16 100 60586 https://digital.lib.buffalo.edu/files/original/46934f65592b0634e15b574f47f865ed.jpg fd938531a05486b8c8c32a223f7f8f96 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Charlotte L. Whitham, Zonta member from 1919- Subject The topic of the resource Whitham, Charlotte L. Household employees--Selection and appointment--Management Employment agencies--Management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member Occupation: Domestic Employment Administrator Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_092CharlotteLWhitham_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Employment agency managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/e8a99354e566c7eb368cc2e852985982.jpg 90cbc8ad97fafd15f8644871349262da Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Stella R. Thomas, Zonta member from 1919- Subject The topic of the resource Thomas, Stella R. Paper industry--Management Twine industry--Management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Paper and Twine Retailer Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_091StellaRThomas_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Paper industry managers Twine industry managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/60433f75909decad225f8380ad6a3587.jpg d3d730200dce6c90fba268d7de3da8cf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dorothea A. Smith, Zonta member from 1920- Subject The topic of the resource Smith, Dorothea A. Probation officers--Management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Department of County Probation Official Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_090DorotheaASmith_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Probation officer managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/8dbc6450d2a353f46f41bda35fa003eb.jpg deef5dd31f87e54f0657373ffe51f4b2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Hedwig T. Bernhard, Zonta member from 1921- Subject The topic of the resource Bernhard, Hedwig T. Production management Store fixtures--Management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Store Fixture Manufacturer Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_089HedwigTBernhard_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Production managers Store fixtures managers Women production managers Women's clubs https://digital.lib.buffalo.edu/files/original/b3d01618d72176da125ace48784fb50c.jpg a6a070cd67f49402a5b1c7a937a686d1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Clara K. Goff, Zonta member from 1919- Subject The topic of the resource Goff, Clara K. Commercial real estate--Management Industrial real estate--Management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Commercial and Industrial Real Estate Manager Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_088ClaraKGoff_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Real estate managers Women real estate managers Women's clubs https://digital.lib.buffalo.edu/files/original/1eefc74f54e5eae42791d6cb8eb13090.jpg 6143f13cf1c1be1ce96dd9f2188603e8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Anna M. Saenger, Zonta member from 1929- Subject The topic of the resource Saenger, Anna M. Hotel management Hotelkeepers Cafeterias--Management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Hotel and Cafeteria Administrator Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_087AnnaMSaenger_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Cafeteria managers Hotel managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/17b71dcf3d17ca70b1a5dbbe838e6f13.jpg 94b6abd67e6827be7271deb4682e4876 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Unknown Zonta member 4 Subject The topic of the resource Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_086Unknown_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Women's clubs https://digital.lib.buffalo.edu/files/original/71acf55466d917d0216bdfed30559e31.jpg 371a8f8c6201c79e7f42b49f38902cc8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource May C. Sickmon, Zonta member Subject The topic of the resource Sickmon, May C. Zonta International--Presidents District courts--United States--Officials and employees Courts--United States--Officials and employees Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: United States District Court Official served as Zonta President from 1927 to 1928 Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_085MayCSickmon_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Court officials Women court officials Women's clubs https://digital.lib.buffalo.edu/files/original/bdbf247640ad3beee8fefc6e8f687d7c.jpg ea3cec0272a2e21cd6b4015276d92b21 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Unknown Zonta member 3 Subject The topic of the resource Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_084Unknown_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Women's clubs https://digital.lib.buffalo.edu/files/original/c34facf5573fbbd3d335d8e0588bd6a6.jpg 1c32115df5766e993152b59f34abbe60 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Caroline Kemp, Zonta member from 1920- Subject The topic of the resource Kemp, Caroline Marking devices industry--Management Stencils and stencil cutting--Management Production management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Rubber Stamp and Stencil Manufacturer Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_083CarolineKemp_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Marking devices industry managers Production managers Stencil cutting managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/28deb7d71a51566c2008c9c705ff9119.jpg 020c69871ecf30f8fbeefbcb697f36f4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Helen M. Glenn, Zonta member from 1919- Subject The topic of the resource Glenn, Helen M. Zonta International--Presidents Furniture industry and trade--Management Storage and moving trade--Management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member Occupation: Furniture and Storage Manager served as Zonta President from 1935 to 1936 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_082HelenMGlenn_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Furniture industry managers Storage and moving trade managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/902cb1e44241a3de19f7872666f77998.jpg 9822a1dce28a4ab8ee8977549c2e4fd1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Josephine A. Wiley, Zonta member from 1931- Subject The topic of the resource Wiley, Josephine A. Electric baths--Management Massage--Management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member Occupation: Electric Baths and Massage Manager Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_081JosephineAWiley_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Massage management Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/ce4c9a76d486921a22f0f7e8bf520add.jpg 234c41f08d8703a2e16b0f65e67336d0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bertha Strootman Rodet, Zonta member from 1930- Subject The topic of the resource Rodet, Bertha Strootman City attorneys Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Department of City Corporation Counsel Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_080BerthaStrootmanRodet_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). City attorneys Women attorneys Women's clubs https://digital.lib.buffalo.edu/files/original/af5c8793c399876b8439eaac9eaefa00.jpg efbe276ea597ff1a7cc47c5bc66061ca Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jean M. Lindsay, Zonta member from 1929- Subject The topic of the resource Lindsay, Jean M. Florists Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Retail Florist Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_079JeanMLindsay_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Florists Women florists Women's clubs https://digital.lib.buffalo.edu/files/original/2798ca0e417ae429aaee579b4cfe77a1.jpg 238ccc2271da3a45a6be7b0bebaa1885 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Emily E. Bruch, Past Zonta Service member, 1921- Subject The topic of the resource Bruch, Emily E. Women--Societies and clubs--History Description An account of the resource Photographic portrait of past Zonta service member by Beach Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_078EmilyEBruch_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Women's clubs https://digital.lib.buffalo.edu/files/original/fc709dbc9052888db5b4fce4f6688dfe.jpg 30ac7aa9f57d970ab9e8884f8c3168b2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Edith Robbins, Zonta member from 1921- Subject The topic of the resource Robbins, Edith Millard Fillmore Hospital (Buffalo, N.Y.)--Administration Hospital administrators Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Millard Fillmore Hospital Administrator Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_077EdithRobbins_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Hospital administrators Women hospital administrators Women's clubs https://digital.lib.buffalo.edu/files/original/b7251b62674a12b887b96dd3a87fa347.jpg 4b6ff821c7b5a41b733fb1b2724150ad Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource C. Henrietta Hurst, Zonta member from 1937- Subject The topic of the resource Hurst, C. Henrietta School administrators Proprietary schools--Management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Commercial Schools Administrator Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_076CHenriettaHurst_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). School administrators Women school administrators Women's clubs https://digital.lib.buffalo.edu/files/original/7de7059289eb563ed970ef6e6da586b8.jpg 402b915ee5dcc7d9f307ac50439d36d7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Belle J. Lowe, Zonta member Subject The topic of the resource Lowe, Belle J. Fresh Air Mission--Management Public welfare administration Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Public Welfare Administrator Focus: Fresh Air Mission Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_075BelleJLowe_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Public welfare administrators Women administrators Women's clubs https://digital.lib.buffalo.edu/files/original/2e9b5b187fb9ae7fcd3d9ef5765b730e.jpg 0948e6dee110ba49616ef59210103f4d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dr. Edith R. Hatch, Zonta member from 1920- Subject The topic of the resource Hatch, Edith R. Zonta International--Presidents Physicians Obstetricians Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member Occupation: Physician Obstetrician served as Zonta President from 1933 to 1934 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_074EdithRHatch_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Obstetricians Physicians Women physicians Women's clubs https://digital.lib.buffalo.edu/files/original/76d1f546d4c20efa3156d750f08c81e9.jpg 8e45e0c219c741b7dbea789a543170ab Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Matilda M. Francis, Zonta member from 1929- Subject The topic of the resource Francis, Matilda M. Trade associations--Management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: State Industrial Associations Administrator Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_073MatildaMFrancis_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Trade associations managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/064bd166844d7194b738887090a71639.jpg 1265e94f33cafb99b3aab036d2f5e1dd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Angela M. Barone, Zonta member from 1919- Subject The topic of the resource Barone, Angela M. Fire insurance--Management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Fire Insurance Manager Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_072AngelaMBarone_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Fire insurance managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/706637f7bcabe76f77c9452a0ddf1fb1.jpg 720db9ac4ec39d41860f8b6133e31697 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Harriet G. Cooke, Zonta member 1934- Subject The topic of the resource Cooke, Harriet G. Food writers Newspaper editors Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Newspaper Foods Editor Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_071HarrietGCooke_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Food writers Newspaper editors Women newspaper editors Women's clubs https://digital.lib.buffalo.edu/files/original/a06800f74eb3dbfdf8a94b99c58fc656.jpg 1c52fb1244edbb2b57c8c56ab22a0849 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ursula S. Senn, Zonta member 1932- Subject The topic of the resource Senn, Ursula S. Hospital administrators Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: City Hospitals Administrator Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_070UrsulaSSenn_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Hospital administrators Women hospital administrators Women's clubs https://digital.lib.buffalo.edu/files/original/099c38e41c5ac6f2d01f90a12228e221.jpg 664c3498a0281fd75d1ca3f210140f30 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Florence M. Scutt, Zonta member from 1930- Subject The topic of the resource Scutt, Florence M. Radio broadcasting--Management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Communication Service Manger Radio Broadcasting Manager Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_069FlorenceMScutt_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Radio broadcasting managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/faf000c319c3131084e6236547836616.jpg 2c3f95cce6d7a28a10571db72f51fbf8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Florence M. Forster, Zonta member from 1937- Subject The topic of the resource Forster, Florence M. Hotel management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Commercial Hotel Manager Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_068FlorenceMFoster_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Hotel managers Women hotel managers Women's clubs https://digital.lib.buffalo.edu/files/original/bd92562c63894ea686c7720adf898313.jpg 868ce36790bf2e7adbea1a245eedc6d6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ethel Mason Coan, Zonta member from 1933- Subject The topic of the resource Coan, Ethel Mason Home economics teachers Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member Occupation: Elementary and High School Home Economics Educator Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_067EthelMasonCoan_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Home economics teachers Women teachers Women's clubs https://digital.lib.buffalo.edu/files/original/2fe8f0fb043d96d09c889dbbf15947b5.jpg f5bdb61e8dc8060de1165dc2732365a1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Helen G. Townsend, Zonta member from 1936- Subject The topic of the resource Townsend, Helen G. Organists Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Organist Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_066HelenGTownsend_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Organists Women organists Women's clubs https://digital.lib.buffalo.edu/files/original/43ddfb5cab35568313e8e841b3db5e4b.jpg 4c0f7acfae9da365b9541f9f4fe36d62 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mildred J. Cristall, Zonta member from 1926- Subject The topic of the resource Cristall, Mildred J. Automobile Club of Western New York--Administration Associations, institutions, etc.--Management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Association Administrator Focus: Automobile Club Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_065MildredJCristall_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Nonprofit managers Women nonprofit managers Women's clubs https://digital.lib.buffalo.edu/files/original/938eef20340a5e99f7c15be82d6c190e.jpg e6ac3c7fcc23cbad00bc68907ffbed55 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Elizabeth R. Hanley, Zonta member from 1928- Subject The topic of the resource Hanley, Elizabeth R. Employment agencies--Management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Commercial Employment Bureau Manager Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_064ElizabethRHanley_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Employment agency managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/05b54dd4196d5adb0a87128219f429b7.jpg b41a13bb7b7240913b21734da4db34f4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Salome Reitz, Zonta member from 1926- Subject The topic of the resource Reitz, Salome Paper industry--Management Wholesale trade--Management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Paper Wholesaler Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_063SalomeReitz_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Paper industry managers Wholesale managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/87bd5f2e333442f95c12fad165eac6aa.jpg 251124f866eb70a1e76d8b6ef9597c60 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Edna K. Mitchell, Zonta member from 1919- Subject The topic of the resource Mitchell, Edna K. Health officers Health services administrators Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Department of Health Official Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_062EdnaKMitchell_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Health officers Health service managers Women health service managers Women's clubs https://digital.lib.buffalo.edu/files/original/b54bb0f3a0301a33ca60fde16bbd3452.jpg 185c3d8cffafddb454850b499fb695e3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Clara Ulbrich, Zonta member from 1919- Subject The topic of the resource Ulbrich, Clara Booksellers and bookselling Bookstores--Management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Retail Bookseller Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_061ClaraUlbrich_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Booksellers Bookstore managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/3d7f64c2930179ddd4c94102eeb5dc63.jpg a258a06e800fd14b5ccce11f7d7e0c27 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rebecca Smolev, Zonta member from 1925- Subject The topic of the resource Smolev, Rebecca Coffin industry--Management Production management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Casket Manufacturer Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_060RebeccaSmolev_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Coffin industry managers Production managers Women production managers Women's clubs https://digital.lib.buffalo.edu/files/original/b8dd6ac795039b2ddf921f079102fa60.jpg 0c265faaf2fd09fcf130f71366ed3a3e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Beulah I. Bowen, Zonta member from 1924- Subject The topic of the resource Bowen, Beulah I. Financial planners Mortgage brokers Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Financial Manager Mortgage Manager Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_059BeulahIBowen_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Financial planners Mortgage brokers Women financial planners Women mortgage brokers Women's clubs https://digital.lib.buffalo.edu/files/original/8b7b1961764d5d8cd51b988f3c4f4739.jpg 362a4568ad6285b9434abbce50006439 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Nettie Messersmith Stoll, Zonta member from 1930- Subject The topic of the resource Stoll, Nettie Messersmith Grocery trade--Management Grocers Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Retail Grocer Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_058NettieMessersmithStoll_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Grocers Grocery managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/00b14ae91f7f6fe00b57c517b68c8513.jpg 1762614a7a3a1392972eb5e78cb75578 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Eleanor M. Rich, Zonta member from 1920- Subject The topic of the resource Rich, Eleanor M. Ice cream industry--Management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Ice Cream Manufacturer Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_057EleanorMRich_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Ice cream industry managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/2d017795df7bc82ec5c41a739ae8f25c.jpg 378d92aabbffbed5574d69077a377f2f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mary G. Williamson, Zonta member from 1919- Subject The topic of the resource Williamson, Mary G. Legal literature--Management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Law Books Manager Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_056MaryGWilliamson_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Legal literature managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/74fea1963c6740156f8303340405b3fe.jpg f0ab97de64723b83ca330f35280ee1c6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Louise C. Gerry, Zonta member from 1919- Subject The topic of the resource Gerry, Louise C. Zonta International--Presidents Mail-order business--Management Personnel directors Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Mail Order Manager Personnel Manager served as Zonta President from 1925 to 1926 and as International Zonta President from 1926 to 1928 Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_055LouiseCGerry_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Mail order managers Personnel directors Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/21d8b2a64668d17a6c98db87c48082a4.jpg 45d6417b5d571daaad925fc1298a7d6e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mary Evelyn Kelsey, Zonta member from 1931- Subject The topic of the resource Kelsey, Mary Evelyn Administration of estates Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Estate Manager Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_054MaryEvelynKelsey_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Estate managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/a797600b42a77acb160602e9189f77ae.jpg d278c386d47fb9ef258e7504d167ecaa Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Unknown Zonta member 2 Subject The topic of the resource Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_053Unknown_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Women's clubs https://digital.lib.buffalo.edu/files/original/3aa6dfd4d52eca603fae6b63c4ed2b69.jpg 5f272742ac64a7de6cd44a524013a469 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Florence Noye, Zonta member 1921- Subject The topic of the resource Noye, Florence Red Cross and Red Crescent--Administration Associations, institutions, etc.--Management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: National Associations Administrator Focus: Red Cross Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_052FlorenceNoye_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Nonprofit managers Red Cross managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/3cc77a3d290bed1217858cf1f38af846.jpg 54e48fae185c9e4658729b102f7d2a05 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Olive Frost, Zonta member from 1931- Subject The topic of the resource Frost, Olive Pianists Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Pianist Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_051OliveFrost_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Pianists Women pianists Women's clubs https://digital.lib.buffalo.edu/files/original/0597f34f2a87bccb4d2b98d9a426a33f.jpg 931722ebccd20a6de4c95f72edcd57c4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ethel Holmes Munsey, Zonta member Subject The topic of the resource Munsey, Ethel Holmes Zonta International--Presidents Lecturers Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Independent Professional Lecturer served as Zonta President from 1929 to 1930 and 1944 to 1945 Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_050EthelHolmesMunsey_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/69313852b1bf076e3eeee8210892798b.jpg 4309e268f6f1edc69ddd52378edc1a07 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Anna C. Fox, Zonta member from 1920- Subject The topic of the resource Fox, Anna C. Millwork (Woodwork)--Management Doors Wholesale trade--Management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Wholesale Doors, Sashes, Millwork Administrator Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_049AnnaCFox_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Millwork managers Wholesale managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/758456cb67a1b2a726b74a21640c73eb.jpg 30372ec07775912fe6b94197992f09c4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Katherine Koch, Zonta member from 1926- Subject The topic of the resource Koch, Katherine Associations, institutions, etc.