 4 Shooting script, March 5,1992
16 5 Editing, continuity, location, and extras notes, undated
16 6 Music notes, 1992
16 7 Audiocassette of medicine show music, undated
17 1 Two audiocassettes of Dino’s music, undated
17 2 Possible prologue photos (photocopies from published sources), undated
17 3 Notes on cuts, August, 1993
17 4 Notes on final trims of opening from editor Bill Yahraus, undated
17 5 Vehicle card, “Now Filming”
17 6 Folder containing: crew resumes, production telephone messages, information
about stuntmen, casting suggestions for “Reeves,” production schedule, and storyboard drawings by Michael Peal, undated
17 7 Photographs from set: 8x10 black and white of Alan Bates, Dermot
Mulroney, and a female in front of stage wagon and 3x5 of burial tree
17 8 Synopsis for press kit draft, undated
17 9 Clippings and reviews, 1992-1994
17 10 Film guide from Sundance Film Festival featuring Silent Tongue, 1993
17 11 Poster
17 12 Correspondence including: ICM correspondence regarding contract for film,
1991; Grey Larsen regarding music for film, 1988, and article written
for Esquire magazine about film, undated
A Rage of Unknown Origin, undated
18 1 Notes, two typescript pages, undated
Subseries B. Films in which Shepard performed, 1989-1998
Bright Angel, screenplay by Richard Ford (1989-1990)
18 2 Screenplay typescript by Richard Ford, second draft with Shepard’s
annotations, August, 1989
18 3 Screenplay typescript by Ford, latest draft, with Shepard’s annotations,
August, 1989
18 4 Color transparency advertising film, 1990
Voyager (1991)
18 5 Annotated photocopy of book titled Homo Faber by Max Frisch, 1989
18 6 Annotated article on Max Frisch, undated
18 7 Screenplay typescript third draft with Shepard’s annotations, February 1990 –
March 1990
18 8 Film contract, January 1990
18 9 Location stills by Volker, color photographs in blue notebook, undated
18 10 Production schedules, maps, 1990
18 11-12 Photographs on set of Shepard and Delpy by Bridgette LaCombe, includes 16
black and white faxes and 19 color copies, 1990
18 13 Production notes by Castle Hill Productions including cast,
credits and synopsis, undated
18 14 Booklet containing synopsis, photographs, artistic and technical participants in
film (in French), undated
18 15 Reviews, undated
18 16 Correspondence with Volker, 1989-1990
Thunderheart (1991)
18 17 Storyboards for scenes 38, 40, 70, 119-122, and 131-133 (photocopies)
18 18 Two color photographs, taped together, unidentified, but presumed to be taken
on the set of Thunderheart, undated
Dash and Lilly (1998)
18 19 Advertisement in Variety magazine, undated
Series V: Literary Criticism, 1984
18 20 Review by Shepard of Peter Handke’s novel The Weight of the World, including letter
from Handke’s editor, Shepard’s draft and a copy of the essay published in Vanity Fair, September 1984
Series VI: Notebooks, 1981- 1996, undated
19 1 Various subjects including:
Synthetic Tears screenplay outline,
Transfixion
New Mexico
Fool for Love notes, 1981-1982
19 2 Blue spiral containing notes on various subjects including:
“Dream in Borad Day,” prose fragment, July, 23, 1982
“script fragment beginning,” Int. Lee and Old Man,” August,8, 1982
“P.O.V’s prose, fragment,” undated
“After all I’d been through with this guy,” prose fragment, October 11, 1982 “The Flood has occurred and he could not be bothered to save himself from
drowning…”prose fragment, undated
“Second Chance” undated
19 3 Various subjects on loose sheets including:
“Machine Dreams:
“Film Synopsis,” December 25, 1984
“Denial,” film sketch, February 1984
“History of the Dog,” undated.