--Management City planners Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Local Associations Administrator City Planner Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_048KatherineKoch_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). City planners Nonprofit managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/59bb005df509b518fb0ad9b471ab98ae.jpg 62c9fba1f88c23be9535bcc2f0a19aff Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Helen K. Gottlieb, Zonta member from 1926- Subject The topic of the resource Gottlieb, Helen K. Optometrists Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Optometrist Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_047HelenKGottlieb_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Optometrists Women optometrists Women's clubs https://digital.lib.buffalo.edu/files/original/aec9088c8d72ef65b97f419b197de229.jpg a39dc93954bd7d48e91390b102b15746 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Harriet N. Heinze, Zonta member from 1919- Subject The topic of the resource Heinze, Harriet N. Chemical industry--Management Pharmaceutical industry--Management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Chemical and Pharmaceutical Manufacturer Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_046HarrietNHeinze_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Chemical industry managers Pharmaceutical industry managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/10f2f245761478021d0e26fdf2005f77.jpg 30350a3956a441e6f6cc506621b562db Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ida M. Campagna, Zonta member from 1925- Subject The topic of the resource Campagna, Ida M. Grocers Grocery trade Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Wholesale Grocer Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_045IdaMCampagna_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Grocers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/8c1285fbd675979715841ec6448c3579.jpg 0db875db89066b615a6627e73320deab Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Emma E. Hutchins, Zonta member from 1932- Subject The topic of the resource Hutchins, Emma E. Laundry industry--Management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Laundry Service Administrator Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_044EmmaEHutchins_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Laundry industry managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/699cb547f6705e198d4b2c973029bb0e.jpg 54a20ae8570ac8a2ba8a385b746cf9b3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mary A. C. Neill, Past Zonta Service member Subject The topic of the resource Neill, Mary A. C. Women--Societies and clubs--History Description An account of the resource Photographic portrait of past Zonta service member by Beach Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_043MaryACNeill_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Women's clubs https://digital.lib.buffalo.edu/files/original/66e48705274e6d380534b90a75f3a91d.jpg 1b2a74c606b9622518b92728904c6755 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Florence I. Drake, Zonta member from 1921- Subject The topic of the resource Drake, Florence T. Plumbing industry--Management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Plumbing Service Administrator Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_042FlorenceIDrake_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Plumbing industry managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/a8b6884a9ab6cff99a48d876741bebdf.jpg f29824ff4062102f958e695ea5012224 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Agnes C. Wesselmann, Zonta member from 1921- Subject The topic of the resource Wesselman, Agnes C. Zonta International--Presidents Cleaning and dyeing industry--Management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Cleaning and Dyeing Services Administrator served as Zonta President from 1937 to 1938 Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_041AgnesCWesselmann_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Cleaning and dyeing industry managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/3f213e928003bad5d3b007f8103744da.jpg 161a5c1026b5ffe2eb925a18e1049d2b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ruth Palmer Chapin, Zonta member Subject The topic of the resource Chapin, Ruth Palmer Zonta International--Presidents Personnel directors Department stores--Management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Personnel Director, Department Stores: served as Zonta President from 1926 to 1927 Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_040RuthPalmerChapin_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Department store managers Personnel directors Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/2db60427a216326c1efa33b2cf71db5f.jpg cafa766107b5af1cd6bca48e61f0d5e7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mary Stegmeier, Zonta member from 1929- Subject The topic of the resource Stegmeier, Mary Baked products industry--Management Bakers Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Retail Bakery Administrator Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_039MaryStegmeier_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Baked products managers Bakers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/8a61ef8304f9ef93e4658e61b2be7ced.jpg 2ae02571b7e72c3f96247cd4ed0b829c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Kathleen J. Sweeney, Zonta member from 1936- Subject The topic of the resource Sweeney, Kathleen J. Bankers Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Commercial Banker Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_038KathleenJSweeney_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Bankers Women bankers Women's clubs https://digital.lib.buffalo.edu/files/original/de64099b0bcb39272c8063df2da5b2d3.jpg 9342c189f14dcb51b1d4b0d3cc95c2f8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Robena R. Bennie, Zonta member from 1931- Subject The topic of the resource Bennie, Robena R. Pension trusts--Management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Pension Administrator Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_037RobenaRBennie_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Pension trusts managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/f26a8acb382d3310e0bfcb35c21028c4.jpg c0efb382597302771e3efd612f59cc50 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Elise L. Bradford, Zonta member from 1919- Subject The topic of the resource Bradford, Elise L. Interior decorators Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Interior Decorator Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_036EliseLBradford_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Interior decorators Women's clubs https://digital.lib.buffalo.edu/files/original/f1ffda7471d225f2ee57b052c63ddda5.jpg 424028ec093f8e755e73030cd8510b09 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Elizabeth C. Duggan, Zonta member from 1919- Subject The topic of the resource Duggan, Elizabeth C. Confectioners Confectionery--Management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Retail Confectioner Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_035ElizabethCDuggan_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Confectioners Confectionery managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/ed9605a2f31ab02447856ad8761c1311.jpg f604bfb092f6942a3717b2cfe16aec7a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jessie H. Cole, Zonta member from 1932- Subject The topic of the resource Cole, Jessie H. Tax assessment--Management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: City Government, Bureau of Assessment Official Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_034JessieHCole_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Tax assessment managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/fc70ad7f5747c8fc0c2025320424f0b5.jpg 83cf7c8f0e722e2fa134405df574f4b4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jeanette M. Kempton, Zonta member from 1923- Subject The topic of the resource Kempton, Jeannette M. Building materials--Management Distributors (Commerce) Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member Occupation: Building Supplies Wholesaler Plaster Wholesaler Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_033JeanetteMKempton_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Building materials managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/84c7e435fed6952f32e57bf040a3e48b.jpg 709566a4018ffdc974452d5542a1bace Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Anna M. Mandel, Zonta member from 1925- Subject The topic of the resource Mandel, Anna M. Umbrella industry--Management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member Occupation: Umbrellas Manufacturer Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_032AnnaMMandel_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Umbrella industry managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/578bfbcee4361b154fde2b2683b3177d.jpg ba16852cdb7271430254b2d2acb687dd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Unknown Zonta member 1 Subject The topic of the resource Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_031Unknown_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Women's clubs https://digital.lib.buffalo.edu/files/original/b7290e9506e1faea5f335bded6b24b71.jpg 6d2b125614a6240325b7383b1903d79d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Helen L. Pierce, Zonta member from 1924- Subject The topic of the resource Pierce, Helen L. Speech therapists Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member Occupation: Speech Correction Therapist Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_030HelenLPierce_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Speech therapists Women speech therapists Women's clubs https://digital.lib.buffalo.edu/files/original/d2b35de7544602df35eeff23118c2f06.jpg 5892881f533204a99bed9d053e74881f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Nell B. Hogan, Zonta member from 1935- Subject The topic of the resource Hogan, Nell B. Advertising, Direct-mail--Management Advertising executive Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Advertising and Direct Mail Manager Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_029NellBHogan_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Advertising managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/9d44cad7f63121746e475324ddb6729d.jpg 302925e5bf92258837e58b82d3d8460a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lena E. Siegel, Zonta member from 1935- Subject The topic of the resource Siegel, Lena E. Millinery--Management Retail trade--Management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Milliner Retail Manager Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_028LenaESiegel_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Millinery Retail managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/13eafc92ac840dd45d3cd5539d59533b.jpg b755be8a30a8b584f19207d9d2d6139b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Luella M. Fisher, Zonta member from 1933- Subject The topic of the resource Fisher, Luella M. Gas industry--Management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member Occupation: Gas Industry Manager Home Service Director Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_027LuellaMFisher_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Gas industry managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/0d327535d406f89acc57dd9af2271db3.jpg a7e000714dd176d0e371019c48a1a0f2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Genevieve Board Stoll, Zonta member from 1930- Subject The topic of the resource Stoll, Genevieve Board Recreation--Management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Recreation Administrator Camps Administrator Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_026GenevieveBoardStoll_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Recreation managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/a12f8edcd3227d1aa36832dc6824549e.jpg 1a1365bd00ecbf11e96ea3812d7d921d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Myrtle V. Caudell, Zonta member from 1921- Subject The topic of the resource Caudell, Myrtle V. College teachers Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Educator, State Teachers College Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_025MyrtleVCaudell_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). College teachers Women college teachers Women's clubs https://digital.lib.buffalo.edu/files/original/c9e27d37ae011801d55c11b67e35c991.jpg 66de6f08fb5ca00729c8874bcea5a7c7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Helen Z. M. Rodgers, Zonta member from 1920- Subject The topic of the resource Rodgers, Helen Z. M. Zonta International--Presidents Corporate lawyers Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member Occupation: Corporate Attorney served as Zonta President from 1932 to 1933 and 1943 to 1944 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_024HelenZMRodgers_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Corporate lawyers Women lawyers Women's clubs https://digital.lib.buffalo.edu/files/original/196b90e512f74b89fba65d5857585d9b.jpg 856f4fec227b37cb301f9fe6d965837b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Arletta Lothrop, Zonta member from 1919- Subject The topic of the resource Lothrop, Arletta M. Zonta International--Presidents Art school directors Women--Societies and clubs--History Description An account of the resource Photographic portrait of Honorary Zonta member served as Zonta President from 1922 to 1923 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_023ArlettaLothrop_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Art school directors Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/d88685bb00e33e32f3181464378f57a1.jpg e7893da966ea18c72260af96f9d0d10e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dr. Grace H. Stauffer, Zonta member from 1931- Subject The topic of the resource Stauffer, Grace H. Osteopathic physicians Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member Occupation: Physician Osteopath Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_022GraceHStauffer_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Physicians Women physicians Women's clubs https://digital.lib.buffalo.edu/files/original/5dc25f2cba56341c41977a729d6058ef.jpg 85b88ae0c59910186a774b3f1aed50cc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wilhelmine A. Hamelman, Zonta member from 1919- Subject The topic of the resource Hamelman, Wilhelmine A. Advertising executives Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Advertising and Publicity Manager Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_021WilhelmineHamelman_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Advertising executives Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/9d9f993c3a6f47546521ef53167105e1.jpg d64490459b5cda3e643859b05032b0e2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dr. Maud J. Frye, Zonta member from 1919- Subject The topic of the resource Frye, Maud J. Zonta International--Presidents Physicians (General practice) Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Physician General Practitioner served as Zonta President from 1936 to 1937 Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_020MaudJFrye_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Physicians Women physicians Women's clubs https://digital.lib.buffalo.edu/files/original/923dee9cafbb32760df803e66d4b4df4.jpg 069043f76fbbe0fdf441fbb8ff35056b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Elizabeth A. Roblin, Zonta member 1934- Subject The topic of the resource Roblin, Elizabeth A. Public welfare administration Social settlements--Management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Public Welfare Administrator Focus: Settlement Work Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_019ElizabethARoblin_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Public welfare administrators Social settlement managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/c1f347432b3fe8362e943c82d82a59f7.jpg a1f8be133d73160bd01412bde710665b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dorothy E. Neibel, Zonta member 1938- Subject The topic of the resource Neibel, Dorothy E. Camp Fire Girls--Management Associations, institutions, etc.--Management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Associations Administrator Focus: Camp Fire Girls Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_018DorothyENeibel_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Camp Fire Girls Nonprofit managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/599c4d787c61281e6499a814aa546c1b.jpg 88762c32591f88b893fa7703bef29c4b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource E. Marguerite Gane, Zonta member from 1930- Subject The topic of the resource Gane, E. Marguerite Public welfare administration Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member Occupation: Public Welfare Administrator Focus: Children's Aid Society Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_017EMargueriteGane_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Public welfare managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/dd7920da171dfbdd8fe6a08ef9d734d0.jpg 8a635ee958269c21c7f8f0d4ab30cd25 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Margaret A. Stewart, Zonta member from 1919- Subject The topic of the resource Stewart, Margaret A. Patent medicines Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member Occupation: Proprietary Medicines Manufacturer Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_016MargaretAStewart_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Patent medicines Women's clubs https://digital.lib.buffalo.edu/files/original/6e3d5a7c76af7607a7050c1ba5c5ab8c.jpg ebd3acf1e6233934866e4960bc905d12 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Florence G. Fuchs, Zonta member from 1919- Subject The topic of the resource Fuchs, Florence G. Zonta International--Presidents Reference librarians Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member Occupation: Reference Librarian served as Zonta President from 1928 to 1929 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_015FlorenceGFuchs_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Reference librarians Women reference librarians Women's clubs https://digital.lib.buffalo.edu/files/original/27b74126f22642b27e0c5c18dd4b23b3.jpg 5bd4ec06bbbc8bf35137240fdfce493a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gertrude Chambers, Zonta member Subject The topic of the resource Chambers, Gertrude Building management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member Occupation: Building Manager Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_014GertrudeChambers_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Building managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/590bd1a0e0ce1a68f88337e228cd8831.jpg 10af7d1f5c8e11404251299c13d0e10c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Nora M. Storer, Zonta member from 1933- Subject The topic of the resource Storer, Nora M. Homemakers Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member Occupation: Homemaker Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_012NoraMStorer_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Homemakers Women's clubs https://digital.lib.buffalo.edu/files/original/66c5b369b3786132b014f118939ac7cb.jpg 2af1b2aa18ab6999fa58ed994386ad20 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Anna E. Griffiths, Zonta member from 1919- Subject The topic of the resource Griffiths, Anna E. Flooring Production Management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member Occupation: Hardwood and Resilient Floors Manufacturer Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_011AnnEGriffiths_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Production managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/3921de3bad178c2f70d0ae9af3168ec1.jpg 604b89f9a628800f1886dd2d88a77068 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Isabelle C. Ryan, Zonta member from 1924- Subject The topic of the resource Ryan, Isabelle C. Stationery trade--Management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member Occupation: Retail Stationer Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_010IsabelleCRyan_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Stationery trade managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/39a53a5d06e90266ed314f73b07bade8.jpg 0ffd0d8989b1aa9d299f4ab34fa94035 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dr. Agnes P. McGavin, Zonta member from 1936- Subject The topic of the resource McGavin, Agnes P. Psychiatrists Child psychiatrists Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member Occupation: Psychiatrist Focus: Hospitals Children Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_009AgnesPMcGavin_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Child psychiatrists Psychiatrists Women psychiatrists Women's clubs https://digital.lib.buffalo.edu/files/original/6f3c46b399cd4c8bfa25887f75a2e0e8.jpg cd7bd9894c012401686d6470155e750d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Kate Burr Lane, Zonta member from 1919- Subject The topic of the resource Lane, Kate Burr Feature writing Women journalists Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member Occupation: Feature Writer Journalist Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_008KateBurrLane_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Journalists Women journalists Women's clubs https://digital.lib.buffalo.edu/files/original/252fcca8774ec39adee7a55f29a7435b.jpg a724104dfc3b4e453c187c8ecf2ba526 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Anna M. Ryan, Zonta member from 1936- Subject The topic of the resource Ryan, Anna M. Law librarians Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member Occupation: Supreme Court Law Librarian Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_007AnnaMRyan_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Law librarians Women law librarians Women's clubs https://digital.lib.buffalo.edu/files/original/9642b6b12df9b613f732d460c618b1e7.jpg cdc9b30a59f5c9f77ac1fbe96c5c4a46 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ida M. Rapin, Zonta member from 1926- Subject The topic of the resource Rapin, Ida M. Physical therapists Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member by Beach Occupation: Physiotherapist Technician Creator An entity primarily responsible for making the resource Beach, Howard D. (Howard Dwight), 1867-1954 Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_006IdaMRapin_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Physical therapists Women's clubs https://digital.lib.buffalo.edu/files/original/996d6bf411bc8737cfee31c1711f445b.jpg f5df8c28ba9d00ed989e6aab0a80e262 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Elena G. Dwyer, Zonta member from 1937- Subject The topic of the resource Dwyer, Elena G. Pharmacists Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member Occupation: Retail Druggist Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_005ElenaGDwyer_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Pharmacists Women pharmacists Women's clubs https://digital.lib.buffalo.edu/files/original/dd0c90777d2e4636517e104f2fbeea1e.jpg 80fdae605d4291c1d4869c50ee847d9d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Laura M. Rischman, Zonta member from 1934- Subject The topic of the resource Rischman, Laura M. Electric utilities--Management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member Occupation: Electrical Power Manager Director of Home Service Electric Power Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_004LauraMRischman_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Electric utilities managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/4d4425a625b0eafb0e7e51ff6bed07c8.jpg fb81ff980afc091a8364b9caaf999f5f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jane M. Wood, Zonta member from 1921- Subject The topic of the resource Wood, Jane M. Flour mills--Management Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member Occupation: Flour Milling Manager Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_003JaneMWood_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Flour mill managers Women managers Women's clubs https://digital.lib.buffalo.edu/files/original/1e583332f84f11dfdee780b42784232e.jpg 35a681656891f8eeadfa560b008f38ed Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zorah B. Berry, Zonta member from 1935- Subject The topic of the resource Berry, Zorah B. Concert agents Women--Societies and clubs--History Description An account of the resource Photographic portrait of Zonta member Occupation: Concert Manager Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_002ZorahBBerry_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Concert agents Women's clubs https://digital.lib.buffalo.edu/files/original/c5bfe22a933848167d2366511c154a39.jpg 23095dd55a1235561ee08367e42b7558 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zonta International Collection Subject The topic of the resource Zonta International--History Women--Societies and clubs--History Description An account of the resource Zonta International occupies a distinguished position within the rich cultural heritage of Buffalo, the Western New York region, as well as in women’s world history in general. The very first Zonta Club (Zonta Club of Buffalo) was founded in Buffalo, New York , in 1919 by pioneering journalist, playwright and music impresario Marian de Forest and five other businesswomen. From this local beginning, the club has grown to become a leading global organization of women (and, more recently, men) professionals empowering all women worldwide. Zonta International is in 67 countries and boasts more than 33,000 members in over 1200 clubs. The mission of Zonta International is to advance the status of women worldwide by improving the legal, political, economic, health and professional status of women, locally and globally, through service and advocacy. Zonta International’s vision is a world in which women’s rights are recognized as human rights and every woman ids able to achieve her full potential. Zonta takes its name from the Lakota Sioux word meaning “honest and trustworthy” which encapsulates the primary values of the club. The collection includes more than 300 photographs, documents and other items showing the club’s history. These unique and previously-unpublished materials are from the organization’s archival collection which is housed in the University at Buffalo Archives. Publisher An entity responsible for making the resource available State University of New York at Buffalo Format The file format, physical medium, or dimensions of the resource Image/jpeg Language A language of the resource eng Type The nature or genre of the resource Still Image Text Date Created Date of creation of the resource. 2021/07 Is Part Of A related resource in which the described resource is physically or logically included. LIB-023 Zonta International Collection Date A point or period of time associated with an event in the lifecycle of the resource 1919-2016 Contributor An entity responsible for making contributions to the resource Zonta International Rights Information about rights held in and over the resource For educational and non-commercial uses only. Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marian de Forest, founder of Zonta and Honorary member from 1919- Subject The topic of the resource De Forest, Marian, 1864-1935 Zonta International--Presidents Reporters and reporting Dramatists Women--Societies and clubs--History Description An account of the resource Autographed photographic portrait of Marian deForest who founded the Zonta organization in 1919 and served as Zonta President from 1919-1922 and as International Zonta President from 1924-1925. Occupation: Journalist Newspaper reporter Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1938 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-023_001MariandeForest_001 Date Created Date of creation of the resource. 2016-05-01 Is Part Of A related resource in which the described resource is physically or logically included. Zonta International Collection LIB-023 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Dramatists Reporters Women Dramatists Women reporters Women's clubs https://digital.lib.buffalo.edu/files/original/3a5bb45a50f37a5ce10478f367c5ebb1.jpg 392ea2327a4e15d8fca153f4597a50e4 https://digital.lib.buffalo.edu/files/original/8822a14cb969bdadf53f4b5a07096146.txt a0f8804ff2d8b0ba19afcc619bf57a67 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gail Sher Collection Subject The topic of the resource Sher, Gail, 1942- Poetry -- United States Creator An entity primarily responsible for making the resource Sher, Gail, 1942- Identifier An unambiguous reference to the resource within a given context LIB-PC011 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Zen Mind, Beginner's Mind, Talk 1: Beginner's Mind Creator An entity primarily responsible for making the resource Sher, Gail, 1942- Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection. Date A point or period of time associated with an event in the lifecycle of the resource September 13, 2020 Contributor An entity responsible for making contributions to the resource State University of New York at Buffalo. Poetry Collection. Format The file format, physical medium, or dimensions of the resource video/mp4 Type The nature or genre of the resource Video Identifier An unambiguous reference to the resource within a given context LIB-PC011_162 Date Created Date of creation of the resource. 2021-04-29 Date Copyrighted Date of copyright. 2020 Is Part Of A related resource in which the described resource is physically or logically included. LIB-PC011 Rights Information about rights held in and over the resource Copyright Andrew Schelling and used with permission. For more information contact the Poetry Collection at lpo-poetry@buffalo.edu. Copyright Gail Sher and used with permission. For more information contact the Poetry Collection at lpo-poetry@buffalo.edu. Language A language of the resource eng Streaming Video Elements needed for streaming video for the VideoStream Plugin Video Filename Actual filename of the video on the video source server LIB-PC011_162 CAP Video Type Encoding for the video; mp4, flv, mov, and so forth mp4 Video Source Source of video. Streaming server, YouTube, etc. Streaming server https://digital.lib.buffalo.edu/files/original/ecd0be8a675408092fc3cf121395a605.pdf 7d9b10a4f7fa91a49618d88e932ce173 PDF Text Text —james maynard Curator, The Poetry Collection, University at Buffalo When I go to Gail Sher’s poetry I do it the way I hike into the mountains or up a gorge, or for that matter step into a temple or meditation hall. I find things fully alive there. No opinions, ideas, notions—just the wild spirit of living things. — andrew schelling Naropa University 1980–2020 Night Crane Press in collaboration with The Poetry Collection of the University Libraries University at Buffalo Gail Sher Poetry & Poetics Bringing together four decades of her writing, Gail Sher Poetry & Poetics, 1980–2020 is an impressive testament to Gail Sher’s ongoing engagement with poetry as a practice of attention. It also emphatically reinforces her contributions to, on the one hand, a long tradition of American writing, especially from the West Coast, that is steeped in East Asian philosophy and poetic forms, and, on the other, an equally rich history of experimental writing by women. Gail Sher Poetry & Poetics 1980–2020 �Gail Sher Poetry and Poetics 1980-2020 �Also by Gail Sher PROSE One Continuous Mistake: Four Noble Truths for Writers Poetry, Zen and the Linguistic Unconscious The Intuitive Writer From a Baker’s Kitchen POETRY Mary’s Eyes Pale Sky Sunny Day, Spring Mingling the Threefold Sky The Twelve Nidānas Figures in Blue The Bardo Books White Bird Mother’s Warm Breath The Tethering of Mind to Its Five Permanent Qualities The Haiku Masters: Four Poetic Diaries though actually it is the same earth East Wind Melts the Ice DOHAredwind daylong daylong Once There Was Grass RAGA Look at That Dog All Dressed Out in Plum Blossoms Moon of The Swaying Buds Marginalia la KUKLOS Cops Broke Aide Rouge to Beak Having Me (As) on things which (headpiece) touches the Moslem From another point of view the woman seems to be resting �Gail Sher Poetry & Poetics 1980–2020 NIGHT CRANE PRESS in collaboration with The Poetry Collection of the University Libraries University at Buffalo 2020 �Copyright © 2020 by The Poetry Collection of the University Libraries, University at Buffalo, The State University of New York Night Crane Press in collaboration with The Poetry Collection of the University Libraries, University at Buffalo, The State University of New York All rights reserved. No part of this publication may be reproduced or transmitted in any form without permission in writing from the copyright owner. Library of Congress Control Number: 2020901141 Author: Sher, Gail, 1942Title: Gail Sher Poetry and Poetics, 1980-2020 Includes bibliographic references. ISBN: 978-0-9978313-3-7 �For Brendan ��CONTENTS Preface by James Maynard xi poetics from Poetry, Zen and the Linguistic Unconscious 1 from The Way of the Poem 13 radical language experiments 1980-1997 Introduction 22 “She stood all divine in her lash” 23 from another point of view the woman seems to be resting 25 (As) on things which (headpiece) touches the Moslem 36 Rouge to beak having me 43 KUKLOS 50 asian influenced work 2000-2008 Introduction 58 from The Moon of the Swaying Buds 59 from Look at that Dog All Dressed Out in Plum Blossoms 89 from RAGA 102 �from DOHĀ 108 the wisdom mind collection 2008-2013 Introduction 114 The tethering of Mind to Its Five Permanent Qualities. 115 though actually it is the same earth 184 Mother’s Warm Breath 253 White Bird 341 The Bardo Books 407 Figures in Blue 452 The Twelve Nidānas 501 Mingling the Threefold Sky 546 late work 2014-2018 Introduction 585 from Sunny Day, Spring 588 from Ezekiel 590 from Pale Sky 591 from Elm 599 from Mary’s Eyes 607 �new poems Introduction 613 from City of Sleep 614 chronologies A Personal Chronology of External Life Circumstances 622 An Internal History of My Relationship with Language 627 bibliography 632 resources 649 ��Preface “My biggest responsibility to myself as a poet is to remain in the realm of the unknown. I don’t write what I already know . . . My writing arises, and I am constantly surprised by it.” —Gail Sher, from Poetry, Zen and the Linguistic Unconscious (2016) Bringing together four decades of her writing, Gail Sher Poetry & Poetics, 1980–2020 is an impressive testament to Gail Sher’s ongoing engagement with poetry as a practice of attention. It also emphatically reinforces her contributions to, on the one hand, a long tradition of American writing, especially from the West Coast, that is steeped in East Asian philosophy and poetic forms, and, on the other, an equally rich history of experimental writing by women. Central to Gail Sher’s life and work has been her training in Zen, Tibetan Buddhism, and Yoga. After gravitating towards music as a young girl and completing undergraduate and graduate study in English and Middle English, Sher began sitting zazen at the Berkeley Zendo in 1968. Two years later she was ordained as a lay disciple of Shunryu Suzuki Roshi, the Zen master who helped spread Soto Zen Buddhism in the United States through his founding of the Tassajara Zen Mountain Center and San Francisco Zen Center, monasteries where Sher practiced for eleven years. In 1980 she left Zen Preface xi �Center, having made the momentous decision to dedicate herself to writing, and shortly thereafter began publishing poems in little magazines in the Bay Area and elsewhere. Since then she has published forty-two books of poetry, three books on writing as a craft and a spiritual practice, and a book on bread making based on her years of experience at the San Francisco Zen Center’s bakery in San Francisco. Following a degree in Clinical Psychology, she has been a practicing psychotherapist since 1990. For readers who may be new to Sher’s work, this collection offers both an introductory selection of her writing and, through her statements on poetics and biographical notes, some useful contexts for approaching it for the first time. For those who may already be familiar with Sher’s individual publications and/or her appearances in magazines and anthologies, it provides the poet’s own narrative of her development as a writer, beginning with her radical language experiments of the 1980s and 90s and continuing through her Asian influenced work (2000–2008), the wisdom mind collection (2008–2013), late work (2014–2018), and most recently new poems. These categories first appeared in Sher’s Reading Gail Sher (2016), a collection of self-reflections and other resources mapping the evolution of her writing. While they indicate certain trajectories and patterns across the four decades of Sher’s work, they do so only retrospectively. For the poet, every poem and every book begins as a new adventure, especially for a writer like Sher who believes that one should never write what one already knows and that, instead, the meaning(s) of a poem emerge(s) only during xii Preface �the experimental activity of writing it. To write, then, is to read, just as to read Sher’s work is to take part in the action of writing (constructing) it, a process that she describes in “The Way of the Poem” as “co-creative.” Sher has stated that the books of her wisdom mind period are for her the culmination of her work as a writer in that they have been the most successful in terms of making possible certain kinds of attention for the reader. (Not coincidentally, while the other periods of her writing life are all represented with selections and in some cases excerpted texts, with some publications omitted, every title from the wisdom mind collection appears here in its entirety.) In the introduction to that section, she writes: “Between 2008 and 2013 I wrote a series of eight books … that are rooted in Tibetan Buddhist philosophy and dedicated to ‘stretching’ English in order to create gaps so that Wisdom Mind might flow through to the reader….As a poet, I feel that this body of work is my most important.” What is this wisdom to which the poem aspires? Drawing upon Buddhist and other Eastern notions of awareness, it is an experience beyond the limits of the self that includes overlapping linguistic, spiritual, psychological, and ecological dimensions—a non-conceptual mode of thinking that is only knowable from inside the performance of the poem. To access this state of perception, Sher follows language beyond its semantic qualities so that the poet/reader may discover what else is possible when our habitual activity of sense-making is interrupted. For the poet, the challenge Preface xiii �becomes how to inhabit the “tension” that is always present sonically in the word “attention,” which here finds its source in the ongoing play and deferral of meaning in Sher’s writing. Whether working with sequences of individual words in much of her early writing or later on with larger patterns of narrative coherence, her writing delights in the process of circling around but never settling into any determinate or conventional meaning. Instead, she offers us the gift of “using words to go beyond words.” For Gail Sher, writing is a necessary practice and discipline—a way of orienting one’s mind and body in the word and in the world—in order to experience the intervals and silences in which other forms of mindfulness are present. In celebration of her longstanding commitment to poetry, the Poetry Collection is pleased to co-sponsor this publication of her Poetry & Poetics, 1980–2020 by Night Crane, the press she founded in 1997 with her husband Brendan Collins. We hope this book—along with the resources of the Poetry Collection’s Gail Sher Collection and Gail Sher Digital Collection—will help pass along her significant body of work and its many forms of attention to new generations of readers for many years to come. james maynard Curator, The Poetry Collection, University at Buffalo xiv Preface �p oet i c s Poetry, Zen and the Linguistic Unconscious As a girl I studied piano with a teacher whose idea of “playing with weight” intrigued me. I became aware not only of the heaviness or lightness of my stroke but to sounds (and overtones of sounds) thereby subtly modulated. Delicate gradations became a focus of control. Today, as a poet, it is not much of a stretch for me (regarding words) to be primarily concerned with their relative weight within, and as, a charged environment. In college I studied music, literature and linguistics. I won a Ford Foundation Fellowship to continue with linguistics, but found the subject too abstract. I craved immersion— plush Middle English—(The Parliament of Fowls, Troilus and Creseide, Sir Gawain and the Green Knight). Yes. Music of a different sort. Later, I entered a Zen community. Music wasn’t allowed. At first I experienced this as a deprivation. But as I settled in, I began to choose it. I followed the monastic schedule and didn’t think overly much about accomplishing anything. The spirit of “just doing”—just going along without attaching to ideas of gain or progress—became the foundation for my future work with words. Still later, I discovered I needed to write and that I needed to do this outside of the Zen community. To survive the Poetry, Zen and the Linguistic Unconscious 1 �tremendous anxiety of not knowing what I was doing, a spirit of “just doing” came in handy. I would have “writing periods” instead of zazen periods. My vow was to attend them. I couldn’t attach to accomplishing anything because I had nothing in mind to accomplish. The absence of striving radically opened my mind and heart. Gradually this approach morphed into using language in such a way that it functioned not symbolically but synchronistically (as Jung would say). The new “meanings” my language carried (and concerns that it addressed) derived from what I called the linguistic unconscious. A Linguistic Understanding Although Suzuki-roshi told John Cage that he had nothing to say about music or art, Cage still felt Suzuki had led him to see music ‘not as a communication from the artist to an audience, but rather as an activity of sounds in which the artist found a way to let the sounds be themselves.’ Linguistics is the science of language—the study of the nature and structure of human speech. What I have discovered by entirely receiving what arises during my writing periods is that part of language based in 2 Poetry, Zen and the Linguistic Unconscious �the collective human psyche. It is a universal aspect of language rooted in a substrata of experience that goes beyond the individual’s personal life. I have found that if I tap into this quality of a word, then anyone who listens to my work with the same acuity will be able to “understand” it. The understanding is not semantic. It is not aligned to the particular signification we somewhat automatically attach to words. I use a word stripped of its semantic implications in order to highlight its relationship to vast galaxies of expression often overlooked. Humans are so programmed to use words according to what they “mean” that when the slightest loophole for “meaning” emerges, the mind instantly lights on this and doesn’t see what else is there is. It is important to note that the kind of interaction with language to which I refer is not the same as free association (a psychoanalyst who attended a poetry reading of mine once praised me for my “free association”). Free association is one’s personal string of responses to an idea or image—a manifestation of one’s unique personality or pathology. Jung pointed out that we can free associate to anything, including this morning’s news, but the associations will invariably lead us to our personal complex of emotional/psychological issues. Like Freud, Jung uses the term unconscious both to describe mental contents which are inaccessible to ordinary awareness and to demarcate a psychic space with its own character, laws and functions. Jung regarded the Poetry, Zen and the Linguistic Unconscious 3 �unconscious as a locus of psychological activity which differed from and was more objective than personal experience since it related directly to the instinctual bases of the human race. The personal unconscious (Freud’s discovery) rests on the collective unconscious (Jung’s discovery, though at the end of his life Jung preferred the term “objective psyche”—the psyche as it is—to “collective unconscious”). The ground from which my work arises and the means by which it communicates is what I call the “linguistic unconscious,” and I think of it as a manifestation of the “objective psyche” Jung described. A Spiritual Understanding Dom Bede Griffiths, an Oxford-educated, English Benedictine monk who founded a monastery/ashram in India in 1955, writes: . . . a Buddhist saying has it: ‘We use words to go beyond words and reach the wordless essence.’ Human language derives from the physical nature of man. ‘It was the nerves and not the intellect which created speech.’ The word Brahman is said to derive from the root 4 Poetry, Zen and the Linguistic Unconscious �brh, which means to swell or to grow. This seems to have signified originally the rising of the word from the depths of the unconscious, the growth into consciousness.1 In their critical introduction to the Poems of Wang Wei, Willis and Tony Barnstone say that the voices one hears in this eighth-century Chinese poet are those one hears in absolute silence. For Wang Wei, silence was both a personal discipline and the issue of his poetry. Indeed, in Wang Wei’s poems there are three levels of silence. The first is the descriptive silence of the outer world. This quiet world is a precondition for the second silence that is spiritual, the silence of the mind. Which mind, purged of distractions, gives rise to the third silence, the silence of deepest meditation. “When thought stops, words halt, and we move through light toward absolute stillness.”2 When words are filled with silence, our ordinary understanding of what is needed to convey meaning completely changes. Some years ago I wrote a prose poem called “The Intimacy Bede Griffiths, The Marriage of East and West (Springfield, IL: Templegate, 1982) 62-63. 2 Tony Barnstone & Willis Barnstone, trans., Poems of Wang Wei (Hanover, NH: University Press of New England, 1991) xliv. 1 Poetry, Zen and the Linguistic Unconscious 5 �of the Silence.” My subject was saturated language and how the writer uses silence to fill her words. She infuses them with her own kind of silence and this is what creates her “voice.” Examples of saturated language from writers I admire are in italics: The Intimacy of the Silence To saturate is to satisfy fully to load to capacity to fill completely with something that permeates an indistinct plentitude which is empty. To saturate language a writer must silence herself so that the word pure passivity of being is. She stiffened a little on the kerb waiting for Durtnall’s van to pass.3 Blanchot explains that 3 Virginia Woolf, Mrs. Dalloway. 6 Poetry, Zen and the Linguistic Unconscious �tone is not the writer’s voice, but the intimacy of the silence she imposes upon the word. He was gazing earnestly at the little boy.4 The silence is still his. He preserves himself within the work. At night she would doze off with morphine and my mother and Grandpa each drank in their separate rooms.5 Silence is felt as concentration. There she was perched, never seeing him, waiting to cross very upright.6 Movement within something enclosed. A small action or detail with elaborate internal activity. Lady Murasaki, The Tale of Genji Lucia Berlin, “Dr. H.A. Moynihan” from Phantom Pain. 6 Virginia Woolf, Mrs. Dalloway. 4 5 Poetry, Zen and the Linguistic Unconscious 7 �Logic is tension and tension is transparent. He threw coffee on the fires, staining the plastic-soft floor a deep cave brown.7 Breakups in a contextual, denotative or linguistic sense do not affect the stream of concentration continuity which pushes the skin of a word so that saturated it will stand alone. Don’t you notice something rather different about his eyes?8 When silence is used to fill words, and the gaps between words, the ordinary understanding of what is needed to convey meaning entirely changes. Words stand alone. Sounds are (are allowed to be) themselves. Anything more weakens the message. 7 8 Lucia Berlin, “Dr. H.A. Moynihan” from Phantom Pain. Lady Murasaki, The Tale of Genji 8 Poetry, Zen and the Linguistic Unconscious �A Psychological Understanding Heinz Kohut, an innovative psychoanalyst who came to the United States from Vienna during the Second World War, founded a new school within psychoanalysis called Self Psychology. (Self Psychology attaches greater significance to the effect of relationships upon our development than the effect of so-called innate instincts like sex and aggression—Freud’s concerns). Kohut was keenly aware that the work of a great artist reflects the central psychological problems of his era. In the following passage from The Restoration of the Self, Kohut directly addresses the issue of fragmented language: . . . the emotional problems of modern man are shifting, and the great modern artists were the first to respond in depth to man’s new emotional task. Just as it is the understimulated child, the insufficiently responded-to child, the daughter deprived of an idealizable mother, the son deprived of an idealizable father . . . so it is the crumbling, decomposing, fragmenting, enfeebled self of this child and, later, the fragile, vulnerable, empty self of the adult that the great artists of the day describe Poetry, Zen and the Linguistic Unconscious 9 �. . . and that they try to heal. The musician of disordered sound, the poet of decomposed language, the painter and sculptor of the fragmented visual and tactile world: they all portray the breakup of the self and through the reassemblage and rearrangement of the fragments, try to create new structures that possess wholeness . . . 9 Kohut points out that while the art of Henry Moore, O’Neill, Picasso, Stravinsky, Pound, and Kafka would have been unintelligible even a hundred years ago, today, precisely because of their intricate and nonsymmetrical order, we admire them for articulating the quality of our suffering. An Ecological Understanding Art, beauty and craft have always drawn on the selforganizing ‘wild’ side of language and mind. —Gary Snyder Heinz Kohut, The Restoration of the Self (New York: International Universities Press, 1977) 286. 9 10 Poetry, Zen and the Linguistic Unconscious �Gary Snyder claims that the fundamental nature of language is wild because “wild” is a name for the way that phenomena continually actualize themselves. Our ability to tune into that wildness—with greater and greater accuracy rendering it alive by depicting it in our self-reflections—ironically bespeaks of that very measure of health and wholeness, the lack of which so deeply concerns us. Our ability to stay present with the chaos may in the end be our salvation. Although it might seem interesting to delve further into a theoretical exploration of my poetry, it would actually be unhelpful. My work is rarely intellectually based. In fact my biggest responsibility to myself as a poet is to remain in the realm of the unknown. I don’t write what I already know, therefore I don’t write from an idea or concept or from any other analytical place. My writing arises, and I am constantly surprised by it. Afterword This essay is based on a talk I gave at the School of Management and Strategic Studies at the Western Behavioral Sciences Institute in La Jolla, California in 1989. Though the school no longer exists, it made a pioneering attempt to introduce its unusual audience (business executives, military officers, research administrators and scholarship participants from the public sector) to innovative ways of thinking and knowing. Poetry, Zen and the Linguistic Unconscious 11 �Although I was not able to articulate then what I might say now about how I work as a poet, much of what I said remains true of my practice and understanding today: —�the Zen spirit of “just doing” (not knowing). —�daily writing periods instead of formal zazen. —�receiving what arises from levels of awareness that go beyond the personal. —�using words stripped of their conventional, semantic understanding. —�allowing the underlying “sound matrix,” the foundation of language, to manifest. —�using words to go beyond words. —�recognizing silence as both a personal discipline and the issue of poetry. —�saturating language with one’s own silence. —�fragmented language as an articulation of our psychological and social suffering, and an impulse toward its healing. —�chaos in language as a reflection of the wildness of nature itself. Today I would simply say that I create space by making room for the mind to go to levels of understanding that language itself can’t get to. My words just barely don’t make sense. That creates a gap, a pause, and in the space of “not understanding” a deeper realization can occur. My biggest responsibility as a poet hasn’t changed: it is still to remain in the silence of the unknown. 12 Poetry, Zen and the Linguistic Unconscious �The Way of the Poem 1 When a poem of uncertain portent maintains its own isolation and integrity, like music, an independent language all its own will sing the place, inviting the reader. For music can perhaps be thought of as pure-logic divested of the bothersome friction of words. Along with the words we ingest the pure logic that is realized on its own, with its own wit, its own farinfrared dialectic. A handful of parentheses sets a mood for the optional and that’s all you have, like the flick of a conductor’s wand.2 geshé geshé you hook the word o Usnisavijaya (Shukden of despoil) to gull the sky sweet full of northwest flowers From Reading Gail Sher. Parentheses don’t contain. They shield. As Kathleen Fraser points out, they are also “a usuage which women continue to find useful in breaking out of a misleading sense of stability.” Poetics Journal, no. 4, May 1984, p. 100. 1 2 The Way of the Poem 13 �I am tall I am slow full walker 3 Memory A poem has its own memory. And the poem’s memory provides a feeling context to the private memory of each word. Their inter-change creates a field. “I SEE it,” says a reader who then sallies along smelling all the flowers. First seeing, then entering the poem’s field, in part authors the poem’s memory. Actually poetry is memory, endowing words with a kind of eternity. Allure While the poet’s oral rendering of her poem is a powerful venue for the poem, sometimes on the page a voice can be more “catchable.” Being drawn into its world, partaking of that world such that for the moment of the poem, you are the person, affected. 3 Who, a Licchavi, p. 43. 14 The Way of the Poem �Certain poems, like Paris, so completely BELIEVE in themselves that their world—even one word— becomes an entire creed. I see a photograph of her throat, which is not the actual throat. Where is her throat in the wake of that? (I’m guessing that means after her throat.)4 Repetition From here, one adds the element of repetition. (I almost said “passion.”) When a word repeats it seems more genuinely to be one’s feeling. Repetition soothes and instills desire. “Tell me again,” “read it again,” like a record one will play over and over and over, digging the groove inside the soul that played it over and over even before it was born. Counting, a “take-off ”—da-t’-da, da-t’-da, da-t’-da, da-t’-da—it’s in the human gene. The “hook” of the word creates the safety-ofenvironment. We need to feel safe to risk slipping through a gap. Poetry is dangerous, after all. 4 White Bird, p. 68. The Way of the Poem 15 �Gaps The marrow of the style is gaps. Hiatus and lucid gaps. Lurking behind would be a story verging on revealing itself were the gaps colored in. The reader gets an invite—“Please, dear reader, color me in”—such that the poem is co-creative, the revelation is co-creative, shaping itself to each individual’s paradigm. Mother’s warm breath, like a plate of breath. Yet it is old breath, having eaten many crackers. My breath is a wall, she whispers from real breath, instantly present to birds. The energy of the animal appears to be experienced internally, its breath (a shadow) withheld in its own stem. What’s left of mind as a squirrel leaps out? 5 Pacing a poem by breaths not only creates an intensity but also a sense of ongoingness. For what is language and what is breathing, the one propelling and originating the other? 5 Mother’s Warm Breath, p. 79. 16 The Way of the Poem �The words elude while the breaths make a philosophy. Syntax is the motion. Each word has it own syntax, Searching Energy Each word has a location so that when we hear a word, unconsciously we expect for it. Just naturally, by virtue of the human mind. We complete what is happening by listening it. (We HEAR the word into LIFE.) The mind, activated by a word, allows its affective nature to touch it. Sparrows seem used, uninvented. Scaly mud, dull sky, colorless birds, remind me of my mind. To see the autumn leaves scatter in my home. (The longing they arouse as they lie on the wood turning red.) Is it of my body that they partake?6 6 Watching Slow Flowers, p. 58. The Way of the Poem 17 �Searching Energy + Stumping Mind Using words to baffle the mind releases the brilliance of the mind. The language breaks. The mind is stopped. When, barring understanding, words must instead be grasped— thru Him marigold summertime summertime bluefish (pokeweed) WANTED kept cups7 we hear the silence objectified. Weight “Weight”—not of the poem (the matter of the poem) but the “hand” of the poet as she writes. Like a pianist, a poet can bear down, but her bearing down is internal. For language is an instrument that bears weight, dare one say, even more sensitively. 7 Marginalia, p. 94. 18 The Way of the Poem �Not is good also. Not is a mechanism, like picking on a banjo, that to weight, by its nature, is impervious. China bloodless boy people of mast here are some if we are dumb if we are dumb so puffed and slobbering to themselves * shouting it down the mountain lugging the beast back to his people * over hills, over fields the moon’s condition come to pass come home stars lay down your heads The Way of the Poem 19 �nailed to the earth across the pasture8 Rhythm: the internal rhythm of a word and the overall river of words Rhythm is the bedrock, the voice, the fundamental principle upon which a poem is built. Rhythm is the “what” of what’s being said because “how” is what’s being said. A continuous flow, for example, suggests that thoughts themselves are contiguous though not exactly causing one another. Rhythm keeps the music clean. It spells the pulse of cyclical existence. tiger tiger from Yarlung Valley head arising from the flower from the bath of ancient wood Tara of the neck help me through this birth 8 Calliope, p. 14. 20 The Way of the Poem �draw the word through its beauteous hole9 Linkage Renga (Japanese) are linked poems of varying length launched by a haiku. Often composed in a group setting, each poet jams off the previous poet’s offering, grounding by links what otherwise might seem lame.10 The best links are invisible. They register, but on a first hit, not as a thought, but a flow. Though renga are associated with haiku, the strategy, linkage, works just as well in other settings. (Note the current page and the one previous.) Saturation To saturate means to fill—to flood, glut, overload. To imbue or suffuse, to impregnate, permeate, steep. Each word carries its absolute full load so that there is little distraction or waste of time (leakage). The poet stuffs each word into a little canon. It socks the reader. Who a Licchavi, p. 27. For an example, see: Gail Sher and Andrew Schelling, “Hundred-Stanza Renga,” Simply Haiku, vol. 8, no. 2, Autumn 2010. 9 10 The Way of the Poem 21 �radical language experiments, 1980-1997 Introduction When I first began writing, everything was a test. I had no idea of writing “poetry.” I never read poetry. I avidly read prose. But my concerns, as I reluctantly learned, were all of them of a poet, not a novelist, short story writer or essayist. I came to understand that I am a poet because I think like a poet. And it was singularly poets and poeteditors who first saw and supported my work. An early underlying feature—that my writing simply arose— remains to this day. I don’t write what I already know, or perhaps, stated more exactly, since my writing stems primarily from the “linguistic unconscious” and not from everyday consciousness, I find it a continual surprise. 22 Introduction �She stood all divine in her lash. Grand her very presence look voice the mere contemporaneous fact of whom multiplied by sudden magical amounts the accuracy with which he heard what he had said just as she had heard it. Various. Fifty women. Her young eyes bred like linen for a wedding the effort of an age awaiting that ceremony. They unwrapped him. The infelicity and confusion of his arm now bent around her eagerness. Like a bride and always about her the breath almost of happy wonderful special. All this about-to-be wait-andsee she wore in her blonde hair and the lilt with which she tip-chinned shook it back behind her an asset the measure of her wealth taken thereby by what she took so displayingly for granted. Her pretty perfect teeth her very small too small nose deferring with count-onable ease a deference he most assuredly counted on counted more than he could say on its ready assignation. This quantity the crease of his lambswool jacket confident and loose hang of tie collected so completely that her teatable vitality pleasant public familiar served and radiantly settled over him an altogether different an altogether self affirmation. She stood all divine in her lash. 23 �He fancied them liked them and passing through them with her more slowly now. Her room was high and cool and bare and opened on another room bare to fullness with sun. Here leaning gently pressing her cheek against the side of the recess she saw flowers a miracle of cheapness an exposure kept in durance as an approach her primary furniture to what she can have thought a full and formal air. Producible. Amazing. Excerpt from: Credences: A Journal of Twentieth Century Poetry & Poetics, Vol. 1, No. 1. Buffalo: The Poetry Collection, University at Buffalo, 1981. The final version of the complete poem is in Gail Sher, Early Work. See bibliography for details. 