Film sketch beginning, “A Man has a dream about a murder…” undated
“Jealousy is not a pretty thing,” October 23, 1988
“States” notes, February, 1989
“1957” film notes, January 1, 1987
“The Man Who Could Not Stop Crying,” October 3, 1988
19 4 Various subjects bound in black leather book with red marbled endpapers, including:
“Thin Skin – What Any Woman Can Do To You,” 1989
“J.D.’s Collapse,” December 1998
“Southwest Chief – L.A. to Chicago,” February 1989
“More Urgent Emergencies,” April, 1989
“Wild to the Wild,” May, 1989
“Ancient Fear of the Fiddle,” May, 1989
“Open Suitcase,” January, 1990
19 5 Various subjects including:
quotes dated August, 1992
“Separation: Horrors of the Road,” September 1992
“Simms – Tall Stories Solid 7,” September, 1993
“One Last Favor,” playscript September, 1992
“No Better Place than the Present,” undated
19 6 Various subjects in black spiral bound notebook including:
“Brecht Clown Play - Joe - World Was Green - At the Edge of the World,”
November 1993
“Confession - Obsession - Blessing or Curse,” “Oedipus,” October 1995
“Great Place,” November 1995
“Sins of the Distant Past,” “Marfa Lights,” February 1996; November 1993-
January 1996, (black cover)
20 1 Various subjects include:
“Turkey Sag,” January, 1994
“Gary Cooper of the Landscape,” January, 1994
“A Weakness for Horses,” January, 1994
Actors, Simpatico, “An Actors Doubt,” January, 1994
poem “My mother loved the sea…” March, 1994
“Dreaming of a way to Enter the Unbearable Present,” April, 1994
“Self Made Man (Divine Providence,” undated
“Questions for Junior Brown,” March, 1995
“Once,” May, 1995
“Dignity,” May, 1995
“A Man’s Man,” May, 1995
“Reading-Oct. 6 - “Y”,” April 24, 1994
“Volador; Mundo Nuevo,” July, 1994
“Place,” May, 1995
20 2 Various subjects on three loose pages:
Angel, White Horse on Hudson, God, Tuna undated
Series VII: Correspondence, 1982-1998, undated
Box Folder
1982
20 3 Lawson, Wayne, November 10, 1982
1983
20 4 Phillips, Jerrold, March 2, 1983
Berman, Lois, August 18, 1983
Cuyama Valley Exchange Club. August 29, 1983
Mitchell, Joni, circa 1983
1984
20 5 Rogers, S [Sandy], April13, 1984
Gantcher, Neal(to Martin Licker), June 6, 1984
Kirwin, Lynne (to Lois Berman), June 27, 1984
Allen, Lewis (to Lois Berman), June 29, 1984
Shewey, Don (to Lois Berman), July 12, 1984
Shewey, Don, July 12, 1984
Berman, Lois, July 17, 1984
Allen, Lewis, July 17, 1984
McCrum, Robert (to Lois Berman), August 23, 1984
* restricted Shepard, Jesse, October 9, 1984
Lynn and Jack (first names only), November 26, 1984
1985
20 6 * restricted Shepard, Jesse, February 20, 1985
Ward, Melinda, February 28, 1985
Weiler, Robert S., June 28, 1985
Allen, Lewis, July 3, 1985
Sato, Suzanne, July 8, 1985
1986
20 7 * restricted Shepard, Jesse, February 2, 1986
Gotlieb, Howard, April 4, 1986. Includes Boston University’s Shepard collection
listing.
1988
20 8 Klein, Don, April 25, 1988
Mark, Steven (to Martin Licker), June 7, 1988
Wenders, Wim, July 22, 1988
Crane, Joan, July 28, 1988
Crane, Joan, August 2, 1988
Wexler, Haskell, September 30, 1988
Wexler, Haskell, October 21, 1988
“Mom,” November 2, 1988
Bryer, Jackson, November
30, 1988
Daugherty, Pat, December 19, 1988
1989
20 9 Daniels, Barry, January 5, 1989
Berman, Lois, May 17, 1989. Includes “American Dreams” programs
Ford, Richard, August 10, 1989
Sinise, Gary, November 4, 1989
1990
20 10 Jewell, Cathy, October 18, 1990
Halpern, Daniel, October 25,1990
Jewell, Cathy, October 25, 1990
Hill, Steve, December 18, 1990
1991
20 11 Jewell, Cathy, January 14, 1991
Berman, Lois, January 17, 1991
Newman, Paul, May 15, 1991
Eberle, Martin, June 28, 1991, Includes six 9 1/2 x 11 1/2 black and white
photographs of Shepard and others
1992
20 12 "R.J." (initials only), October 8, 1992
Callens, Johan (to Lois Berman), October 30, 1992
1993
20 13 Callens, Johan (to Lois Berman), October 1, 1993
Kulkhe, K., October 6, 1993
1994
20 14 Shelley, Guy, March 15, 1994
Boals, Judy, April 15, 1994. Includes poster and slides from a Paris production of
Icarus’s Mother
1995
20 15 Boals, Judy, March 24, 1995. Includes Theater Hall of Fame program
1996
20 16 O'Hearn, Patrick, March 12, 1996
West, Robert, Jr., March 17, 1996
Jones, O-Lan, March 21, 1996
Boals, Judy, April 19, 1996
Boals, Judy, April 22, 1996
Kirchwey, Karl, April 22, 1996
Morris, Tom (to Judy Boals), April 24, 1996
Houghton, James, April, 25, 1996
McKimmie, Ilyse, May 1, 1996
West, Robert Jr., May 1, 1996
Boals, Judy, May 2, 1996
Oliver, Liz, May 2, 1996
Teale, Sarah, May 3, 1996
“New Yorker” editorial office, May 18, 1996
Giuliani, Rudolph, May 22, 1996. re: 50th anniversary of Tony Awards
Butcher, Peggy (to Judy Boals), May 23, 1996
Stevenson, Isabelle (June 6, 1996)
McCormick, Anne (to Luann Walther), June 10, 1996
Allen, Georgina, June 11, 1996. Includes cover art for Methuen publications of Plays
1 and 3.