24 She stood all divine in her lash. �From another point of view the woman seems to be resting Naive or feelings of isolation and at the same time naive. The same woman only a feeling of sun now arrested on the floor near her chair. Rocking and making various gestures in concentrated posture. From another point of view the woman seems to be resting. Perhaps this resting is what brings the fields into play. Figures appear. The sky and the woman each unsurrounded. The sound (of no concern to anyone else) into which she feels drawn suddenly This scene gives the impression of fields. Separated from fields by a porch. Settles in watchful gesture. Gradual ability. Settles in place for reading and life of reading as From another point of view the woman seems to be resting 25 �insisted internal thing. Speaks about it softly. Volition as a kind of thought. Attributes of body (sun) and muscles of body. (Also light in marked relationship.) Somewhat confused sense or some boastfulness coupled with something else. Time and also clouds. Texture of clouds and so forth in a continuous line or pattern. Landscape and trees. (Haze of trees.) Shoulders arms or occasional repetitive thought. Now reads. Imagines herself in the dark room. Something recognized as dark. Shouts for the little girl. 26 From another point of view the woman seems to be resting �Presses forward to some extent. Moments held clean and intact now appears as a wall. (Method and exposure to first thought.) The expression fixed. Points of softness absolutely seen by someone else. Seeing heavily or seeing effects of known sedentary person. (Inclusive of her in an early period.) Provides a certain luminosity of detail. At the same time balance. Suggestions in this vein. (Objects) existing in unheard sound. (Both color) and the boundaries of all objects hitherto mentioned. Trees but basically the house is the same. Reads with attention on trees shifts entering into From another point of view the woman seems to be resting 27 �balanced reading. Or woman lying reading. Paraphernalia of mind seen as objects coming to a complete rest. Also as a child she had wanted to eat Also as a child she had wanted to eat. Without particular motive (to be) on her own crossing the street on her own or going through the door making an effort to buy food. Always with amount of energy she could spend with that person (son) or even possibly some other people. Even simply listening. Not urged to but that that had already occurred. Seen by the other people (during) the day or sometime during the course of the 28 From another point of view the woman seems to be resting �day (the driver) calls out something. To be phased by this. To appear calm but actually to imagine herself quarreling. Intense expression in striving for something (intake) of food (inheritance) of something. Having asked for something to eat (in) one process to eat one (particular) part. In bed for example (always) perpetuating (striving) in the midst of any room. Which (she) as a lonely person appreciated. Avenues and walking with such & such emotion (buses) where they seem needed. Reversing her terminology and tendency to want something from him. (To) From another point of view the woman seems to be resting 29 �supply food here. (Not) to move or feel like moving. With others like her in the same mood (hiding) something received from her. Delicate relation to her (discerned) (quarter) of mind. Children & events of the day enter her mind. Once while eating (in) quiet manner of saying something. Or being in a hurry to get somewhere. Arrangement of food at (moment) of giving it to her. 30 From another point of view the woman seems to be resting �Even the lady’s pressure next to her Powerful inner lapse or undivulged sense. (Also) him in the capacity of boy. Pictures of him. Related in way of terrific scene (bed) or warm with hand in book of him. Through caring charged tone. Age & body as well as also this caring. Days later in place of children (to) see in others the possibility of her body. Receptive position requiring this blessing. Short breaths of sun (minerals) in lap of her. Always eats (sings) walks near river humming & singing. Focused on point of milling crowd (assembly) of persons (windows) doors From another point of view the woman seems to be resting 31 �& many people in them looking away. (Conversation) of woman in curious posture. (One) face (eventual) eloquence of her. Which moves in her. This abstraction (which) this pain was. Even the lady’s pressure next to her. (Roughness) of feet also some cleaning of the room. Slender girl or (old) purpose of united her. With spread of her (sings) probing also words. Waits for bus. Borrows man’s capacity (what) lay behind in pastime of several minutes. Quantities of people among them (visualized) poised person (alert) posture of gratitude. 32 From another point of view the woman seems to be resting �Or in towards her. To utter it (to) please refurbish life compelling in this respect. Kneels before him (how) he felt alone. Fragrance of wood (nails) appealing to her. Travels in sphere of white or unhappy face. (Ignites) death response (her) in group of waking men. Defining it (or) reads about rapture to break this pattern. To be awake like this if not disappointment to be aware of them redeeming themselves. From another point of view the woman seems to be resting 33 �Perhaps there is no content paint or sun Perhaps there is no content paint or sun. Wood or light. 1) Makes loving motion as of kissed one 2) Achieves resistance on a black surface. Private inner weight. Conceives reality of strokes placed on the paper carefully. Somewhat revised circumstance (temper) of hand. (Will) mesh in with only one passively assembled tone. 1) Elements of brown (tree) (justifiable) pitch 2) As a novelty or given content in the dress of a woman. Concentrates on pattern with (repetitious) conception of her eating. Conception of her addressing someone. Percentage of words (inward breathed words) along these lines. Joined by points though 34 From another point of view the woman seems to be resting �propelled in free-floating something (which is) how color works. As within sleep something including him sleeping in the other room. Also the woman on the bed. Easily takes suggestion from the girl writing. 1) Whether from frightening circumstance 2) Short pause imposed from without 3) Repeats this constantly. Completes act of eating (alone) tired & depressed before eating. 1) Only certain portions of this 2) This and religion (certain) rosaries. A wedge or sound no one notices. Like a lot of red (in restful building) or drives up very solemn. Which turns into eating or ability of someone with talent. From another point of view the woman seems to be resting 35 �(As) on things which (headpiece) touches the Moslem (As) on things which (headpiece) touches the Moslem In who claim to hold (to) be form ( dearest) Or even some grabbing to brace (to) be sectional protecting jacket Saw (too) to cling here chessmen Red air chews yes This queer bare mouth Ignites the mother beak 36 (As) on things which (headpiece) touches the Moslem �Or man on the dais as its mother stroked it Mime is first Part mint part internal march quantity No guy Nor flaps of voice to part this So tentacles or them Retreat itself Chant wrought side Is lewd or solicits lewd The grit or hear Which comes student Vows & pick (As) on things which (headpiece) touches the Moslem 37 �here Whereas derives stallion inside Exact were larvae also Eat line green on love The jut will hoarse Christ eventually Renunciant line excepts A dent from month Hand & mung born dark Dram nun To opens in a lower room Brittleness high love 38 (As) on things which (headpiece) touches the Moslem �Bring the pull strains graced which vesicle Like hills leave to various hills This time the clasp food Or anniversary of a polite act Being a toy building from one kiln Hex these lake The crock the shepherd on her own children thankfully The woolly flesh Or part which stampedes even music basically And elegance its tenancy (As) on things which (headpiece) touches the Moslem 39 �Doer logs ferrying cells A rung or yelling underneath the honey Tensile lowing most young Joins others I the unguent I Tubers & iron even to prepare this This elliptical weaning or long spaying sound Wheels all right this dark math earth Or widow’s phone As hover from the elbows is something growing Bittenness as 40 (As) on things which (headpiece) touches the Moslem �monk Pat on this Taking one ignite Girl and no Bond to gum Intense from now The hoist pin Dawns or parson Or go god To swill could These pear and sand year Must sipping thinks Opaque strains together to clap (As) on things which (headpiece) touches the Moslem 41 �Tries august Calf the inch Lady wife they fallen birds Crayons geese its unkind horse This alert dots 42 (As) on things which (headpiece) touches the Moslem �Rouge to beak having me Rouge to beak having me Banner this could be During wane were along river Tribes or limb Swabs metal cattle Styes scanned Were considers total colony Sachels north spines still Adorable can That beads so death Rushes Yule say Rouge to beak having me 43 �family These sprig hare can scrapings father Whether ark girdles deer Graining said Constant would munch its body Low bud deers Chews cry momentarily deers Sets which elephant Receives said having rotation II. Spill to whose one 44 Rouge to beak having me �Be gasped mine drum samples Dry straps: no pureness No woo is Sole kinder What knob selves Whew (or) mass Dimmer & biers math No scour fur Mongers is stilling Or find accumulations (Bundt) lift to prize one Ones skim faultless Rouge to beak having me 45 �Mollusk foams so twist himself Grace (still) fruit Geer: pike to fruit Budges of: auks (why) shyster Fond out Maws as tone Wings licks as Tryst yet: dual Trees (the) kite tithe Freezes stud (to) garnish thee Behests peering 46 Rouge to beak having me �candies Twins (particles) aunt so Fey (to) band Wombs: ham (so) told dirigible III. Exemplifies sags (ma) I do Bowls cattle sacred girl If cereal were blueish nights Purges (bowl) (gloves) ugliness for her Peas one abdomen Piquant constructs (heals) what Rouge to beak having me 47 �queue Bleeds proms is (in) soul Briars ol’ bud Petals food (stripling) whose disciples graze could Sluts wept arm Gunny names Nibs prayer melodically Law snows (corn) as poverties at her Beads words: reeds etched yet Prolapsed heard (bull) stuffs Plentiful skins 48 Rouge to beak having me �men sounds Does mounds: (annuity) feels gowns on (Flies) either singer Stringent folds: throngs will Abound: abounds his Drinks afresh: studs neuter (moist) count Micro (winters) further Swallow has shrill (some) terribly dawn Peters (the) self jails undress The flee: (either) sides pulse Rouge to beak having me 49 �KUKLOS1 Tamrind Esau. & taps. Kadish. Clam St. Clare too faces. Jasper roach cans Mishna redwing. Betel has like dipso trough. Padma so bath. Criss par trinity. Hath Da. Peanut Hosanna. Wassail pied cum KUKLOS (Greek): circle, circular body; circular motion, ring, wheel, disc, eye, shield; town wall. 1 50 KUKLOS �brindle ergo. Horse o’ sphinx. America. Non dalmatian. * Turbo fra. Islet rebec daybed. I manna cossack. Bodhgaya. Soeur roe Padua. Milagro. Cunt un. Baptist ash. Meaty noh poi. Kurmos. New gorse. Pony sweetyard. Contessa bushes. KUKLOS 51 �Too feces. Gazetier. Angst ’cause paison. Tilsit. Lacre tarpaulin. Saguaro letterer. Pistol catalpa. Their shells. * Skater skater. Eighty cantina maypole. Pachinka capa moor. Yenta. Ne’er galina. Kapok roses. Tailor tailor. Mimosa a mitt. Charybdis in queen. Scyla. Swaha. 52 KUKLOS �Mahjung. Schnaps. Bris of Odessa rice laps. * Grazes Mu corona. Pied carrot. Telos Balaam nicolo. O-chai fete. Compline flushing raga hey seeds. Hibiscus. Non seraph. Spinaker. Agnus thru sayeth. Eros Dei caritas. Oxlips Gaias ga-te ga-te. Helix @ lane. KUKLOS 53 �Sannyas crow Janaki. Loden cloth. Bonny Dom catched. * Osiris co rider. Hanuman cup. Cam floatation shiksa. Okasa askari. Ganjha blouse Goth sydeco salaam. Piper fra Galilee. Ashkenazi traps. Well furze. Tapes pique trumpeter. Goby gnu assize. Lo cod. Sabine the reichstag. 54 KUKLOS �Tivoli wight. The atone sri. Joseph angus lassitude. * Savannah mejda. Flocks. Nu madonna sahib. Leechee simcha. Taj mesquite pease. Witch Mt. kyke. Bracken mate. O’ entire madden. Infested rouges shabrack. Yangtze Gretal. Corazon. Salon ex davin. Rivka Shaker they’ve sorti. KUKLOS 55 �Kachina fire. Sunyata bambino in names. Gelt. Fellatio tempest doña. Nicholas. Wotan garment. * To drumline geese. Satyr Gobi. Niños Carolina. Tunny mullet Bowbells. Kennedya jibon. Jheel roy vulpine persea. Padma frumenty. Lhasa to bade. Tulip Dachau. This Alps. Negrillo. Shaman asana fell 56 KUKLOS �jai. Sol du lavash. Esdras. Hum. Baruch. Rune. Tamadua. Cant Perpetua. Laid. The Gretal ta-ke. KUKLOS 57 �asian-influenced work 2000-2008 Introduction Taking writing as a practice followed eleven years of Zen training. Living a monastic life with its strict schedule of zazen (sitting meditation), assigned work, dharma talks, dokusan (interviews with one’s teacher), and the concentrated reading of Zen texts immersed my mind and body in an ancient Japanese culture. In addition to Japan, my Asian-influenced poetry derives from India, China, and Tibet and draws from Zen, Tibetan Buddhism and the yoga traditions of India, all of which I studied and practiced for many years after leaving the zendo. The autobiographical writing of The Moon of the Swaying Buds was written in the spirit of Japanese haibun (prose + haiku); Look at that Dog All Dressed Out in Plum Blossoms was influenced by the four-line Chinese kanshi; the foundation for RAGA was the Indian raga and for DOHĀ the Tibetan devotional song. 58 Introduction �from The Moon of the Swaying Buds book one: mountains There has always been a slight feeling of discomfort, a lack of gracefulness in my relationship with activities. During long summer afternoons, I’ll lie on a cot on our upstairs porch feeling astray, a foreigner to the porch. Or I’ll wander up the block to a field where I catch butterflies. There are monarchs and swallowtails as well as grasshoppers and other interesting bugs. I doze in the sun and capture one or two. The idea of catching butterflies sparks my imagination. I think, “I’ll go across the street and catch butterflies,” and then, while I do, I think, “It’s a beautiful sunny day and I am catching butterflies.” But there is a gap. I am disrupted in myself and cannot enter the activity, offer it enough of myself to make it come alive. up down tiny canyon butterfly The Moon of the Swaying Buds 59 �Our dining room is covered with thick black wallpaper. Embedded in its blackness are turquoise and pink birds. Since family rarely go there (it is saved for company), it acquires a mysterious largeness—like an empty chapel— where I love to stand and stare out the window. empty now my parakeet’s cage rattles in the wind 60 The Moon of the Swaying Buds �I like to bake cookies. I like to read in my green chair and be under the covers writing in my diary. I like to knit. These activities involve my hands. I have a lot of “hand energy” that must be expressed or I feel at loose ends. sudden squall— I wrap my hands around the teacup The Moon of the Swaying Buds 61 �I read Seventeen and imagine myself in control of my life, which to me means having a consistent and likable selfimage. “I have a cocoa brown skirt, soft-colored sweaters, and oxford shoes and that is what I wear.” Or “I have one or two navy blue skirts and many white blouses and that’s all.” Each plan appeals to me as a means of consolidation. As I stare at the girls in Seventeen and read the advice in its articles, I hang onto the words as if everything depends on getting this correct. so insistent— the buzz of the fly trapped in the unplugged fridge 62 The Moon of the Swaying Buds �Nancy Drew’s loner spirit mirrors my own yet-unformed one. Tracking herself assiduously from the perspective of the clues in her current “mystery,” she uncovers a deeper level of reality. When I recognize in George Eliot the same ability to implode the specific with the infinite, it dawns on me (not as a thought but as an impulse) to live my life this way. instar: ever-so-slowly through the tangled foliage The Moon of the Swaying Buds 63 �I like the pause of breakfast and certain fragments of my walk to school—a particular patch of sweet fresh air or a house set back from the street in an intriguing way. And of course Christ the King with its exotic parochial climate. I like the fact that there are bells at school, that time is clearly delineated, though the bells themselves are harsh, not subtly eliciting cosmic overtones like the Zen bells in my later life that deeply stir one’s primal lethargy. night jasmine: lighting my path your white blossoms 64 The Moon of the Swaying Buds �I subscribe to the magazine The Writer, the action in itself carrying a certain unfamiliar yet tingly sort of professionalism. But when The Writer arrives it feels off, wooden and impersonal. The tingly wool of my coverlet, the pregnancy of my guppy, the coziness of my green chair all seem oceans apart from “News,” “Deadlines,” and “Classifieds” thunderheads occlude the sky at dawn, at dusk . . . the moon’s absent face The Moon of the Swaying Buds 65 �The fateful words of my father, “Oh, everyone wants to be a writer at one time or another” insert themselves in my being like a violation. My budding “identity” collapses in the face of his savvy. Of course. I should have known. The wish to be a writer is plebeian, trivial, predictable. Everyone wants to be that. raising it shaking it then tucking it in its breast 66 The Moon of the Swaying Buds �book four: sky Rain warms the mountain air and feels soothing as it softly falls through the moonlight. Shallow drafts brush my face. Whereas minutes ago I felt reluctant, tired, mean, suddenly I am overcome with gratitude. In the zendo I sit bolt upright, supported by the gurgling creek. A chorus of birds are so ardently chirping that there seems to be a wall of raspy but sweet wet life surrounding me on all sides. drizzly day . . . darts and wiggles in the waterweed The Moon of the Swaying Buds 67 �Morning zazen ends. We leave our cushions and the primordial quiet that sinks in with the raindrops. The steady pound of rain, its persistent motion, makes our straight-backed cross-legged posture seem all the more still. By the end of second period we are nestled here forever. a train whistle blows . . . perched in a tree crow closes its eyes 68 The Moon of the Swaying Buds �Tassajara is about breathing, and by extension, the next level of care necessary for the body so that it can breathe— an allotted amount of sleep, three balanced meals, a bath, a period of study and rest from work every fifth day. Much attention is lavished on all aspects of these activities so that washing one’s clothes takes its rightful place as a primary concern. One needs clothes for breathing. Therefore one must be prepared to sew or buy them, mend them, wash them, store them so that they stay clean and available. fog rolls in fat gulls huddle over the water The Moon of the Swaying Buds 69 �Chop chop chop. The carrot is now a row of paper-thin, salad-ready (they are too skinny for soup or mixed vegetables) slices. I am momentarily in control. Chopping block, hocho (knife) and me standing, cutting the decisive widths. I feel exhausted, but the wafer-size carrot wheels are perfect. Bashō your rainproof paper hat made with your own hands the one imitating Saigyō’s . . . I too have felt desperately alone 70 The Moon of the Swaying Buds �At Tassajara it rains. I have told the tenken I am sick and to please bring me hot water in a thermos, later, after breakfast. From my bed I hear the rain softly falling and the sound lulls me back to sleep. A band of moonlight criss-crosses my otherwise darkened cabin. cooling the night with its plashing I doze . . . dream of its plashing The Moon of the Swaying Buds 71 �Sometimes the wake-up bell will ring, with its primitive and unmistakably firm ring, and I cannot get out of bed. I lay there in the dark, in the glorious warmth of my sleeping bag, feeling remote, reluctant to decide to be at this monastery. The desire to stay in bed, finally to sleep enough, to be warm, to reconsider my life is overwhelming. hatched but slow to uncoil in the mild rain 72 The Moon of the Swaying Buds �Through this “sickness” my life emerges. First I “get” that I am sick, the vast extent of it. Then I recognize the tremendous energy that I bestow on the things I choose to do. I can’t help but ask why I pour myself into sewing, for example, and sneak out of zazen, when it is zazen I have presumably come to Tassajara to practice. full moon—facing it knees braced beneath my robe The Moon of the Swaying Buds 73 �The answer is evident in my hands. My hands write and sew with immaculate, single-minded passion, passion that is sure of itself, pulsating and ecstatic. In the zendo my hands freeze. All the contraptions I can devise to insulate them beneath my robes cannot prevent their stiffening numbness. winds howl snow mounts the wintry thicket . . . lifeless 74 The Moon of the Swaying Buds �One holds out for so long then gives oneself over to a chain of events by which isolated segments of one’s life unravel. The contents scramble. The life force, renewed, released, slowly reconstructs itself, as if one’s karma metastasizes. autumn leaves lie quietly in the sun The Moon of the Swaying Buds 75 �One day I have the following thought: “I have spent eleven years as a Zen student resisting everything. What would happen if I take all the energy that I put into resisting and use it for something positive?” eaglet ripping the soldier free from the asphalt 76 The Moon of the Swaying Buds �From this seed I develop “yes practice.” “Yes practice” means doing only those things that I say “yes” to with my whole body and mind. I will not get out of bed until there is something I want that much. (I have to find out if there is.) If there isn’t, I will just die, but I am not going to pretend for another second. shrouded in fog a tiny dinosaur inches toward dawn The Moon of the Swaying Buds 77 �Soon it occurs to me that I want to write. Whereas formerly I felt I needed a specified subject, now I think: “If I want to write, I’m going to write. I’m going to write a certain number of hours a day just like I go to zazen a certain number of hours a day. I will not worry about what I write. I will concern myself solely with attending my writing periods.” high noon lime-green sulphurs mud-puddle in the canyon dust 78 The Moon of the Swaying Buds �I am through with Zen Center. I need to define my own regime. Zen Center has had it with me anyway. I am told privately that unless my attitude changes, I will not be accepted for Fall Practice Period. Indeed, my attitude has changed but not in the direction that would pique my interest in Fall Practice Period. after the storm over the hill . . . zigzagging The Moon of the Swaying Buds 79 �Saying “yes” finally was like a birth. And, like most other births, it came after a long period of gestation characterized by saying “no” only the “no” was unconscious. Immersed in the fog of my unconscious “no,” I failed to recognize my own authenticity. tadpoles! bug-eyed and squirmy in their bracken-shaded mud 80 The Moon of the Swaying Buds �A predominant feature of this inauthenticity was a sense of impending doom. Initially it hovered around the dreaded unnamed seemingly unavoidable crisis one could feel swelling in my childhood household. The atmosphere of this swelling—forces at work that I didn’t understand, the largeness of those forces (that they were way, way beyond me), my ensuing inertia and blankness, and the resulting compliance (compliance being a form of inertia)—infiltrated all my subsequent endeavors, until “yes practice” broke through the gridlock. warming earth— its scent in an early-spring breeze The Moon of the Swaying Buds 81 �Likewise in college, my inability to think and to write perpetuated the sense of being stalked—that at any moment something cataclysmic might happen. Because I couldn’t keep up. a falcon circles evermore narrowly down through the desolate sky 82 The Moon of the Swaying Buds �Determining to say “yes” . . . making that a conscious act—housing the bits of emptiness and despair that belonged to me and then offering them to the universe— “Yes practice” meant claiming my life. “Yes practice” was the beginning of living my life as opposed to an ersatz life. waving long legs dragging itself through the widening split in the pre-dawn light The Moon of the Swaying Buds 83 �Buddhism, also an attempt to heal the unpindownable sense of vacuousness that pervaded my life, turned out to be another trap. I began sitting zazen because I had come to the end of the way of life to which my parents had brought me up. I needed a deeper path—to access a larger part of myself. I didn’t know what this meant exactly. It wasn’t formulated mentally. I was drawn to zazen however at an important turning point. from broken shell to clump of bluestem . . . making a dash for it 84 The Moon of the Swaying Buds �I tried very hard to follow the schedule because I believed that I had finally found—consummate and unfathomable—a path that plumbed the core of my being. Despite the fact that it was difficult, I told myself that at least I was on the right track. If I could just exert a little more effort, a little more will, a little more self-discipline . . . flat pink sea: saffron wings flutter over the prawn boat The Moon of the Swaying Buds 85 �Ironically, the vehemence behind my determination hooked me irretrievably into another tailspin (I can’t do it and there’s no other choice). As I focused my energies on adjusting to the community (this, I was assured over and over, is Zen practice—“Just follow the schedule,” everyone said, “while you notice mentally the obstacles that arise for you”), I failed to notice my unmitigated sense of hollowness and despair. slipping on the scree her wings smeared my fingers powdery 86 The Moon of the Swaying Buds �The milieu of “yes practice” is movement. It includes everchanging me. Doing only those things that I say “yes” to with my whole body and mind releases me minute by minute to become who I am. from the prow of the ferry watching them spin ever faster over the bay The Moon of the Swaying Buds 87 �After I formally left Zen Center, I moved into a neighborhood apartment and for awhile continued to sit zazen. One day I had an interview with the Head Monk. He asked about my leave-taking and I carefully explained “yes practice.” He said to me: “Until you say yes, you cannot practice Buddhism.” an arctic basks— wings tilted toward the salmon pink sky 88 The Moon of the Swaying Buds �from Look at That Dog All Dressed Out in Plum Blossoms Snail breeze on a shaft of moon A dawn moon awakens me, softly softly, its waning light. Dew sparkles on the cobweb-veiled grass. Still in my nightgown, I carry my dream to the blue porch rail. Neither dew nor dewy cobwebs dull the song of birds. “Let’s go, babe!” says my dad a snapshot later Pale rain – daisies drink you sumptuously. Sun peaks out behind your silky curtain of beads. I wander through my garden, crocus and trillium asleep. Have you stopped? No. Yes. For a moment I thought so. Look at That Dog All Dressed Out in Plum Blossoms 89 �Asleep but easily startled Fishing along the quiet, unfrequented banks of the river. Cryptomeria grove dark, even as late as noon. A sudden rain, a breeze. A butterfly investigates my lunch. “Hello!” Like the poet I wonder, “How long will lovely days like these last?” “The sudden moon alarms mountain birds” After diving into red lotuses, a cormorant soars over clear water. Feathers sleek, fish in beak, it stands erect on an old drifting log. Poet, you describe the water bird with such accuracy and passion, yet isn’t it the log you have come to feel is yourself? 90 Look at That Dog All Dressed Out in Plum Blossoms �In numinous light the river raptly tranquil My small room has an eastern exposure. Cool in summer. Warm at dawn. A pair of lovebirds purrs iridescence throughout the long quiet night. Creamy roses, richly fragrant, merge their scent with the throbbing mist. A friend cut some and presented them to me in a vase. Back from fishing Acrid yet fresh. Life fresh. (That certain not-yet putrid.) Boat, body, bay, all dressed in it. Can I wash it off? Herons can’t. The sea’s insignia, in blood till death. Look at That Dog All Dressed Out in Plum Blossoms 91 �Wild rose, wilder with the glow worm At a suq, was it you I thought I recognized? Not the meat, the fruit, nor fattened greens. Your fleeting face, or was it mine, behind a gauzy curtain, the bazaar deserted, it being after dark and about to close. I didn’t realize it was raining I ashore, you adrift. What are we doing? My gaze follows you, placidly. We’ve parted before. The stages of sorrow I’ve memorized. The expanse of blue waves is impossible to fathom, lifetimes later. 92 Look at That Dog All Dressed Out in Plum Blossoms �What happened to the moon in the enamored monk’s moonlit waters? Red fish in the ice-cold lake (crystal clear yet crinkled like a shoe). A sand bar gleams beneath threatening clouds. I lie on my back watching them unravel the northern hill. Your voice, when you courted me, comes to mind. Frogs, the birds of night Snuggling in (“for the long haul” it feels) or at least the thought is delightful. I tug the sheet around my ears, sink my body into its shroud. Wind sweeps through the garden, a relief, will the heat break? I am still. Absolutely and entirely one-pointed in stillness. Look at That Dog All Dressed Out in Plum Blossoms 93 �“The dark moss already bears my print” One jay caws. The forest and my heart resound with memory. Not of jays, but of myself, not yet ready. Not yet not. White lily in her devil’s needle cloak Young shoots through an old fence. That’s me, the fence, trying to keep people away. I tell them I’m celibate. I say I’m a monk. Raindrops, dewdrops, the sodden leaves outside my gate. 94 Look at That Dog All Dressed Out in Plum Blossoms �Peach-size in a peach field With ordinary monks I have nothing in common. Spines straight, legs crossed, sitting-robes fraying at the knees. Drowsy in the morning, I watch for awhile, yawn. Chores finished for the night, I brush my teeth and go to bed. At town’s end, the creaking flight of a grasshopper I stretch my ears. Perk up, listen hard to make sure. There it is. Nothing. No-sound. (I can relax.) Release with the thud of it. Look at That Dog All Dressed Out in Plum Blossoms 95 �“Two gray hairs appear in the lit mirror” The wind howls and becomes old wind, the wind of another city. Yester-wind that once I faced, knees to forehead, in my tattered chair. That was a dark time. I felt close to the snow, its unprovocable stillness. With snow, even in a flurry, there was me, consoled, unbending. Is it midnight yet? Quiet deepens. I walk in the moon. Hushed rays sadden. Their soft half-circle light. The thought of you emerges. Your woolen scarf. Your slender hands. A northerly wind swirls from the winter wood. 96 Look at That Dog All Dressed Out in Plum Blossoms �“Stones are lean, mahogany and nanmu trees are strong” Bashō, as he lay dying, took his poems for worthless. This was not just posturing. Words, he felt, who cares? Yet each day I sweep my room, arrange my pencils carefully. Seeing them all lined up so simply . . . Dead birch tree, your fungus shelves the snow My mind grows freer with the passing years. No patience for the Three Obediences.1 But like a giant floating-heart, adrift between empty banks, a bowl of wild plants eaten, discarded . . . 1. �A Confucian dictum has it: “While not married yet a woman must obey her father; once married she must obey her husband; and, after her husband dies, she must obey her son.” Look at That Dog All Dressed Out in Plum Blossoms 97 �“Knowing that friends are coming, I use my foot to clean around the wicker gate” Why complain of loneliness and seclusion when a hermit’s life is what you seek? Sparrows frolic, roosters crow, so what? To be one of a tribe of mountain birds floating by a cliff, you needn’t be a mountain bird. Pien Luan’s sparrows O my son. Do you really care about the wind of which you write with such passion? The river gulls, the south pond lotus, the north hill that sends up purple shoots? Why should I doubt you? (That would be your answer, of course.) I, who managed to lose the river’s poem. 98 Look at That Dog All Dressed Out in Plum Blossoms �“Icy-skin-stony-bone” 2 O Saikō, no one could think that your senses have turned to ash. Your hakubyō3 bamboo take away my breath. A tree’s white ghost with its ostrich plumes. “We all regret that spring is not longer.” Woolly blue, undulant, stark Our bitter fight over, I go to my room. My philodendron, my lacquered chest – what was I thinking? How can I pretend to have my bearings? The pretty hill, with oncoming night, more and more blurry. 2. �Another name for the plum tree as well as a metaphor for a beautiful woman. 3. A painting technique Saikō occasionally used to paint bamboo. Look at That Dog All Dressed Out in Plum Blossoms 99 �Please don’t sweep the autumn leaves that linger around the well “Wedgewood.” Yes! Finally, after hours of struggle. Deeper, deeper, excavating associations, yet the word itself escapes. Growing old, I marvel at the irrelevancies that flood my mind. Su, I am charmed. Your “three delights”4 move me to tears. A long and firm sweet flag comes from yesterday’s festivites Snow hisses down. My fire sputters. “Jonathan died last May. He was twenty-four,” you say. A shower of sleet bashes against the glass. A green moon slowly rises. Caw caw caw. One black crow dominates the northern river. 4. �Morning hair-combing, afternoon window-dozing and bedtime feetsoaking. 100 Look at That Dog All Dressed Out in Plum Blossoms ��from RAGA Punjabi bells. Awakening to alms handed through the trees. She was twelve. Sparrows of Lot. Bull-red and singing matter. Pluck. Pluck. Pluck. Fretless neck. Wooden knobs thud. Trajectory of me (the king, the sage’s student). His chasuble from shell. 102 RAGA �The bowl of my sarod. A hollow vessel. Gushing dizzily of infinity. What’s me, I say. I stay steady. Or tabloid of Him (its shaft of hen sound). Sing a hymn of glory, fox. Prince throat. Young hair parted in the center. Father please (before the striped-cotton curtain). I want to dawdle amongst the piebald man. RAGA 103 �Cousin. Do not smirk. The beauty of laughter quietly through the flowers. Abba Abba comfort me. Let me rest by your feet. Cirrus minion (noxious hands) pulling truffles of gas Peacocks cry my daily riyaz. Bangles and silk jubilant by the fairy books. A gabled roof, a pane of sole, truce of my ear’s solace. Alone, terrified, aching for the bird. 104 RAGA �My little gourd plays da. Raising my chin from the rattan carpet. Them gigs of reprieve. (A public avowal.) Sons in triage . . . shishya. Disparate. Nib of intelligence scour the pier. I am fed. I grow. I dilate pretty. But the Ferris-wheel was getting to be uncomfortable. RAGA 105 �Banyan of sorrow. Will she cry? She went to the river (singing bad lands of youth). Autumn luv. We’ve had our words. Mandir of hearts. (Votive. Celestial.) O Ram. I (the Talmud). Maladies of children yarmulke or no. (Sari-clad) festooned with swags, hollering beneath the coverlets. “Panchamrita,” cried the deity, mahogany voice cascading from the poster. 106 RAGA �Allure. Her gentle huskiness. She’d moved, studied, wandered in the night. This gharana (dosha of the beaten man). Troubadour. Wild wind. Shivered the wireless (gherao). Facing silk flowers. Tides and multi-waters digress. The plait of her forehead, the small of her neck. I kiss its locks to freshen it. RAGA 107 �from DOHĀ1 See the underwater fountain-tree plump with fruit, supple and ripe. Whereby my lama smiles. He planted this ancient seed. Within each face he recognizes himself. Swish swish across his vajra throne, his immense white words spill silence. Singing, yes. A hundred-thousand verses. They curl like jewels (amulets of thorn). Sifting through clouds, clear-mind of enlightened existence. The Aum of creation (through which we continually �regenerate) arises from his astonishing way of knowing. 1Dohā (Tibetan): devotional song of experience and realization from the Vajrayana Buddhist tradition of Tibet. Dohās are meant to “reveal the inner nature of the singer and express her insights and devotion in an uninhibited and unique fashion.” 108 DOHĀ �Shivering reeds. You have been my mothers, exceedingly kind, protective of me always. Glistening flower, butterfly, bee, waxy petals that fall. A bushy-tailed squirrel surpasses thousands of yojanas. I look out on the bluff. It is brown and quiet. Lama, hear me. Kind root lama. To excoriate the stars, I scream. To placate clouds, I wail. Clearing my throat, I chant a hundred thousand mantras. In this way my craving dissolves. DOHĀ 109 �I reach into my mind. My room of wood is lush and dark. (My home faces south on an embankment that slopes steeply.) From time to time mists wreath its imposing neck like a silver scarf. Today as I was chanting, rosary beads clicking, my voice became a bell from whose echo a strong remembrance arose. I am in a hall with monks and horns high in smoky mountainous air. Daffodils cover the ground. 110 DOHĀ �Thus I age and die and see the luminous white field. “Send me to Sukavati, please.” (I pray hard as the wise ones suggest.) A cycle of teachings is repeated by heart. I hold to my heart. The pulse of the hum. The tilt of the sky. Fragile fingers yawn, paper thin and shiny. Shavings from my gouge trail to the ground. Curlicues pile up. In thinness, absorbed in my ablutions. DOHĀ 111 �For it is written. (Our time will come.) Fire and flood will ease all. The gutted slope displays its roots, throbbing, twisting, dangling in air. I know that I am a mountain (that I will continue to be a mountain) for three incalculable eons. I’m beginning my evening prayers. The nectar of peace seeps into my thigh. I dissolve into my song. The cry of a bird, my primordial voice. It feels like a cave. A place of no flowers 112 DOHĀ �The sun, with a smell of coolness, sinks. A slow drizzle falls. A man dies. But it is not a breach (really). Jasmine and rose follow him everywhere. DOHĀ 113 �the wisdom mind collection 2008-2013 Introduction Between 2008 and 2013 I wrote a series of eight books, beginning with The Tethering of Mind to Its Five Permanent Qualities, and culminating in The Twelve Nidānas and Mingling the Threefold Sky that are rooted in Tibetan Buddhist philosophy and dedicated to “stretching” English in order to create gaps so that Wisdom Mind might flow through to the reader. The idea in these poems is to notquite-make-sense. The beauty (hopefully) of the surface language plus the strategy of “approaching narrative” first intrigues, then holds a reader, allowing, in stillness, the dawning of a new kind of intelligence. As a poet, I feel that this body of work is my most important. The complete text of all eight books in the Wisdom Mind series follows. For more on the linguistic strategies which “baffle the mind in order to release the brilliance of the mind,” see “The Way of the Poem.” 114 Introduction �The Tethering of Mind to Its Five Permanent Qualities contents New Year’s Day Swimmers 116 Barn Yard 134 Halloween 145 Dead 151 The Palliative of Mind 177 �new year’s day swimmers i In fir trees in sky, bathers on grass in no particular order. Towels strewn in no particular order. Swimmers mostly standing in water, in sunny pool though light is muted. Muted sounds from low benches at certain distances (air the color of crisp blue). 116 The Tethering of Mind to Its Five Permanent Qualities �Clouds, sky, day, in perfect symmetry of day. Image of boy now fading under water in shadow of darker blue water. Pale day occurring above cold pools. Day is there next to white water and waders’ bird heads. Is white completely calm (sober) water. The Tethering of Mind to Its Five Permanent Qualities 117 �As token of figure bathing and what she feels about bathing without reference to motion and breath. Without reference, motion and breath are the composition. A photographer sees breath as blue shadows on the bottom of a pool. The pool has no sides, no bottom, so it spills over. Motion is outside breath in language bonded by the requisite of death in the picture. Swimmers tread water waiting in waveless drift, as if volition (or feeling) is the karma of water. 118 The Tethering of Mind to Its Five Permanent Qualities �Death is blue waterless waves in moments of preparing the picture (loose clear bodies of boys in cold swim water; bland postures of bodies wading at water’s edge). Bodies wade inside the water without reference to themselves in the water. Only the language of themselves wading. In time before as if wading in advance. Years pass in the person wading before the water. Proportions occur in composition of boys, water, red-and-white ball and the pool’s various surfaces. The Tethering of Mind to Its Five Permanent Qualities 119 �An image breaks in the internal place between two bodies. To place herself beneath the weighty water, being water and the brain of water, is being back ‘in’ water, as in ‘mother water.’ Being queer is not being the thought of oneself as that. Being queer is the same as if one is occurring. 120 The Tethering of Mind to Its Five Permanent Qualities �A field of sealed bodies limps mentally toward water. Is repeated but is thin (what occurs lapses). If she occurs is separate. The sealed bodies of waders drift off-shore submerged. The Tethering of Mind to Its Five Permanent Qualities 121 �Which is not that occurring either as it exists, ceasing and occurring. A length of sea, down in her. Immersed in water—being time—suited or in the cold flesh of water. As if time around the water, which when occurring, is being ceasing there. An Oranda’s bulging eye perceives the pale flow of water as fingers of water, time around its head. Mere voice spins on its tail toward familiar sense of twisted water, eons of them wearing water. 122 The Tethering of Mind to Its Five Permanent Qualities �A syllable in the foreground is a serendipitous presence. (Others watching others in water somewhere else.) One’s hands shed sound (the intelligence of sound). Two swans in the twist of their necks. One’s hearing is the silent swans under them in the lake. One’s hearing is adjacent to the sound of them (now lit in slinky underlake, honks simmering in little shore peep-hole). The Tethering of Mind to Its Five Permanent Qualities 123 �ii A year ends below water. Several bodies appear surrounded by gray light. In portentful time of being in the time of that which is as yet unmanifested. The time of a wave, say, in the advent of sound before it is heard by those with hands in parkas. Gray dawn as sound is placed on faces treading near-motionless water and expressionless bodies standing in boots at the sea’s edge. 124 The Tethering of Mind to Its Five Permanent Qualities �Also the experience of facing water is her facing water whether herself inside incipient sense of water. Hearing is passed through the heads of those staring. Is an expression of sea—hearing form (entropy). Others say nothing but in their minds is the hearing of those watching. Which is indistinguishable from sea. And from time. Water hearing water in the windless waiting of cold day. Its internal sound is an object of water’s mind. The heads of those immersed in water is also sound. One’s hearing is also below water. The Tethering of Mind to Its Five Permanent Qualities 125 �One is being hearing and at the same instant hearing. One’s interior sea is an object and at the same instant the mind that apprehends an object. There is no silence in one. Sea and words are sea hearing hearing. One imagines oneself facing hearing as aspect of hearing’s sound. 126 The Tethering of Mind to Its Five Permanent Qualities �On a plain there is water. Somewhere far off I hear wind or sea shattering. A person sees direction and space without the intelligence of space (so that she is its mute face). Faces stare at water being primitive and without location vis-à-vis water’s actual boundary. Water is there, not for but being repeating. Staring repeats the aegis of a view inclusive of itself. The Tethering of Mind to Its Five Permanent Qualities 127 �A body hangs from the topmost place of water. Inside a wave fades, e.g., there is no interior to the wave. Yet she resides in ‘no interior.’ Seeing inside the water’s legs which is hanging. Headless legs stand in seafoam. Others look out being on legs though the dripping in between is dry. New Year’s air is dry and solemn today bent near legs. A sheer leg. 128 The Tethering of Mind to Its Five Permanent Qualities �iii Looking through grass toward young sea water. A structure holds sea in and out of green sea-water. Long slab of gray cold water, bodies lashed to themselves. Nothing occurs simultaneous to itself, in deep awareness of preciousmoment’s disappearance. In the barren waste of vast, thin water, a falcon wears sea wild at its edge. In slab of sea that is Dead Sea, kiosks are seen by one looking at the water. The Tethering of Mind to Its Five Permanent Qualities 129 �Seen-through water, a shelf of water. The sense of sea pulled back. Mind is green, then alone. A girl’s mild body holds up like a slip. A man is thin where he grows without hearing. Thin bird, moving against falling. Like craziness repeating, a mind realizing hearing (the stakes of hearing) in the context of women asleep. 130 The Tethering of Mind to Its Five Permanent Qualities �She glances at the sea, though she is its body. I move but day too moves along with its falling. The long day slides below low clouds. White lines cut the hill horizontally. Falling below falling, the falling of day clings, but it moves down the hill like a second pair of shoes. A slow dog moves slowly with the blossoms’ light, falling with day down to the cold sea. The Tethering of Mind to Its Five Permanent Qualities 131 �A dog trots through sky, albino skin a beautiful borne white. It shimmers in a line though it is alone. Other dogs are its borders. As if she were day, a blind dog stops. At first it is sight, then low sight, then she is the sight. Islands of rock stand in dark blue water made to appear as distant person in yellow vest. 132 The Tethering of Mind to Its Five Permanent Qualities �Do you reside? Do you not reside? Energy, like the water, is low, seemingly bland, unruffled. Bather’s flesh is real. Mermaid’s flesh glows in creamy ground of water, frosty-blue tail, sharp flapper, pointy. Shadows on walls, like flesh, in passing moments, is each moment. A full moon hangs but it is separate from night and does not spread its light anywhere. The Tethering of Mind to Its Five Permanent Qualities 133 �barn yard A woman sees cows from behind slated blinds. (One slow green-lit cow.) Luminous tiny birds in dark green columns are still-small, lowflying across the meadow. The sound of a bird is the girl’s feeling, not the empty bird. One’s hearing is in a mass of birds struggling (invisible scurrying touchable-but-outside the occurrence of their bodies). 134 The Tethering of Mind to Its Five Permanent Qualities �Nothing moves (being destitute of hill in ‘flat’ hill at the ravine’s bottom). Nothing moves. Cuds move in undercurrent of dark motionless stream. A photographer sees sky/hay/hill as composition of linear fields, muted colors divided by thin bars of black. A tree’s interior edge holds sky. A rooster crows in thick gray air that rises then falls away rhythmically. The Tethering of Mind to Its Five Permanent Qualities 135 �If I can replace myself then, taking back something from before I appear ordinary. The shame of the familiar, like an ordinary barn. A slum in light has perfection of the afternoon. There are lines, she is told, of carefully wrapped people. People are dead in different colored shirts. In the sky’s translucent provenance, an elder piece of her, crooked in its arms like a waltz. 136 The Tethering of Mind to Its Five Permanent Qualities �ii Trees are black in aslant nature of coming together as trees. (Dog in sweet complexion of light.) A woman eats cheese and says her bread, which is wood, wafts from the mouth of a young girl. Seeing imbues the loaf with food. A girl in birds, in black sea light, rides along a canal of light. I am their teacher so I am hurrying to get there. I begin to run. The Tethering of Mind to Its Five Permanent Qualities 137 �A woman eats holding her mouth above her. Figures emerge in rock moving normally in awareness of shorn fields. Blackbirds rest on someone’s hands in cessation of being in a particular field of sight. (Is endurance of hands or the property of folding one’s fingers to make a perch for the bird’s claws.) A photograph of birds are the same birds omitted from their form so that the print is not of them but cut out from them and from the cessation of them. Form without the appendages of form is an image of pure sight (omitting that action). 138 The Tethering of Mind to Its Five Permanent Qualities �A red one, say, in skin narrower than herself. If she’s confined letting the skin loose. A girl is a chair sometimes in expanded position of slingback. If she’s washed herself. Where she would be fully sleeping next to it. Feeling its walls. An empty mouth like sun comes where she does it, though its layers and layers smell like the inside of her body. His pee in the gush of some riverless doorway there. A ‘we’ suspends out, being outside water peeing or inside to feel the warm drift of legs. The Tethering of Mind to Its Five Permanent Qualities 139 �iii Mute in sun. Of bare air in day. Dog in sand spreading time through tall blue summer. A man sees time from before or during himself, days of himself in continuous parallel lines. A road veers off to unseeable distant landscape known by him once. 140 The Tethering of Mind to Its Five Permanent Qualities �Waiting is touching. Still-summer air inside seated person in blank moment of dog. A woman faces dog, though light becomes something modular. Emptiness and light compose the luminosity of her voice beyond the composition of any structure. Emptiness and light compose the luminosity of his face. He looks at the grass and this knowledge makes the grass warm. The Tethering of Mind to Its Five Permanent Qualities 141 �Trees listen like grass, the other of myself, interior line of time endowing hearing with time. Trees soak through time. So she’s dead. There, in morning light. The other of time spanned over light. Not as in death but simply ceasing, though she continues to be alive. 142 The Tethering of Mind to Its Five Permanent Qualities �Day falls and if she thinks it is her mother, a bell rings in her skin. Light falls like a mask while she eats her bread. I am dizzy with bread, she acknowledges. What is the connection between resting as a place where light is a place and the immanence of the place like a dark (dissociative) fugue? What is the connection between her face in the sky and the nevernever land of her being my mother? The immanence of her face, flat as water, though I have never known her at all? Slowly she becomes my mother. Night falls on black branches of something generous. The Tethering of Mind to Its Five Permanent Qualities 143 �halloween A child reads. Winter sun pours through the salon windows. Is that a skull? I mean on your big toe. Can I see your toe? Would you show my daughter your toe? she repeats to the girl applying peachy-orange polish on her child’s. That is cool! O my god. That is so cool. Would you like one? You can have one. I mean I’m just saying you can if you want. It’s up to you. Oneself as a child with those who frequent the salon being absorbed. Sun drains from the sky into the salon’s flattening skylight. People are not visible, barricaded off, so that she can be arriving there, slowly behind her mother. Her agency cut off. Her mother’s agency also cut off. 144 The Tethering of Mind to Its Five Permanent Qualities �A man alone gazes at sky. He is writing. Light pours through the window. Before dawn a man stands at his stove silently filling a thermos. Watching sky someone thinks of him writing. So that the day is expunged with the exception of his writing. A man writes looking at sky. The day is cold in mind of person imagining him writing. The gray lug of sky only appears interiorly. The Tethering of Mind to Its Five Permanent Qualities 145 �Things ahead of one occurring. A dog seen from its side is not the dog’s profile but ‘as if ’ cut out from its side. The dog is itself, not overlaid on its side. Seeing the dream’s sound, being boisterous automaton of dog overlaid on its side. Hearing-behind-hearing is simultaneous occurrence of before and after hearing how hearing exists cut out from its own side. 146 The Tethering of Mind to Its Five Permanent Qualities �The rose is from a former dream. It could be blue. Many windows open, exposed to the sun’s heat. I dreamed the dream before dreaming it, standing in sun imagining the rose alive. Imagining oneself abandoned in the sense of alone on a street with or without flowers. Its beauty outside the purview of one. The Tethering of Mind to Its Five Permanent Qualities 147 �The wing of her foot in dream of blue-lit space where a peacock squanders herself. A nest of small birds also squander themselves. A child squatting before the nest stirs the nest with a stick. It comes to one there, the sequence of who she is. If eating there, being ahead of one’s thorough eating, her back to eating as in the dream before the tree. One’s dream is not later, e.g., tall wing of peacock squandering is whole (may not be crushed or heard outside itself later). 148 The Tethering of Mind to Its Five Permanent Qualities �One remains behind, which is a direction of force. Staying in ‘behind’ as if one were exterior to oneself, in a ‘hole’ of oneself. Being ‘there’—in the imprint of seized—the thought seized. The smell of cold as minutes pass. To sleep or to sleep back where is is in sleep or dreaming he is allowed to sleep. The Tethering of Mind to Its Five Permanent Qualities 149 �dead i In morning light reading. A woman sits informally, elbows on chair, in square of light from window to her left. Porosity of light holds resting in silent form. Day too is quiet like a river drifts, arcs over her hearing. A woman holds the color of herself, height of room and quiet, as if time and mind exist because their origins are fallow. 150 The Tethering of Mind to Its Five Permanent Qualities �A woman in light merges with light which is postureless. She is young inside her sitting spread in morning light. A woman in chair is necessarily alone. Shadows bend wood against its destination. Matter dissolves in undercurrent of herself drifting away from her harmless body. Is it flowers or my mind emptying of them, though they remain in sight? The Tethering of Mind to Its Five Permanent Qualities 151 �She may also be old. Her neck is old bent over a book. (Bathing cap and girl with octopus staring at sand, not moving.) So dying arises. A viewpoint uninscribed. A place utterly familiar dissolves inside you. Time dissolves, carved out of snow. Yellow is how, in the fury of night, while daylight on land is, like a woman in the morning. 152 The Tethering of Mind to Its Five Permanent Qualities �ii In darkness behind something, can of something. A building glows as if it were teeth. Naming the mother out. Naming her outside beauty. Like the stillness of a flavor, finding it in an old can. I wind myself around the can’s sweet edge. The Tethering of Mind to Its Five Permanent Qualities 153 �The synapse between light and light’s real life. I am real, she thinks. Like a gash in sky, a dune is not washed of lit dune night. From beyond light, the deep act of being in light. It rocks in a tree she fears may be stolen. 154 The Tethering of Mind to Its Five Permanent Qualities �So it’s singular light, its own knothole of light that slips through the flower’s markings. A color is heard. (Net of warmth, through the grass to the tree’s edge.) Wilderness accrues in great spots of white. The dog is my mother rotating on earth white-skinned. The Tethering of Mind to Its Five Permanent Qualities 155 �O she is dirty. Like the end of memory, some form on her body beyond her own grasp. A tourist at death impersonates someone trying to be her again and again. Another person keeps her. In latent light the rescinding memory of that boundary. Another person is a memory of sound retaining the physical latency of having once heard sound. 156 The Tethering of Mind to Its Five Permanent Qualities �iii A woman is bare in bare bowl of wind. Lips green, pain the shape of day. She divides pain into sections. A man waits for death watching birds’ concoctions from their throat. Fresh wind blows waking birds in net of family bowls. The Tethering of Mind to Its Five Permanent Qualities 157 �I draw wind in my mind. Your beard creates little steps for it to rest. Stepping over stones where rocking animals sleep. (She’d thought the leaf had them also.) A buzzard begins, swings its heavy, lazy body. It’s the leaf ’s death. Inside rocking’s skeleton. It is young-dead, waiting in the coverlet for birth to happen. 