Pacquette, Brian, June 25, 1996
Morris, Tom, July 24, 1996
Singer, Sally, August 6, 1996
Weinberg, Samantha, August 6, 1996
Morris, Tom, September 16, 1996
Carvalho, Jim, September 30, 1996
1997
20 17 Notice from Academy of Arts and Letters re: death of Alan Ginsberg, April 5, 1997
Aronowitz, Al, May 1, 1997
Adolphe, Bruce (to Judy Boals), August 14, 1997
"Santo,” October 21, 1997
1998
20 18 Shepard, Sam (to Magic Theater ), April 29, 1998
Boals, Judy, July 23, 1998
Callahan, Michael (to Judy Boals), September 14, 1998
Undated
20 19 "Freddie and Lara" (first names only)
McAdams, "Coach"
Multiple authors (first names only)
Joseph Chaikin, 1984-1987
21 1 Letters (1984-1997)
Barry Daniels, 1984-1989
21 2 Correspondence, 1987-1989
21 3 Uncorrected advance proof
21 4 Articles on Chaikin and Shepard
21 5 Photograph of Chaikin by Ray Maichen, undated
Series VIII: Clippings, 1983-1988; undated
22 1-2 Clippings, 1983-1988
22 3 Clippings, undated
Series IX: Awards, 1982-1998
22 4 Common Wealth Awards in Dramatic Arts program and press release, 1988
American Academy of Arts and Sciences Fellow list of members selected,
correspondence, and certificate, 1989
American Academy and Institute of Arts and Letters Gold Medal for Drama
program, 1992
Theater Hall of Fame Scroll of Honor presented by Rudolph Giuliani, Mayor of the
City of New York certificate, 1995
Star on the Playwrights Sidewalk at the Lucille Lortel Theater, NYC. Certificate
announcing the placement of the Star on the sidewalk, news clipping, 1988
Series X: Interviews, 1980-1997
22 5 Conversation between Shepard and Bob Dylan, taped by Shepard, ca. mid 1980s-
early 1990s. Three sixty minute Tapes marked “Bob 1”—“Bob 6.” Fourth
cassette is partly marked “Bob” but is only unrelated music. The three
interview tapes have been transferred to CD for listening purposes.
22 6 Interview of Shepard on National Public Radio's "Fresh Air,” August, 1996
Interview of Shepard by Paris Review regarding Shepard's writing process. Final
typescript and gallery, 1997
Series XI: Readings, 1991-1994
22 7 Jack Kerouac film documentary, 1991, Correspondence, notes, script material,
annotated Kerouac excerpts, sent by Johnny Dark.
22 8 "Malestroms Large and Small: An Evening of Primo Levi," Manhattan Theater Club
script and correspondence, 1991
22 9 Cowboy Poetry reading which included "Pecos Bill" by Shepard, among 25 poems
by others. Performing Group later known as "Green River Ropin' and Recitin'
Preservation Society." Correspondence and photocopies of Poems, 1993
Series XII: Published Compilations of Shepard’s Works, 1983-1984
Box Folder
22 10 "Y" of New York City (Unterberg Poetry Center on 92nd Street and Y, New York
City) includes guest pass, letter regarding travel arrangements, and
Shepard's annotated readings.
23 1 Galleys for Vintage publication o States of Shock, Far North, and Silent Tongue.