158 The Tethering of Mind to Its Five Permanent Qualities �A big bowl opens. A vulture easily in distant sky fills around my being. The placelessness of birth dawns in her mind. May you belong here. May you swing over from death’s outer edges. Crickets hearing death grow still. (And underneath, as if the chirps were water.) Like a fledgling’s open throat. A fledgling seeing a flower knows her throat after that day. The Tethering of Mind to Its Five Permanent Qualities 159 �iv A word touches you after me and before me. Something appears blue, scrapes the backbones of this color, wishing that I am a blue person in the supreme daylight of blue. The shadow of your word falls against my home. Who you are in the dream of my mother whose tongue has touched a lighted field. Rushing sky she will touch other animals who face downward. 160 The Tethering of Mind to Its Five Permanent Qualities �So I begin in words. Sitting down and emptying her, like a tourist latent in a guesthouse window. Will I recognize her face? (Because my mind preempts her face.) Once I forget. I race down the entire dream, imbricated, scales loosely dangling, like the mother-tongue of a stranger. Hearing forms a line (a column in the mountain whose groin is the mountain). The Tethering of Mind to Its Five Permanent Qualities 161 �My hearing is a sea of birds pressed inside their voices. My hearing is a world shed as a locale once qualified to constellate mind. Like a paper doll I lay flat. Her eyes follow my voice, seeing my hearing back to its loosened page. 162 The Tethering of Mind to Its Five Permanent Qualities �Who are you mother? Where, among myself, can you plan who I am? You are born inside my body, lusting after my thigh. A body parts from where it’s left off. An ace or queen, a paradigm which can be touchless. If you fake me, who will I be ? The Tethering of Mind to Its Five Permanent Qualities 163 �v If you appear my image of you shifts. (Not having readiness for a person shifts the mind in which the potential person exists.) Which shifts the language creating that person. I translate you to being in and out of your presence and the translation is like your presence within the boundary of a word. The thought of clean air is a foray toward a word, as if a word were a place for her to store herself. Inside the word’s claw. A woman shaves words picking up one at a time from a little bowl. 164 The Tethering of Mind to Its Five Permanent Qualities �The word’s ‘other side’ exists prior to the word. There is no hearing outside being hearing, thinking one’s sound is that. A word’s sound is separate from its wordness. The ‘action’ (karma) of a word’s sound being also separate. Reading sound, recognizing a notation as conveying one’s interior sound simultaneous to hearing in one where ‘one’ is the same. Outside one is also the same. There is no same outside time. A sound repeats but it is not the same (though its label is the same). Time doesn’t repeat. A person doesn’t repeat. A crow caws, which may be interior at the same time as hearing in one. The Tethering of Mind to Its Five Permanent Qualities 165 �Jays caw. Jays won’t eat plums though there are millions of fallow plums. A line spreads to the indefinite distance altering with every shift of light the millions of redwings on phone wires. Already her skin occurring in the phone wires, dark in dark night. The result? Sound hearing itself as sound or hearing itself as hearing with or without sound. 166 The Tethering of Mind to Its Five Permanent Qualities �A cello at dusk makes the blue sound of a river. A crow’s caw is itself throbbing. A woman bird struts across the green. A woman’s wooden bird is violet-colored (loud) in the smooth cream of a dream. Her craw is full (empty of sound) carried in her violet dress. She groks some sound strutting through leaves near the riverbed. In the pearls of her feathers is a head being her enjoyment. The young throb of her body is pure mahogany throb of young bird then (as if birds were, already occurring, in moment before now). Snow birds in exotic black flap then. Telling who telling who in mirrorlike shaft of moon. The Tethering of Mind to Its Five Permanent Qualities 167 �vi One fox in late light empties like sun. (White head in snow spilling herself into us.) Suddenly swirling so that snow scrapes snow, continuously, like a tuba. Fingering these years of snow, fragments of snow, suddenly (where I am). I wash myself in thin night land, like night on a pony, skin scratched of light. A glint of fog makes them be together in a pile. 168 The Tethering of Mind to Its Five Permanent Qualities �A pile of horses neighs, stops in weatherless hill, eye-whites in mud. Stepping backwards into water, nostrils bleached in odd pattern of children. One horse empties into red Mongolian arrows. Washing herself like a black bead. Washing themselves into white sand. A meadow is where their thin black shawls dissolve into water. Wild birds dissolve into scaffolding of water. The Tethering of Mind to Its Five Permanent Qualities 169 �Water glows flat. A brown girl enters a river in late light. Among her is a swamp. Now present in a dance as if she is waking (first) between herself. A girl enters her body first. Sisters occur. (I am borrowed together with my mother.) As if hearing the cry of her own future child imprinted in her femur. A fetus moves, birds, trees, former pets. 170 The Tethering of Mind to Its Five Permanent Qualities �Wool is made from parallel sheep in arbitrary cubicles in sky. He sings to them such that his voice is like a large mother’s palm. Here is a lamb from where it was once. (Because she saw him once. Sky on clean line of ceiling, rafters holding up ceiling.) Though her condition arises from touching, she cannot imagine herself as an object. He lays the bird aside so that his children may see it but not know it. The Tethering of Mind to Its Five Permanent Qualities 171 �vii A proprietor is thin. Her arms are shaped like paper. Which she folds like a doll’s paper. Drawers full of paper are of different weights and textures like a man she knows that reminds her of a city. He plays horn. The gold in her cloak becomes the color of his skin waiting. The time of his voice seems separate from the steady sotto voice that could be a doll’s voice. 172 The Tethering of Mind to Its Five Permanent Qualities �She takes place in his legs like the legs of her husband. (Legs fold in manner of his countrymen.) She thinks, Good. Now I can be like a line moving forward outside present time. The edge of her in her clothes is so thin it might break in her clothes. Not a fetish but still knowing that the fetus is buried. The Tethering of Mind to Its Five Permanent Qualities 173 �A child breaks up. Is intensity not-yet-worked. (Repeatedly becoming an object of formed or shaped intensity.) A brass’s ethos retains. It places anywhere in a formerly-worked object. Hearing the stark name of a previous person. One may write the person. Entering memory (an object in her mouth), ladling it up, placing it slowly where it belongs. 174 The Tethering of Mind to Its Five Permanent Qualities �Your willowness enters song. You delicately twist your hair to a feeling that’s like a country. The pain of sight together, now in a specific setting, where a person’s capacity for song (metonymy) fits tight. A dog gobbles flowers. Space retains his passing. A child waits, like weeds wait for flowers, retaining the passing of former names. The Tethering of Mind to Its Five Permanent Qualities 175 �the palliative of mind i A rock drinks an animal’s life, easing it into the mountain. If a sentence goes on, it’s her mind stringing pieces of her eyes. Seeing the movement before the animal and hunt and hunt, as if its skin were alive. Before the air, that was the air of the people, lilies were private flowers, she was thinking. (A flower’s skin may be public skin yet lay beneath private air.) An eagle turns, repairing air, like a squirrel turns to face a flower, as if some band affixed him to the flower and he is sure it is that flower. 176 The Tethering of Mind to Its Five Permanent Qualities �The gallop of a squirrel is mixed with air, carved air, yellow like cowslips. Throwing itself after air (but the cool flank of air). I know air already, you murmur. The way light hits a flower or stone at dawn. Night behind night, blood in sunlight rising. An animal, young in sky, washes back from sky. So I memorize sky, at the same time think of sky. The Tethering of Mind to Its Five Permanent Qualities 177 �Wind becomes sky, light through distant tree trunks if sky were there, or, light with trees with no sky allowed. A bird hops on grass, weathering the grass, leaving little igloos of white. Lines of a bird grow down the bird. Will grass survive its wing’s blue tip? An old jay caws but its caw lacks the shrill, coarse modulations of a jay’s caw. 178 The Tethering of Mind to Its Five Permanent Qualities �A bird in flight brushes a flower’s head. Waiting rests as day passes in the flower’s knowledge. How the day as it rests admits further day. Like a flower is alive and its secondary life, encapsulated off, will not be allowed to overflow into it. When the day ceases to be day because, you say, it’s fixed, I know this. A quip of birds from the far river rise. A hill slides into the valley’s dark night while someone reads pressing himself open. The Tethering of Mind to Its Five Permanent Qualities 179 �ii A gull circles a wedge of water, marking the water with her eye. The memory of her skin is limitless, like the memory of her cry, before a kill or later for the sake of others. Wind, too, gains qualities by its forcefulness with things, its hand, say (a piece of sun cut off). A crack in light, like a painting of light. The palette of wind is gold, she mutters, the boundary of a man playing chess in light being the dead person. 180 The Tethering of Mind to Its Five Permanent Qualities �A flower emits voices behind falling sun. A flower is soft and the pain of soft reminds her of a sea of heads. As if her life dreams its own violence. If a bird disappears, she may have asked for this to happen. She begins to think that mountains wash out mountains. That the sea of heads form a land on which to walk, which she calls the isthmus of larks. The Tethering of Mind to Its Five Permanent Qualities 181 �So a bird flies flat and what is it about its sleek blue mind. Is a bird a bird or quality of place dawned by the bird? you mutter. You look at a chirp, though it could be surreal. A tree comes just at the point of sky. Phenomenology of the tree rides not so much on the stature of the tree but like the tap of a cane, where it goes after it is hidden. 182 The Tethering of Mind to Its Five Permanent Qualities �A sycamore branch in late light sheds, as if sun splashes scattered shards of larks through needles of light-fall. Time is little drops like from a spout drip-dropping the bough. Its stem is underground, someone says, and I have a memory of a double stream flowing deep beneath the earth. You tap on the stream to awaken the stream so that the leaves stop shaking their light out of it. The Tethering of Mind to Its Five Permanent Qualities 183 �though actually it is the same earth order of dreams Rat 185 Cow 190 Tiger 197 Hare 202 Dragon 207 Snake 212 Horse 217 Sheep 223 Monkey 228 Bird 233 Dog 242 Pig 248 �Rat Dream An old woman is born. Her hair dries and her mother thinks, I have been her mother again. Might the woman’s nature leave? Rats scurry from baskets, which are old baskets, hexagonal fields. A night bird sleeps. Its dreams are down to its feet. Which you say is the bird’s body before the skill of the bird’s body. Its wings lay flat in the smell of new grass. though actually it is the same earth 185 �Commentary A quality of him, home words say, is the same as the man speaking. I already have that person, I think because his blood is smooth also. My blood is smooth also. A person moves, effortfully or effortlessly, and she thinks, Is this a waste or not? She thinks it is bliss but thinks it is her feeling bliss. 186 though actually it is the same earth �Is filigree air, like in the rats’ playpen? What can hold between a feeling and a queer girl child whose boots tips curl in shame? I am really talking about rifts, what holds between her fear and the rats’ miserable-life fragility. There would be an object connected to my playing, like saying playing, as though words are desire. The likelihood of death browsing itself into my death could occur and I think, O yes. It is death! though actually it is the same earth 187 �Each word has a flower. The times of the flowers converge so that she conflates words and flowers, speaking flowers. Pansies in sun beneath the red breast of a robin, here and there, merge with the robin’s legs. A duck in scattered ripples darkens. snow falls, resting in a petal’s shell. An infant puts a flower in its mouth. The muscles of its mouth move by the flower’s warmth. 188 though actually it is the same earth �Rats kneel to her and in her mind become true rats. The weight of the snow is heavier than words, heavier than stone, she marvels. Is the Christ child born of air, through holes in the air? For the blood on snow is real transferred blood, alive in the mind of the boy. The beauty of a rat depends from its limbs. Snow folds and the boy becomes its eyes. though actually it is the same earth 189 �Cow Dream A double flower begins in the folds of an infant’s hands. If you see its face, which is the fruition of your knowing, it may be a small, infinitesimal aspect of knowing. The fetus is standing, someone says. She imagines her hands under its armpits. She spreads it on leaves, which look like artist’s hands. Wrapping purple leafy fingers around its bits of unborn life, she climbs a person inside the lark’s mouth. 190 though actually it is the same earth �The fetus shines and she takes it to school. The forest is ill, she says. Anything tall makes my blood quiet. A series of events moves in one direction only, like trees taller than sky. A woman sees a bird and thinks something about its eyes. A clean, fresh feeling becomes that feeling regardless of her initial sense of affection for the bird. Roots are veins ripening in her body though still hot as coal. This is why a bird’s cool blood is the most delightful fowl quality. though actually it is the same earth 191 �Commentary In the ether of white my baby fumigates. The flavor of her skin holding a flower to her nose. each particle is a bud and inside the bud’s head. Flower and water are protectors, with the net feeling of white, as if a lotus absolves its entire color into her. I made my baby backwards, I say. I am trying to remember if the long lowered arm vibrates. 192 though actually it is the same earth �Trying to recall time, my baby, offing of morning fields. Young rocks sit like cows in sovereign pasture squares. Or you may instantly be the baby’s wisdom mother, the stronghold of you and your baby going somewhere pretty. A spider’s thin web zigzags into sky, whereupon the sky’s dimensions shift. though actually it is the same earth 193 �If you appear, my image of you shifts. Not having readiness for a person shifts the mind in which the potential person exists. Which shifts the language creating that person. I translate you to being in and out of your presence and the translation is like your presence within the boundary of a word. When you appear, the interior land shifts making sounds like stones. A spider’s thin web zigzags into sky, whereupon the sky’s dimensions shift. 194 though actually it is the same earth �Later you say, a spider drowned, juxtaposing your seeing with what you recall. But one imagines tall black trees or a cow that hangs in privy to the cow. If I see the cow with you, but if I see the cow alone, we have to know where it exists. If a cow eats air, the air still exists. though actually it is the same earth 195 �Each and every cow jumps over the moon properly. Meaning is the experience of one cow, before dawn, slowly traversing the earth. A falling star holds up the whole earth, so that its drop is a pin-prick against water or color. It is my mother born from my body, I’m thinking, while at the same time seeing faces of other relatives. 196 though actually it is the same earth �Tiger Dream Sun from behind the mountain falling on the threshers and reflecting from the lake gains depth from the sound of falling. The sound of water over stones at the lake’s edge is like a darting bird. If she wakes, she couldn’t say the bird disappears, but its breath dissolves, like an undertow at sea. How igneous (fiery) and lucid are the bodies of tigers, she muses. though actually it is the same earth 197 �Commentary Each day the sun slips over the crest of the hill and lights the yellow grass. A cat climbs the hill as though dawn were in its head, entwining pieces (petals in branches). A day-moon slides below low tide. Fall-out from one’s skin protects it from further harm. Tide emits tide as she wanders down the coast, empty as a battered jug. 198 though actually it is the same earth �A woman carries a jug dexterously embroidered on silk. The woman’s skin shines like the interior pink of a river. The dimensions of the jug’s magenta is implicit yet exacting. Out is not a direction but an aspect of conference around the jug’s battered aggregates. Bringing yellow out, where out is a structure of color and light, intensifies out, as if its DNA changes. though actually it is the same earth 199 �There is an hour in which her memory will be there, where light falls in rain on a tiger’s flickering head. A stone woman prays, hearing sun in sun. (She dreams its precise nest.) A magenta flower glows so that I feel free at last. A magenta flower glows, disappearing in its skin. Light jumps back as if she has that person again. 200 though actually it is the same earth �Death is color-added-to-color. Color learns color by touch, like the feel of rain from one’s bed. What if the occurrence of harm refers to the difficulties of offering the harm? In the broad space of an animal, a wound in a woman’s thumb feels like embroidery of jasmine and honeysuckle. The necessity of something and its form is the tiger sleeping, tail to tail, in tandem with something. though actually it is the same earth 201 �Hare Dream An angel glides silently through air to where the child Christ sleeps. He sees her as a crow, wings folded, watching. A blue flower in the wing of a bird hovering near the birth, is not in the bird, since it fluctuates in light, while the bird remains unchanged. In my mind there is a bed where I drop off. Christ and hare both slip through my mind and land where a hare might or where someone needs something. 202 though actually it is the same earth �Commentary The bird whose markings fluctuate remains unchanged independent of its visibility. Yet her girlishness has continuity. Limbs jumbled in the corner are still free limbs, I’m thinking. All the animals are resting. I know them from the inside as if they have said, and their word is a death-rattle. A golden crow or laughter is said to be a paradigm of activity then. though actually it is the same earth 203 �So there are words, then under-words. Black words like a river so that her thoughts, pummeled, are the hard thoughts of stone people. They burn a branch of all their people, then turn to ash. Am I the person? I am the person. I decide I must be the person. 204 though actually it is the same earth �While a glistening star holds night within its skin, a twinkling star has no interior where night can sit. So she lays with the animals whose foreheads quiver. So many ducks and goats being causes, songs where voices are tongues. Sweet air sweeps the ragged flowers. sweet air sweeps her hair. (Winnowing its hair is also an object.) though actually it is the same earth 205 �The beauty of the straw in the wake of a bird flown away. As if the whole world encased in shadowbrought-to-bear-upon-a-field stops the straw in time. I’m thinking time occurs separate from the straw, beside the straw, and in its looseness is neither created nor destroyed. Seeing something against time, as if time were oldfashioned. A shoe, for example, is eligible to loss. To be dead again, in the simplicity of its skin. I hear a leaf and think it is in the well, so we are together. 206 though actually it is the same earth �Dragon Dream It is just beyond her body to sleep with him. It is just beyond her body not to sleep with him. This is the moral of a little play. There is a lodge. A young girl is invited into the main room. She is black with very bushy hair, dressed in a silver princess costume, carrying a wand. She comes in and behaves very sweetly to a guest but her parents think she is faking her sweetness and really being sassy so they ask her to leave and come in again, this time being genuinely sweet. So she comes in again behaving slightly differently. Each of the two times signifies a different moral. though actually it is the same earth 207 �Commentary A doll talks and if she’s a tall doll, in dependence on a listener, her presence will not disperse far. Her body covers her life as if it were a cast. Mop-like braids fall to her waist. If I were a Cyclops forging thunderbolts, I too would be being born she posits. A man binds his mind so that it doesn’t scatter.He tucks it between his breasts. How have you left your mind before? someone asks, speaking politely. 208 though actually it is the same earth �After long rain a man leans on a gate. Hair-thin legs race along the rim. A disappearing chirp has appearance, like its body is young yet forever carried in its old mother’s womb. For her presence gives also. Her feet and ears also. She grabs her limb dangling in the breeze like a cocoon. though actually it is the same earth 209 �Cobwebs in sun are strings of pure time dangling in a breeze. Cobwebs in shade land, decrepit before time, cave into time. Part goes up. so that time feels like war. Another portion rolls into air—holding air, lighting day back. 210 though actually it is the same earth �A whoosh of wings feels like an effigy, some sort of charcoal beast fluffing its feathers, eating sky with upturned beak. If what is visible close by is remote, vast visibility, I inhabit my thoughts more fully. Inside is a stage whereas outside is somatic. A great slaughter of beings is contained within their death. As if a holocaust is found, as if future beings trip. Sky washes sky as I watch a dragon fade, wings rubbed by sky’s shadows. though actually it is the same earth 211 �Snake Dream A woman seeing an animal sees it belly-to-earth raised above the earth so that it floats on a small peninsula. A python, like a bladder, coagulates the sludge, eating so much sludge. Light from its eyes shoot out little tails of fire and she wonders why its death seems so friendly. It dies on the highway ’cause it’s slow, someone says, thinking of sand. It vanishes in squares, as if striations of sunlight are old. 212 though actually it is the same earth �Commentary My mother is dead. How could she have forgotten her shoe? (A hazy memory of a dream where I’m a colorful bird’s tail.) She sees the bird hop and its hop disappears into the tail of the bird, into the tails of her children. Here is a whole bird, she thinks, its tail discrete like a discrete word. If one dies, among birds, a red-winged bird is heavier in its body then. though actually it is the same earth 213 �Caught in her own heirloom of light, a woman sleeps in distension of moments that appear to be there. Old birds swarm. Quadrilles of people (fitting the crate around the edges of her body). Immersing herself in a log. Some say she is that thing, as if she hops inside it. Mother, I am blind, I say. Your pink toes reveal nothing any more. 214 though actually it is the same earth �A yellow fowl touches logs contingent with animals who knew the logs as sky. Of previous people drawn on the backs of stooped women. She felt she was that woman. That her yellow earth bloomed in the night oil. Afterwards there are leap years then. Like fields of potatoes. A child hops, square to square, with her own convergent yellowness. though actually it is the same earth 215 �The emotion of yellow, say in meat or chirps. The same level of color in the blank place of sky is like borders in sky mirroring the bottom of her eyes. Is it painted? a child asks. Her sewn face has alterity and depth. Pink is here and you are sure of the color. Before being born, grass is this color. To bring back sky, it pulls the sky so that sky folds comfortably over everybody. 216 though actually it is the same earth �Horse Dream Where is day? someone asks, and I see the twin nature of black, oil of black, mountains stark and wet. Pearls seem brown like the bottom of the sea. I whisper something and the animal’s ear flicks. So she lets her leg give this impression, a pearl in the dark, in the blue of its stomach’s shell. The mare’s perch is illuminated because blood and ecstasy are to birth like an underlying river. though actually it is the same earth 217 �Air rushes in, steadying my mind. Your words are my mother, I’m thinking. Long legs curl around a shriveled coil of knees. An insect wanders off. It’s a baby I see and my heart breaks for its infinite slow old non-knowing of direction. Just get through the line. Get to the yellow snow. To the bridge where you can puke. There. To cut yourself out. 218 though actually it is the same earth �Commentary The sky frames your face and all the different skies. You’re the crow against the sky or quadrants of an insect’s shell from the perspective of sky. The place of you is like the essence of your eyes. So you’re blind, sort of, and another person sees the tension of that space, the acoustic opacity in that space. though actually it is the same earth 219 �She may know a sound but if she turns, it becomes a measure of far and near distance. I wear sound, someone says. (The slimy pearls are the physical sensation of womb.) The woman’s space, lighted by sagebrush, transcends the confines of a life, though it can pull life toward it without abrading its transcendence. She wants it to be white, like space in a word’s world. 220 though actually it is the same earth �Pearls are steam. The lug of its knee or inside the beast’s thigh. She may see blossoms, a sprig, or she may see pearls as old mothers marching. The blue horseman is blue light, though we’re, through it, seeing death. On a bodice is a pony, which drips into me, until things become small, but they still die. though actually it is the same earth 221 �Watching-minds twist to a cumulative suicide. A windhorse flies but it is still still, asking me. My daughter is young. I see her climb inside the windhorse, her long fore-fingernail painted with geese. I determine to seek them, over the hedge, inside the parts where it hurts the most. They only read lips in the blinding darkness, cries a priest from behind a screen. 222 though actually it is the same earth �Sheep Dream I have a memory of green, in a hole, in a moon’s crater called the bottom of the pitcher. A woman fills the hole with crenellated wings. I admire the wings so she cuts off a piece and hands it to me. A man’s voice held anterior to its space makes his presence real. I’m not cold, someone says. Is cold an image like young sea blossoms, purple flowers just above eye level? though actually it is the same earth 223 �Commentary I recall seeing myself in a dream with the sensation of something touching my toe-bottoms. The dream includes a variety of skin sizes. Certain shapes whose edges contain sky, I clearly remember in my hand. The skin of a lamb is irreducible, like the skin of day bound by fleshy rock and sand. A day may not be prior to itself, happening alongside each and every event of breath. 224 though actually it is the same earth �Shells on the cowboy’s coral hat are new surprising shells, shiny, polished, with no sea showing. I forget the boundary of possible seashells while holding the thought of their appearing in my spine. An appearance occurs against an old barn door. All stags as they are burnished beat their heads dry against some tree or other. The parity of their body is the parity of voicelessness. though actually it is the same earth 225 �Flinging off his gossamer, hanging it up to dry, dancing about the pan, drinking the pan. The memory of the color green is tinged with repeated time like little beats with a glove. So I learn green. Whose solemnity is sky (view as, say, sky). I look at green and become an old woman. 226 though actually it is the same earth �I chew green and the rich saliva gifted by him. Is a tenet of color, a primer once left off. As if the person were a taste congealing inside her very own wisdom. I drift within its skin, an opaque membrane of light, allowing pale color to metastasize. though actually it is the same earth 227 �Monkey Dream A flesh-colored pear is with the heaviness of birth. I look into its head wanting an immaculate black stick. The pear tree has birds arranged in its branches artistically. Here are flowering birds, whose trees spin into air, her feeling for the blossoms, sharp as thaw. Monkeys race, seemingly, though it could be bones rolling and disappearing. 228 though actually it is the same earth �Commentary How the weight of a bird hopping along a fence, a tiny bird new to appearing, not yet carrying the birdness of its mother. The more anchored the mind, the more an appearance weighs nothing. Light is bone. think recumbent, dead-seeming, like an animal playing but really guarding beings. Fossilized wings show the giant wingspan of an early species. though actually it is the same earth 229 �If a bird eats a worm or if it turns its head, an animal sniffs age, sees age in the pattern of its feathers’ colors. Cells of color leak, wandering over the wing’s rough neck. The flesh of the bird appears in its hop, its last place of hop, what’s possible before lifting off. An animal gauges the belly of the hop trying to determine the feasibility of killing its hop’s dark past. 230 though actually it is the same earth �A young bird stares and something birdlike travels upwards. A mud-colored bird blurs into mud throbbing there in her mind asleep. You could say she wears feathers and the feathers unfold like a resplendent bird catching its reflection in sky. You could say there are rivers, battalions of orange light. A child spears light, ravishing light laid out as in death. though actually it is the same earth 231 �Seeing the feather of the bird through a branch in noon sun, one remains in the bird and is swung, like through an opening in sky. So that there is both the bird, belly like an urn, and the bird so saturated with birdness that it is unseen against its own background. A group of feathers on the same bird, for example, are separate and distinct yet we think of them as the bird’s feathers. The arm of the bird is crooked. In skinniness in sky. Distance is its face in the resting sky. 232 though actually it is the same earth �Bird Dream Three birds move in air as blue as water in a dream. Three branch-colored birds land on a branch in the borderland of the bird’s robe. Behind the songs of birds he fingers a chip. Is it thin? Without the chip’s color? Seeing its form as a bird, first eagerly then angrily, the way beauty through a gap in sky breaks into two whole containers of sky. though actually it is the same earth 233 �Commentary i An ebony feather shines, its blackness steely, like the hard black knuckle of a bird. A discarded feather, arched like a fish, rests on the earth, its magnificent bow gleaming. Sun-black birds hover over sea, so that black is both inside and the holder of itself. Or like sea repairs to sea, wraps bird and sea into something apocryphal. 234 though actually it is the same earth �The time of the bird is ideal, you say, by which you mean supremely excellent time and I think, Are time’s qualities measurable? If it were touchable, the parts of a person might organize around it, like one’s senses congeal around a smell. Bird clouds drift. Sky too seems to be drifting but it is still, I assure myself. I am comforted thinking the sky is still. though actually it is the same earth 235 �Time enters the wing of a bird where the colors break between blue and very dark blue. An animal waits allowing time to sway between its belly and inhabited spot on earth. It limps, she thinks, though it is a genuine limp, with each and every particle of limp belonging to it specifically. In a certain angle of sun she is able to see the limp passing to a future animal at a similar spot on the hill. 236 though actually it is the same earth �Are the birds girls? The impact of sound makes slowness material while its direction is immaterial. Saying it is less like looking than a cloven foot with little clea’s or talons. And maybe she is that or maybe her body is simply the thought of a bird-filled body. Later I dream the three birds are crying. Fingers of hair blow with the wind, my mind observes, referring of course to the talons. though actually it is the same earth 237 �Commentary ii Three bird’s bodies whose bones are like a forest. you know its color from the pure knowledge of color, without seeing its precise color. Lines of light catch the bird. The motility of light critiques the contours of the bird’s beak. Part of the air surrounds a branch where three birds rest. Rays of light touch your back, which, if I touch you then, evaporate. As if the boundary of your back were hidden by your back, but nonetheless yellow, like light in a dream person. 238 though actually it is the same earth �The profile of a bird, in a gold ball rising, shapes a mountain called bird mountain. A crow erupts, turning gold turning curves. I cannot tell a crow from the image of gold feathers somersaulting. The bird’s dream arises from the ground of its own birdness. First moonlight on rushing water, then pink stars like angels, then tree tips in a treacle bar of sky, threading itself through the birds’ raised mouths, beaks pressed apart like lips. A thin sun crawls to earth and is maintained by strong earth, though actually it is the same earth. though actually it is the same earth 239 �How a beaver floats under sky-words. He hears the birds as if gathered together verbally. An end-bird leaves its formation over water. Its blue bowl leaves, rising in sky. Which somehow was known, the way a line is known as beginning here, though, as you say, lines are concepts. How many meanings flow from the bowl into heads that look away? 240 though actually it is the same earth �The robin’s breast is red, you think, yet you are unsure and think maybe it’s a color that contains red but is not red. Caring is present though you cannot find it in the bird’s body. An insect the bird eats enters the bird’s blood. Is its time the same? Likely not, she thinks, since an insect eats and the food slips away. A dragonfly on cloth (conspicuously beautiful)devolves into your eyebrows. though actually it is the same earth 241 �Dog Dream I walk into a meadow and all the dogs’ mouths open. Presences are out who remain unseen and may instantly slip inside. A witch flies out but it is just a stick. Mommy, it’s just a stick! a child cries. A woman tells about her smelling, it being equal to a dog’s when she was pregnant. Crickets chirp in a field of rabid ones. Their intervals are pure, like the pure white flaps that poke from a new bird’s tail. 242 though actually it is the same earth �If a dog is my interior ash force, it romps the hills with butterflies sitting there placidly. If it yawns, behind its tongue are beings sucking flowers, looking like black ghosts. Behind its tongue a world of beings cook. Its unconscious is preserving food, you say, but I think it’s making speech, readying itself for a life. A string of dogs hangs in sky. Daughters of sky gather cobs. Hussies also wear cobs. though actually it is the same earth 243 �Commentary A dog in grass hears a young bird chirp and inches towards it. Hearing, but not seeing, one bird, then a group, early, as if the sky were nothing. Or as if the sky were intelligence, like a presence that the birds knew about, but if you looked there’d be nothing. Another offers food, but I am offering something more gentle, she says. The dog’s belly is in the grass but its ears are inside the hill. 244 though actually it is the same earth �Each day a dog returns to its spot on the hill. Its body rests but its eyes are vagrant. (By vagrant I mean slim—the eyes of a crow on a wire in rain staring at wet grass.) Rain gathers above low hills, like rain in a painting stays mixed here. Like the footprint of the doll, once left in a storm, has neither situation nor destination. Five children laughing pull grass to the river. The air around it blurs, emerging from weather. though actually it is the same earth 245 �A bird and dog move, appropriate to pleatless rivers of air. A bird and dog sit, appropriate to the posture of all birds and dogs, which is genuinely sweet, she guesses. The time of the bird is not the dog’s minute-to- minute watching, though the bird hunts from the sides of its eyes. A dog has parts, which each have times, so that a melody of time pervades its movements and posture. 246 though actually it is the same earth �Posture, too, is a way the idea of an act is projected. If it is blue there is a door so you enter the posture, though the light in blue might leave you suddenly. The dimensions of a star are not of a star’s body but are fixed in her, displaced by her movements. She moves and the star achieves its posture. though actually it is the same earth 247 �Pig Dream A longshoreman sees night. He looks at his hand. As if night or water or distance were simply depths for the color blue. As if night were still night only very far away. The appearance of the color and its instant of apprehension is nothing more than an action. Before the action the color doesn’t exist. Where does aqua go? she wonders hearing flowers falling, falling where they adhere, into a world of tea. 248 though actually it is the same earth �Commentary I am today again. I fall within time, tall time in a frame of tall pieces of color. A bird’s red wing releases the inside of its color. I look inside. If blue were there, its wing wouldn’t exist. A teapot’s rhythms are cascades of water falling and I imagine that I too am falling, in strands, like a geisha’s hair. Is it the lines or the openings where things recede, emptying themselves out? though actually it is the same earth 249 �Being moved she falls and I’m thinking it’s a young, fluid sort of fall. But air is internal, she thinks. O mother of sky lugging me forward. You break off but I catch you. A voice through fog portends the precise ominous chartreuse where your eyes look out. 250 though actually it is the same earth �When you see blossoms causing a two or three dimensional image to form in space, your eye opens to that space. Space, she thinks, exists, crosses back from where the person was alive. A bloody bird from the beak of a hawk clicks the nature of night. Its cry is her face clothed as a human bird. The blue of a cross pinned to the mountain. though actually it is the same earth 251 �Thoughts divide into lineages of translucency, sun-dazzling corruscancy. I define grow passively. I point to a flower and say, That is a growing flower, unlike its shadow spidering sideways. Now she belongs to an infantry of animals. Packs of pigs form cover near the kraals. For example, a girl thinks the hog, but tells her mother to draw the hog. 252 though actually it is the same earth �Mother’s Warm Breath contents book i: Birds 254 book ii: Sky 292 book iii: Mother’s Warm Breath 307 �BOOK I Birds �Once I saw a bird still and pink standing in a grove of trees. At twilight, on one leg, growing thin like a very young girl. Might it catch a bird, swallowing its bones? Its vessel holds sky carrying sky to a different place where it is fresh. When the birds blew further away, she felt the sky with her hand. The gray corolla of old ones, on a washed-out hill, colors broken off. How old is she? I ask, but they are sobbing. A woman watches, remembering herself through the bird. Mother’s Warm Breath 255 �Rare beauty is begun, he thinks, seeing into the hill the limitation of my seeing where the dead person lingers. It is myself, looking at the grass, seeing its kindness suddenly. Food is offered, though a throat could disappear. Every given moment that you perceive is the same thing, you say and I’m thinking, It’s the bardo. It just arises and you see. 256 Mother’s Warm Breath �You throw a piece of cloth on the hill. To see if the hill has green in it. Then you rub the cloth, gently touching your fingers. Sometimes the cloth is wrapped in sky and when you touch it to your face, it moves jerkily. The hill is seen from the belfry, its transparency of light merging with the green motion of air. Light crosses light on the edge of their fur. The latitude of fur as a place for light to rest, each hair being a support. Mother’s Warm Breath 257 �Husky wings in low night. In low fur. Blue is blue, I’m thinking, separate from mirroring, blue or a mountain or a person’s face. This face is my own face. The slight sound of a bird fluttering in a bush could be bells or roots like cascades of long fragrant hair. A vulture scatters flowers and I saw that she saw that the wings of birds are light-fields. 258 Mother’s Warm Breath �And now it is night. Seabirds play in frothy chips of glitter coiling like an aroma that is not one aroma because fading light gathers packs, fish, flies. Bone-buttons in a bowl, like lotuses in lakes, drift behind her mind. A rabble of dogs snarl. Whose limbs are dogs stiffened in their tracks or crooked trees dwarfed like a witch. There is fear and the notion of drifting across, as if a button is a raft pulled by sky, little awakenings by little awakenings. Mother’s Warm Breath 259 �And the fire-pink, its ontogeny, how it came to be, as you say, erupted. An Avalokitesvara appeared on the bone of my foot when I took birth as a dog, a monk says. The time of his bones or sweet hair falling on the muscles of his shirt collar. You wander around from dream system to dream system, listening for yourself being handed to you by someone. Is like air being handed to me by someone. 260 Mother’s Warm Breath �The time of sky has no direction, no containment, is and is not a vast field. She looks at the hill but sees the logic of the grass, a memory of death in a bird’s harsh call. What is behind the grass erupts from the grass. Is in her, as is in flesh. A bird purrs and its heart drips as the color of night thaws. Mother’s Warm Breath 261 �The flesh of the bird was broken that day. Which wouldn’t hold its feathers, as the flesh was keen. (Old ones said provoked.) I see you on the edge, a fissure or cleft where a breach has been made and I think, Am I the breach? The gestation of wrongness is not carried by wings nor the deep drop of cliff overhanging the swollen stream. 262 Mother’s Warm Breath �Being in the dark with so many mountains, so many startled animals. Please don’t try to tell me there are animals in the sky, someone says as she dozes. To affix a buzzard’s beauty. To stay born and follow the animal’s trail. A huge white edifice from afar looks like sky. Why is the sky white, she thinks, not realizing. Mother’s Warm Breath 263 �An animal rests, luring her and stroked by her softly. Were I white, she thinks, recalling the knockered door of a nunnery, whose square of light crawls over sand. In the distance other people are stroking animals, pouring them in a jar or vacuuming them up in a little tube. I suspect that their voice still blends with the night’s stream, like the trees and like the real body of the people. 264 Mother’s Warm Breath �Or like an old nest simply left. In things said back in the voice of a stranger. A woodpecker’s peck may be connected or not depending on her emotional needs. The boundary of a bowl leaves its edge, its age in lines around the bowl’s broad hips. A word in time creeps through its own wet structure, sentiment (throwback) or some anachronistic nest that slips away from its structure. Mother’s Warm Breath 265 �All this time studying the dunes that crack around the sea. An animal is dead and breathes dead breath. Is still as a cross at the edge of a white field. I dress and wait for death though I am already in death. Through the wall a delphinium wears light, carrying it to the people. 266 Mother’s Warm Breath �An animal eats, rubbing skin against sky, so that there is a larger sense of being in sky. As if it’d been alive for that moment of passing. Wind pools hills, luffing, and at the same moment, passing. Sky holds the animal up. What holds up the sky? she thinks, watching the animal’s hands resting on its stomach. The animal moves. Leaves move, and grass, like blowing hair, settles closer to the earth. Mother’s Warm Breath 267 �A squirrel flies through air and the angle of light through its hair is like the ribs of night. Dawn in a squirrel is a raindrop’s fresh earthiness. A squirrel breathes in covenant with something. A fizzy motion of air blurs her vision of its claws. Whether or not it is from the sweet squirrel’s hair, her trouble of hair, inside its shell of hair. 268 Mother’s Warm Breath �His experience of his hair versus her experience of his hair in the moment of his jump, though she is further from his hair. The non-location of the feeling later reifies in a dream of rainbow-feathers on a stick and a man waves the stick, touching her forehead. You almost know who she is, yet you do not know her. So you cannot forget her. Mother’s Warm Breath 269 �Rubbing the bird, stroking its hair so that it is soothed. The old ones receive until they realize I’m dead now. I am half ghost. I eat all of their hair, always. Someone belongs here, she thinks, having the memory of her mother’s hands. A bouquet of birds contains her mother’s feeling for color. The hair on a fly, motionless, contains the memory’s breath clinging to the hair before it disappears. 270 Mother’s Warm Breath �The hair is not an image of sky though it has sky qualities and has come from the sky. A gallery of eyes has the willowy look of lost people. A shadow from the sky holds the hills apart, like a tuft of hair emptied of sea. The beauty of a fox, its pink quick speed. Wisps of hair, air-brushed. Mother’s Warm Breath 271 �Each night the sun slides out below the clouds, behind the sun leaning. One color leans and the other leans, so that there is a clean surface for the air to move. The rim of her body moves like the rim of an animal twitching in sleep. Now I regret my voice in the trees of them. 272 Mother’s Warm Breath �A woman lives in her neck, settles in her neck. A cloud on its side is a vague motion in her heart. Night lashed on its braid folds around her back like a shell. A bird’s neck is infused with life, but later, after its song, she does not see the neck and thinks it is inside the bird. Geese prefer milk in this extreme world. Mother’s Warm Breath 273 �Ah, geranio! someone exclaims at an osmanthus. It is November. The rareness of sky, wind, birds, in the month, in the sorrel and clay rocks of the past. Two doves nest high in an oak. One sits on a branch. Engorged with sun the horns of its center relax. I see death spread sun around your arm. Empty snow-light like a glassy puddle of melt. The nipple of the bird, its sound in the dark and thud of its fall through the cliffs. 274 Mother’s Warm Breath �A butterfly lands so that her face pauses. Hearing the bird she follows her mind into the tail of the bird, into the tail of its children. Hearing the bird the occasion of its air and complete symphony of chromatic features. The delicacy of its wings as the deity pours flowers. Mother’s Warm Breath 275 �Awakening in snow you hear birds. Their call is deep, rising from the riverbed. I hear your face in the echoing of trees. Bare branches on bare ground like quills in cold night. Each emitted word in the compost of earth fluctuates. 276 Mother’s Warm Breath �Seeing the stark barren word flicker like grass covering the bird or place in the meadow where the bird grew. Your words are mixed with flowers. Mermaid words, half letter, half calyx, drawls the mind down. Like a word may be breached, or defoliated, she says. Its skin waxes blue across the chain-fenced field. Sometimes it slips from under itself so that virtuous, non-virtuous, neutral maintain in the word after it is broken also. Mother’s Warm Breath 277 �Then her words are the only true words. (My own experience were also her words.) Awareness deepens to a pool. If I feel each letter, the heart of the word will be calmed. The impasto of color, of her face and of stone. The course of her face being before the face, so that someone else, seeing the light, could arrive at her face. Her approaching her, before her, its existence as an ache rising over the top of the hill. 278 Mother’s Warm Breath �Ultimately birdness is a very primary, bottom-line, open-ended sense of awareness. Experience is what arises in awareness, the way light, say, accretes across a frozen pond at dawn. Through the wires it is done as when a thing has progressed beyond being erased, beyond a point where it can be forgotten. You are marked and for how long in this sky, reposing on a col on the summit-line. Mother’s Warm Breath 279 �A hummingbird in air, whose qualities, imbued with dahlia, sits in air independent of the dahlia’s redness. Simply seeing the flower’s shape, discovering its motility, qi, or, as if wandering about, its intrinsic comfortableness. I’m lucky, you say. The brand of the child is mine to keep. (You can see the furry flower hugging its own passionate surface.) An insect’s leg outside the flower’s horn dissolves in cold winter fire. 280 Mother’s Warm Breath �We are one sky in ourselves and in sky, she thinks. Sky is air changing into shapes of sleep, but it dies into sky, gentling itself out. Air is thin then, feeling through it to her breath. Is there a place, like sky or inside a flower’s head? She knows the town of sky, slow ice of all sky. A parallel sky, like a mountain park. Mother’s Warm Breath 281 �Your face holds sky and when I look I see a particular old sky. Gestures are like sleep. The pathos of trees stroking the lake with their leaves. A woman wears red in the tall lean elegance of a bottle, as if her shape were identical with the bottle and also an old bottle. A drowsy man walks, carrying logs, so that in sleep the sound of their falling enters. 282 Mother’s Warm Breath �Red leaves cover death, the substratum of death, the materiality of blood thought of as her blood or her past. You are started. You begin in my mind before you are you. Sometimes rabbits and prairie-dogs scamper among the grasses, but hers, now dead, would be found among the leaves. An image—a chameleon’s green in earth— comes before or after the image, as if you could peer through leaves to the war in the leaves. Mother’s Warm Breath 283 �Being thin, I see mountains. Shade within shade is where a horse sits, but internally, like shade crosses a person’s eyes. I live you in my body. Is not ahead of her body, as a woman lags in her body. Wandering around ahead of her large body, a woman reads and the words take place in her ribs. 284 Mother’s Warm Breath �Teepees line the land where she sets up her drums, in eggshell light, thin with beautiful pale colors. A jeweled pheasant drags the wind and fog is smeared through the pebbles. Her crimson wing (still in the limb) lays on wind, relaxing the wind. Sun floods a leaf battered by weight. Swirls slowly down. Mother’s Warm Breath 285 �Sun mows down into a bone of air. A person notices and moves with a slight ‘reflect’ motion. That circumstances repel. That there’s resilience in a ‘reflect repelling instant,’ the gambol of repelling now in a cloud on the clearing’s north ridge. Each time you climb a piece of sky, you are imagining it is sky. Vespers are said in a chapel on a lane and the words reach the road but do not stay in its memory. A body lingers on the road, then seeps through the road draining through the aquifers. 286 Mother’s Warm Breath �A child climbs a pole, beside a string of birds, beside the waves hanging there. His ladder to the sky has no reference point. Come sky he writes but spells it cum. The cum of sky, the sound of birds scuffling song through evening weeds. Rainbows, sometimes regarded as dragons, appear together as double rainbows. They soar into the sky, mani jewels threading from a string. Cold lake, for thousands of yards, soaks up the sky color. Mother’s Warm Breath 287 �Once there were birds damaged in the flowers. If you look at the horizon after the bird, the memory of the bird or red, where the river flowers leaf out. A bird sings strong and her will to sing is strong, though it frightens her. Her will to sing becomes a branch where she sits. Thus singing loses singing. Subsiding. 288 Mother’s Warm Breath �How dusk fills the tree is how the child’s weight is borne in her. Its feelings are a bowl whose qualities come from the base of itself and is how it truly feels about itself. A bird sings and as I look beyond you to the bird, my mind follows my eyes. But if I gaze and my mind wanders somewhere else, something shifts in the figure of a pigeon I remember touching. As if a pigeon were a natural replica of itself so that seeing it is seeing dark. Mother’s Warm Breath 289 �Holding the bird, sheltering it in my pocket, its warm life drains into the fabric of my sleeve. Seeing the flower in a mirror and the emotion that caused her to see it that way, a little death. Whose attribution is not an appearance, is not opaque, but fluid like a wall or statue made of butter in the still mind of a soldier. 290 Mother’s Warm Breath �Flower is flower and time in her mind out of darkness. The end of sight is clear dogwood, he says, where clear means empty and dogwood the clear light of space. A lama moves and I see his quiet ribs. My grave is made from logs so that night will be left there, he says. When the dogwood becomes earth we say the flower dies, but a child leaves a meadow not its life in the meadow. Mother’s Warm Breath 291 �BOOK II Sky �A woman rests. She is lying on a bed back-to-back with a seated man. Touching is there but its time is not there. A woman rests between time. Like time in special settings and she is the setting whereby time vanishes. So he paints her body, being invisible and also seated on the bed juxtaposed and contiguous with the other person. He paints space though it looks like figures on a bed. The woman’s experience stretches toward the man but is unknowing of the man. Mother’s Warm Breath 293 �I see light in the interstices of her body contracted around their crash in her body. As if shadows cover the hide of sky’s body, the concept of sky’s body being a short cut in time back to the experience, opposing the experience. How sun against the grass continues to the sky, the enclosure of sky, like seeing encloses sky, sky-before-sky, and the hour of sky’s midst. A sapling touches sky or exact moment of sky as philosophy of this sky, beholden to no other sky. 294 Mother’s Warm Breath �So there’s sky and my experience of being sky, opening my hand, letting time be one of sky’s animals. A woman at dusk is green because the animals in sky are the color of the trees. As if there were sun in young green sky so that green may grow wild. A pool of birds on the bayside rill, the knowledge of which, the absolute utter familiarity, not of birds but of birdness drifting south along her orchid’s lips. Mother’s Warm Breath 295 �A feeling begins. She might have been asked to teach this feeling, as if birds learn feelings once they wander from home. Like the sleeve of feeling relating to the sleeve of skin. If she notices, if she sees the bird seeing the feeling arising in her, transparency for transparency. The relation of a sentence to a bird or words to things (a word exposed in the skin of a woman cooking, knowing something not depositable in the room). A bird is light, being light-in-light, or air, in light, in water or air-inair, like a line around air. 296 Mother’s Warm Breath �Shape slips to shape. Slips is for life. Sun rests along with the woman and her chair, the fluidity of time crawling over wood. How light against wood pulls the woman, wing of chair affected by the pitch of the wood’s fire. As if war were there crossing a line of hunger. Mother’s Warm Breath 297 �A bird begins, darkly flying out. Someone sees the bird and thinks of Icarus falling as if falling is time and a boy falling is a measure of falling’s resonance in the person. A woman hears the self of herself falling, from the inside of falling, outside any limits of time. Passing it off as the performance of her falling, her experience of falling outside her experience of feeling falling. Angling its falling and the scattered tits of its breath’s loose scabs. 298 Mother’s Warm Breath �A boy falls in neutrality. Between the feeling of death and death. I have the person, I say, instead of when he was the person, as if the person were its birth, and also, the experience of its birth. Being hey in the spread of a corpse’s tail. We strain events through time as if age is a place jilting her to there. Mother’s Warm Breath 299 �A cricket squeaks, objectifying air, seemingly. The mystery of its disappearance in the dominance of a breeze, as if breeze intrinsically contains squeaking. Yet an eminence rubs off. Light alternately occluded and revealed. A cricket faces east though it is unseen and comes into east slowly. 300 Mother’s Warm Breath �Even my mother disappears in the red carriage. She waits at the side of a snowfield in her hat, which is an elegant hat, beyond her capacity for a hat. A hawk skirts sky along the places where sky stops. As if place were not the hawk but all things touched by the hawk. A caw is like space, gluing space where caws are space. Mother’s Warm Breath 301 �My mother is a cloud like day across a hill. Hill is an agreement. A being’s short life, without the affection of life stirs a memory of experience exterior to what is beheld. Like an offering thrown opposite the sign where a negative force originates. The lines of my hands sink with the sun. Who may you be crawling where I am, dangling from the riverbed? 