23 2 Cover art proposals for trade publications of plays: States of Shock, Far North, and
Silent Tongue.
Series XIII: Works by Others, 1984-1998; undated
Articles, 1990-1991; undated
23 3 Schvey, Henry I. "The Master and His Double: Eugene O'Neil and Sam Shepard"
Journal of Dramatic Theory and Criticism, Spring 1991, pgs. 49-60
(photocopy)
23 4 Schvey, Henry. "A Worm in the Wood: The Father-Son Relationship in the Plays of
Sam Shepard," typescript, undated
23 5 Sparr, Landy; Erstling, Susan; Boehnlein, James. "Sam Shepard and the
Dysfunctional American Family: Therapeutic Perspectives," American
Journal of Psychotherapy, Vol. XLIV, No. 4, October, 1990 (photocopy)
Books, 1988, 1990
23 6 Beckett, Samuel. Stirring Still. Illus. By Louise le Brocquy. Blue Moon Books: New
York, 1988.
23 7 Weber, Bruce. Photocopy of proposed book of photographs of Shepard to raise funds
for Film Forum Theater. (1990)
Audiocassettes, 1984
23 8 Lou Reed "New Sensations" RCA 1984
"The Moray Eels Eat at the Holy Modal Rounders" Elektra Records, undated
Night Voices. "Intimacy / Insomnia," undated
Screenplays, 1989-1996
23 9 Beresford, Bruce. "Curse of the Starving Class," 3rd draft, typescript, May 5, 1992
23 10 Beresford, Bruce. "Curse of the Starving Class," 4th draft, typescript, July 1, 1992
23 11 Cocks, Jay. "Brownsville Girl," 8 page movie treatment, November, 1996
24 1 Foote, Horton. "Lily Dale," typescript, November 1995
24 2 Foote, Horton. "Lily Dale," Plano Production. Includes: production notes, one-line
schedules, and typescript, December 1995
24 3 Hicks, James. "Defenseless," annotated shooting script and schedule. Film featured
Shepard, Barbara Hershey, and Mary Beth Hurt. Directed by Martin
Campbell, 1989
24 4 Johnson, Randi. "Thin Skin," 1st draft, 19 page typescript, January 12, 1990
24 5 Johnson, Randi. "Thin Skin," 2nd draft, 18 page typescript, January 22, 1990
24 6 Jones, Tommy Lee and Allen. J.T. "The Good Old Boys." 6th draft typescript with
location map , wardrobe sketch for Hewey, and shooting schedule, 1994
25 1 Ketron, Larry. "The Only Thrill," heavily annotated typescript, location information,
and shooting schedule. The film featured Shepard and Dianne Keaton,
October, 1996
25 2 Scholz, John. "When the World Was Green." Revised draft typescript, July 20, 1994
25 3 Warchus, Matthew and Nicholls, David. "Simpatico." First draft typescript and
correspondence, 1996
25 4 Wenders, Wim and Dommartin, Solveig, story. Almereyda, Michael, screenplay.
"Until the End of the World," typescript, with letter from Wenders, 1987-1988
Short Stories, undated
25 5 Williams, Tennessee. "The Man in the Overstuffed Chair," photocopy from
published source.
Teleplays
25 6 Jacoby, Oren. "America's Playwrights: The Fugitive Kind," treatment for 20 minute
television documentary for the American Theater Project. Draft typescript
October 10, no year
25 7 McMurtry, Larry and Ossana, Diana. "Streets of Laredo." Photocopy of October 1,
1994 re-write. Shepard played the Role of Pea Eye Parker.
Series XIV: Framed Posters
1. One 28” x 39” framed poster for True West production presented by the Nouvelle Compagnie Theatrale, in French (black background with white lettering).
2. One 24 1/2” x 34” framed poster for True West, L’ouest, Le vrai presented by Theatre National, in French (black background with white, red and blue lettering).
3. One 20 1/2” x 28” framed poster for the Turkish production of True West, Vahsi Bati (white background with brown hat and red tie).
4. One 13 1/2” x 19 1/2” framed poster from the Brazilian production of Fool for Love, Louco de Amor, in Portuguese (black and white photo of woman holding man’s leg)
Oversize Items
Box 26 Sad Lament of Pecos Bill on the Eve of Killing His Wife. Manuscript musical score by
Loren Toolajian, 1997
Box 27 Restricted letters from Shepard’s son, Jesse.
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