302 Mother’s Warm Breath �Sometimes I think that my spirit sleeps in water flowers. I sink into the land spreading like a shadow. Violence exudes from the flower’s previous color as in her mind she cannot find the color. Something sad, say, may look to you like a color, like fate is a color. Seeing is conveyed like a boat conveys seeing, seeing death and then its color. Seeing’s inside is color. Mother’s Warm Breath 303 �A woman begins, though her face is absorbed, dark in a dark room. As if dressless, a woman reclines at the bottom of a space, perfectly alone. So a body grows down into itself, which is how a painter can paint himself and not be himself. Seeing the inside of time, the constraint of time, like a flower in a cornfield blossoms into a puzzle. 304 Mother’s Warm Breath �The beauty of air, moist, and her experience of moist as she breathes night, in and out heavily. As if a shell forms inside both of us. The shells of her are lines turning light into a quality of time. Density holds time like water in a lily congeals (sets) so that a cause happens and the result looks like a lily. The pinkness of time whose insides are flowers is in things, shells smelling this way. Mother’s Warm Breath 305 �A bird begins slowly, is risen slowly. A vague line of mind annuls the feeling in a word which is replaced with lines of time tracing the word’s beauty. Time appears but it is color not time. A bird’s loveliness is time. Slow is the horizon itself. 306 Mother’s Warm Breath �BOOK III Mother’s Warm Breath �DOG My old mother barks. I hear her over death. Wake up, someone says. A letter dissolves into the being’s feathers. All the little animals timed to her, playing we, playing the arms and legs, so that there isn’t anything left. The portrait of a dog, its perpetual yank of teeth is a portrait of dissolve, where dissolve too is liberated from what’s false. 308 Mother’s Warm Breath �The brain of the sound loosens into color. I, a dog, claw myself out of solidity. Her toenails are claws and she gets to choose which kind of dog. As the brain descends, darkness descends, in the no-house where the dead assemble. Mother’s Warm Breath 309 �Is the claw a bone? It seems to weigh more than the bone. Like the weight of a bone being suddenly too heavy, as if her body were the wrong body though the bone is okay. I’m trying to remember. Wings are divvied up. The track of one hovered in a spoon. I dedicate something, which sounds like a word but I am dead. 310 Mother’s Warm Breath �Fades in a distant dog. There is a waterfall. Dogs fall into her body. Fades to sea (kerfluffle of brook) the mountains and rivers of that tidepool. The wingspan of a dog has white speckled markings and there are heavenly dogs which she painted. The jiffy of her dog, o my god, in its quick march toward its drumbeat. Mother’s Warm Breath 311 �Someone whispers black, which is enclosed in black like in a wedding of black and me. Since its aggregates are black, I call myself black and sit in it like a dish. The sound of day stops. The wooden dog stops. My hand is me now. So you can’t tell. No one can tell. 312 Mother’s Warm Breath �HAIR Her mind is hair, white, earthy, cropped, like total hair. Give me your hair, someone says, which I think is my mother asking for my hair. Offering hair on a platter, the sound of a plum sits in its color, as if the stomach had her name etched on its flesh. Ripe and dark, like the rind of her being scraped and tossed away. Mother’s Warm Breath 313 �It is the bed inside her mother. Mommy! But the bed is a plum in which the mother insists she sleep. A thin bed, fragrant from practice. As if her skin were too shallow. Which could be food from the settlement of her father. 314 Mother’s Warm Breath �A hair is fed. An offering of hair yielded to the mountain. A youngster bird grey in the mountain. In its plum, spooned up and being. The bird of hair speaks and it is a warm bird, as if air could be a bird, the wait of their tongues having never before been brothered. My voice and your hair thrive on a metronome of waltz time. Mother’s Warm Breath 315 �One fixed to hair. For example nuns, in the white folds of wandering hair. Which the nun hides in a shell, so it is there, with her as she washes, and she knows her hair thoroughly. I, the voyeur, do not perceive her hidden hair. I may not and do not grasp this internal shield. I, the voyeur, am outside the circle that her yellow hair makes there. 316 Mother’s Warm Breath �I intend hair, I say, and begin to practice those qualities that support it. I mean from its depths, like the nondiscursive mystique in the drape of a nun’s habit. You are allowed to be hair, bottomless hair, through drapes whose folds hold the depths of hair’s feeling. I lay upon a rock, ministering to them, to the empty linearity of her mind exposed on a hot day. Mother’s Warm Breath 317 �SKY I make a connection between my mother’s towel as an object and towel as the nature of my old mother in morning sun. She grooms light in the endless cleaning of herself. She bends over sky. I draw sky like a lesson of myself. From outside through a window, an image of her in split-second segments. 318 Mother’s Warm Breath �What a filthy piece of sky, I say, brushing the air with a spoon. You feed sky to the person. A leaf through her skull blows down the valley. She recalls something, the dead child’s face, or more liminally, think of a still-born’s face. So sky is subjective, like a private game of cards, shuffling, dealing, from the bell of each card. Mother’s Warm Breath 319 �Sky is an ability. As if there were a zoo of sky, a rib of sky inside the bird. At large in death inside her own emaciated wingspan. I hug sky, the limbs of sky, mimicking fruition as in starships. 320 Mother’s Warm Breath �Being an angel then, in my own hole of sky. Now I am gone but we still talk, don’t we? Now I am not. The bone-cake of me gone. My old mother’s bones are quarter-moon bones. (Whose butter bones suspends from the sharp essence of her breast.) Sky stops for a moment. Or tree of sky which I experience as a cuff of sky. Mother’s Warm Breath 321 �Eagles rest on it. Are forms projected outside, as if they exist very private and wrapped up. To ascertain the rhythms of sky your fingers tap to that. As if the mind of one were a baby. On the shore of herself, as though time itself, as though time were there running alongside time. Time is color then. A capability from the old river. 322 Mother’s Warm Breath �PIGEON A girl steps out of her tall black dolly. The mother of one, like a doll plopped in the corner. Where is her prettiness? A certain prettiness that you know, that you can even touch. Soft breath from her eyes, but the eyes themselves are rocks. A songbird peers, caws. A fish caws to the harmony as if it knows who it really is. Mother’s Warm Breath 323 �You are the person that you have forgotten. As if the real you fades into air, indistinct from the particles drifting across your face. Where waking sees ground and you are the ground, not dead wood. Being privy to ground (king of ground). A young bald bird sits parallel to the window. The hill inside the bird. (Knowing the hill from seeing the bird’s shadow.) 324 Mother’s Warm Breath �A bird bell tolls by the river of her father. Wrapped in a dress she tucks her wings. So she is just a dress. If you look you see a dress plunked on a step, asleep. Tucked in her dress, tucked like a bird. The spectrum of her inside a chilly bag. But her feet are young. Mother’s Warm Breath 325 �The pigeon is immovable. She rests inside me, looking through me to my daughter. A bracelet at her feet is like a rock carved with her tongue. So I wrap my tongue in bandages. Is the hawk’s wrist in mountainless dead-lands. In the feet of our voices, the feet of the birds are calm. 326 Mother’s Warm Breath �Inexorable coo, are you bleeding? The harp of you, though the monk swore you’d be spared. Seated in its knowing, its face in shadow is alive. So I forget who I am. As if the need stopped. Mother’s Warm Breath 327 �MOTHER’S WARM BREATH i Mother’s warm breath, like a plate of breath. Yet it is old breath, having eaten many crackers. My breath is a wall, she whispers from real breath, instantly present to birds. The energy of the animal appears to be experienced internally, its breath (a shadow) withheld in its own stem. What’s left of mind as a squirrel leaps out? 328 Mother’s Warm Breath �If she pulls air out, in a tantrum say, or superior air, parceling it out to descendents. I feel the sweet journey of your air, she muses. Swift and stark, its transmission in a jar. A harem of air bustling down the hallway, a trance of air parting through itself. I am cleaning my air, she’s saying, as if the air were inside her stomach. Mother’s Warm Breath 329 �As if the air were blood and she is poured into a glass. Air is definitely blood, someone says. Warm green blood from the mittens around her legs because there’d be a war of dogs, afterwards, in the bushes. To accrue war she saves up the noble green color because pure view is always seen through the light of the five colors. My nails are on fire, she says, seeing her hands in a later version of hands (like being friends with her hands when they are dog’s hands). 330 Mother’s Warm Breath �How many hands are in the dog’s hooves, she wonders, because paws are everywhere. As if all the hands were grabbing her tits greening everywhere. A birdhouse of tits so that the feeder-birds chew green blood from the mother. I am ordained in blood, the samaya “blood” whose liturgy I’ve accomplished. Mother’s Warm Breath 331 �ii My mother is a place. And a being from there having qualities, as if she is also from there. From the inside of her being her, gradually becoming her in the same taste as russet-pink. Russet-pink is a field carrying one’s pure essence, like a whiff, oh! that’s her! Maybe some pawmarks. Totems of her gaining belly from herself. 332 Mother’s Warm Breath �A place is by chance (like pain is a guess). Like a lid with its definite jar, she’s attached to this, thinking maybe there’s no other jar. The lid has a slogan, which she wears and thinks it’s not right if her family does not. Like a birth word, say. Every person has one word. Mother’s Warm Breath 333 �Held adrift by old old hearing. Don’t touch you! says her own face. (For she recognizes the previous resentment and its marks on her old face.) As if spring follows summer and we are already at the beginning. If my father is murdered, does that mean I am dead or (like one’s face in sound) about to be dead? 334 Mother’s Warm Breath �A legacy of light is separate from reflection, like a legacy of dog only sees itself. So there is mourning but not knowing. She could be a dog thinking she’s a dog. Her formless growl cracks like a flower, like shards of voice but one hears only the thinnest outermost skin. I harbor myself in the familiarity of something, air, leaves, peacocks running across a field. Mother’s Warm Breath 335 �People coming in like the last second of her knowing. As if she’d snapped her teeth. Stealing knowing, she becomes simple. In the interstices of a plan, like knowing skips to what’s there anyway. The value of her in the real actual sitting down, till she rests. 336 Mother’s Warm Breath �iii It’s a disclaimer, the notion of a dog on the outskirts of her own dog. Her groin is young. Her pointy nose brings out the animals. Her voice has tongues and the tongues also have some. The muscles in her tongue carving my name fast. That’s why I die, sipping myself away. Mother’s Warm Breath 337 �Being old and cold, living in a box. I pull on her tongue so that the air can be colorful. Can you fit into a word? I ask politely. (It is a long thin tongue.) A droplet of rain ripens. Where is the daughter of this body? Are boxes of tongues, postures of tongues, juxtaposed and contiguous with one’s internal experience of tongues? 338 Mother’s Warm Breath �Her name begins in the back of my throat, bubbles in throats, like a cliff of throats. In the fro of the dream, as if beauty were beyond it. I look closely at her throat whose little hairs wrinkle. I saw them be calm. A stream of heads are throatless and I begin to think, SHE STOLE THE THROATS. Mother’s Warm Breath 339 �I, mother of a word, am also mother of its flesh. I, mother of a throat, cannot know its container. The ebb of a word still in her mouth. Whaaat? Whaaat did you say? she’d say, as if lugging the word up. Her whaaat is space, each letter jettisoned from crayola. 340 Mother’s Warm Breath �White Bird contents First Grandchild 342 The Elements 367 The Fourth Part of Air 384 White Bird 393 �First Grandchild �1 The Jambu continent is called the Jambu continent because a fruit of the great Jambupriksha tree fell into a lake, making the sound “jam.” As one thousand buddhas will come and the teachings flourish, this Jambu continent is considered supreme and is called “The Victorious Southern Jambudvipa.” This continent contains twenty-four great lands, ninety-nine small lands, three hundred and sixty different clans, one hundred and eight remote areas and one thousand and two extremely remote places. The Land of Snows is one of them. So hovering in a row, the breath of the row in its high peak of rows. White Bird 343 �Squares of light are cool settling night in a row. The hill air is cool, like a tower of air carrying through to nothing. Each night the sun yields its bit of darkness to the child. The darkness squats and plays dark but the child knows that it is dark. The child counts the pieces of dark unsullied by subdued and broken darknesses. 344 White Bird �Dark is solid but is also its own lamp. That’s why the sun is dark. Each night the sun gathers its arm. Each night the sun electrifies the sky as if sun is sky’s fathomlessness. Like being awake in your blood before it is your blood in the subtle state of not being at war with sky, you mutter. Clouds of crows carry sky back. Should I, quick, whisper in one’s ear? White Bird 345 �Each time one dies, one’s breath, like the moon, hangs from a hook of sky. Like a leaf crosses a twig and he waves the twig. The twig had already been waved though. To sleep in oneself, as if one is alive, but not really, only until something happens. As if the clarity, the full-on bindu, amortizes itself, emptying itself, as if the leaf too, wheeling from sky, drops from the throat of sky. 346 White Bird �2 Then her speaking image of a person catches fire. In my dream a man is wearing birds and my speaking image of the birds . . . she clearly sees the long stream of qualities pouring themselves all over his body. A woman eats holding her mouth above her. You are tall, and your mouth, too, is a tall, lean mouth. She longs to be near what she’s sure she remembers knowing, as if an image has an ear and it is your own ear so you want to be near it. Like the sound of her birth in the far-flung distance of birds. White Bird 347 �Because the air is there whether you’re awake (or you could be awake beforehand). Whether before, occurring as in the darkness of something. I mean before the crows, but the dakinis have already taken them. If one’s mind clearly holds what is previously, to recall how in the past such things exist anyway. (Like the woman washes her hair in a lake and the lake nearly dies.) It knows me in its eye. If I part from me, the rape is left, but the eye stays inside my belly. 348 White Bird �So much water making her a person, like a bone in water is the slain inside her. Instead of her own, she is their hair, the skin of her hair being mother-hair. A portrait of hair tucked in one’s mother, as-if it is her hair not having quite left her mother. A woman locks her hair. It falls inward and she feels the falling inside the hair’s cud. White Bird 349 �The her of her hair is not in my fingertips. The her of her mind lacks the valence of my sorrow. Lung and tail, I consist. I am, I say. I am in the boat of me. 350 White Bird �3 I am her. I am her. I think it is my mother saying something in a dream. She sleeps in her now, but it is the memory of her, not the person being her. Thus people see a form’s endless slipping, like a tour of herself drifting along her bloodstream. At the foot of air (like a bloodspot in air) or is it the real air. White Bird 351 �Is that death, you ask, because the straightest line is death. So much down deep as a spring morning. When she wakes it is still down, so close to her face, further and further. I’m trying to remember that particular mustard-color, like a bloodbath of down, stand-in for all downs. 352 White Bird �Birds grow down. Each harp of down, each plucking twining chord of down’s interior pause, so that I am (in the pause). A hummingbird dissolves into its own pure form. One thumb moves as if venturing towards it slowly. Oh! the mother dolly begins, but it is a pretend mother. (However there was a possible mother, I mean a mother exists who could be her mother.) The real mother, whom she’d not yet met, would not have said Oh! White Bird 353 �The beauty of sky relates to birds flying out of sky. At dusk the hill withdraws into its form. (Through birds, quiet has a mode.) First grandchild is extreme, I think, as a mode’s emptiness accrues. I am that, I’m thinking. A tree lashes night to quiet, then falls away leaving the quiet naked. 354 White Bird �4 Being the person dreaming and now, saying hello to the person who, in the dream thinks, I am also the dream! Dreams implode inward and multiply, like a virus, sort of. The belly of the dream sits in its plate as if the mind of someone were growing from the plate. I am eating for my plate, the mind says. I am my own faller, being in my mind my own kind of falling. Death is in the center. White Bird 355 �Being the person dreaming, though dead again. A mind thinks but is dead. A young bird falls as if from the sky but it’s from the water where sky was. You hear the drops of a being, then each piercing droplet of being’s time. I feel her sky in the mass of me today. She smells the inside of me today. 356 White Bird �Empty becomes empty-in-the-mass-of-me-today, like a bone gets loose and falls away in the rain. A stream of fish crosses her heart. One drinks her milk and is appeased in its fish-ness, like a baby fish would be coming out of its shell. The baby is frozen. Not many war people come here, she’s thinking. Blue is raw, the ocean like teeth. (Inside the teeth are the color of the teeth.) White Bird 357 �If a dream implodes and then its bits of dreams (I’m thinking hounds of sky-hawks flaring their wings, tooting their wings almost.) Even without the wings there can be an experience of wings, but she prefers the sound of her mother’s skirt is to sun like the breast of the sea buried in it. Because the things that we are turn about and become who we are. I am definitely your mother, someone whispers softly, but it is just my voice as if far away. 358 White Bird �5 A bird’s song fills the morning. Between song and morning there is space. Like she could draw an ideal of the little bird’s voice. So tenderly green, so now-green. A bird doesn’t speak but its motion is stored in its body. How will I know, she says, watching the bird see its own face. Seeing itself there, nipping at air, the traces of itself still in air, like a grike, say, pushing the bird inside its air. White Bird 359 �Seeing the brain of the face. So much medley tearing up the face. Each person must unwrap her face, memorize her face, someone hollers. It’s like a belfry, you comment. A ring of bay and little sips of sky knocking about the water. It’s hard to say if the air falls away, the lure of away, behind the fog (what’s actually taking place). A bowl of green water may be placid tight water, but it’s me being tight, accomplishing green, you whisper. 360 White Bird �Air leaks from her bones. The last moment of air is the thinnest air, she’s thinking. I take my thinness seriously, he says, placing his mother in a bowl. (As if an animal blows away and is found on its back in a bowl.) Air gets tired, you say, but if you clutch air, mauling a poor, tired section of air. A dull green bowl holds the water of my air, because the mind of the person is a trilogy of air told through mother-air and father-air. White Bird 361 �You in my air on my birthday cake sighing. (Though I did not. I was only sighing for her.) You in the village of people-less thought searching for that connection. The gist of a bird is the animal of its relatives. (She could see its ochre bill and the young tooth of another new child.) A symbol of one’s animal seems to slip down her fingers, crawling over them also (and has its own animal also). 362 White Bird �6 Each night the trees slip into sky becoming themselves. Does the grandmother exist? She sees the sky weakening back. Her creamy eyes bulge, slipping back to themselves. She imagines the trees rocking. Trees light passing tips of sound. You watch them disappear, like a man walks back to nothing. White Bird 363 �The lips and teeth of wood hang quietly in grandmother’s face. I am wintering in me, she says. She doesn’t want someone speaking out loud. Time is exposed. Grandmother! I gasp, but it’s a heart gasp, like her death. Within the death are letters. If you harm the death, someone begins, because a letter is flesh, beautiful as a peacock. Her breath too might swallow itself. So many rings lapping waves of sorrow on her broken dress-buttons. 364 White Bird �See an eating turkey seeing, the pebbles of its eyes weighing down the sky. It’s because grandmother’s skin looks tight. Her eyeballs are too poppy like she sees through time, whereas I don’t. Seeing the ignorance in her skin, its reticulations hanging. The crevice in her mind, its wrinkles hanging. Seeing her shape press itself there, like the mud of a bed of a river. White Bird 365 �Her heart, too, imprints into her skin, pressing its shape into the room. I may find sky, she continues, forgetting. To me her mind feels brushed. I am fine, she says, creating a support. I am fine, she repeats, her wooden gaze lasted to her. (Fine is space so her mind is protected.) Grandmother’s body’s space seems heavy. Sometimes she leaks out. I say leak because, later, if she moves, aspects of her do not move. 366 White Bird �The Elements �E A RT H A tulip’s knowing is from before knowing, you say mildly. I’m thinking, That’s time. Like when Khyungpo Naljor displayed the five Tantric deities present in his five chakras saying ‘From now on, never see me as ordinary, not even for a moment.’ Time is your own mind, you repeat, and I have a memory of myself disappearing, not in death but somehow being me another way. Like I’m me without a precedent, as if your body is you in the name of a foreign person. A spring of dark lingers in time. It was time before but now the boy draws time. The clear beauty of one whose color is the great color. 368 White Bird �To hear the evening sung in night’s dim peace. I am me and then the person who is really me. The traces of her (or bowl of her) like she could be that and grow into someone saying hello to someone. The collapse of yellow altogether unnerves me. Like the sheer end of yellow. Time seems to be more like that, or the feeling of time sticks on you, you add. It’s just whatever you see the world, like a childless person sees, actually, what is being passed over. White Bird 369 �One imagines time folding back into the cliff. Death, as a figure, turns into a rock, though its flesh is soft, pinchable like a human’s. Behavior takes place after its occurrence. I move and am aware that I have already done this. One imagines time dripping over the hill. She hides inside, feeling hill into its space, so that all her lifetimes happen together. Only when you are completely through it can the ink of “hill,” the swift calligraphy in its soft Western snowfield, become a roaring geshé-like blessing. 370 White Bird �WAT E R A junket of fish is in the crook of a man’s mind, so circular in his mind, as if the world, as if his mind and the world become the dawn of fishlessness. Far and near, like the junket is as-if versus the smell inside his head. So many fry wandering around, as-if eternity, the transvestite, is just more precise fish-hood. As-if one transmutes the fish’s consciousness to a Pure Land, which is just an aspect of my consciousness seeming as-if far away. White Bird 371 �The man bites off its head, mumbles, then throws the fish toward similar headless fishes. As-if its distance wakes me, like the throes of a cloud pressing space into its shape. The memory has shape and the shape time. Distant and close merge in the fish, which has duration. I mean an imprint of time settles in its skin, as-if its skin had been that. 372 White Bird �The fish is ME! (The afflicted mind is an inwardbearing motion.) Nevertheless, as the fish recedes, the ilk, all the ilks share the same essence. My raspy throat converges with the cut throats of that fish pile. Rakshsas wandering through sky enter into people’s throats, she recalls. A residue of fish coats the skin of my throat and sometimes I feel I am not my throat. White Bird 373 �I am longevity instead. Because someone prayed. Someone saw the pile of fish’s bodies and prayed for their long lives anyway. Mercy lasts, you say flatly. The fish enter the divine is all. The man who cut their throats knew the precise consequences of his action, therefore his assiduous practice of slicing, tossing, eating, as-if his belly were a globe. His belly WAS a globe, you say. 374 White Bird �FIRE An island backs toward night. Thin slabs of shore and soft eyes heaving toward these. Am I dead? (I am nine birds.) A quarry of birds drifts in fragile evening sky. A lion mounts a yak washing back through sky. Sky is a floor and the two animals are flying but they are really on the floor. When lambs are in the sky meowing, each lamb is, a cross passing over the water. White Bird 375 �A bird is poised. She rocks her space gently. She offers her tongue to taste what is held off. Because she speaks in such pure stream, her gaze of tongue. Each and every blade of a zinnia is me, she sighs. Swarms of arms lay at her side. It could be death. I am the stomach of my death fallen to the earth. Embers of me are held in sky’s arm, but which, which arm actually slides over the horizon? 376 White Bird �A bird or fish toned by where it flies, slips into its landmark. A graceful bird, its lip chewed by its mother. She reaches to its lip, chewing passionately. I try to chew passionately. (That is how she instructs her infant birdlings.) I want to be kind is said by the mother. The mother of my lip, I lay awake wondering if she is happy. White Bird 377 �AIR The razed town is part of a wall now, I’m reading, and I know that really the bones and eyes are me only the book doesn’t reveal that. The skin of the town is injured, which I carry. When something touches my skin I feel both the present and the past, the way it feels, taken by itself, without anything added. Animals are there. They recall their skin. Some animals scratch, as if they could scratch the knowing away. I see a being and know that it’s me being that being in someone’s time that’s simply slower than knowing. 378 White Bird �I am always dreaming time, you say, as if tenderly knowing the color of your grave-clothes. One forgets that it’s knowing. A thought presses through the ridgelines of one’s hand (the silence inside one’s hand). Like a monk knows something, which could be light or snow or lilies but it doesn’t matter because his teacher sees it also. When I press on light there is a thought inside, just beneath the skin, like subcutaneous knowing. White Bird 379 �Sometimes I hear a sound closer than my skin (the distinction between me and the skin). I definitely have never heard this sound, I’m thinking, all the while knowing absolutely that my skin has. If you look at a flower then close your eyes, you definitely know the inside of the flower because your citta has assumed the flower’s pattern. So if you forget the flower you can still have it, like you can crawl inside the flower. If your citta is alive, like a rooster in a field. Each dawn the freefall of wings. 380 White Bird �SPAC E Now it is summer and cherries are hard, nubile on-the-tongue. Now (as in India) I climb a shed of sky. A bird eats a worm near a tree, but it is space, their host, the nucleus being the passion of one. Walking westward in sky, where home is a plate of sky. Howsoever I walk, the stride of space is one. White Bird 381 �A woman in my dream walks briskly down a hill and I, a cornucopia of space, am overflowing with little horizons of spaciousness. The space that she wanted was the space inside her, that she would see say in a tree, the way a branch gives way to sky. A bed is spread beneath the tree, wider and deeper into the tree. Each night she looks out on the hill and if the lines of sky land quietly on the hill, in integrity with its grass, she feels she is dreaming grass, maybe being inside the grass. 382 White Bird �Huckleberry Finn also. Floating down the river he feels inside the river and when he is wholly inside, his breath stops. If you envision light at the point of the trikuti, the small light there that enlarges more and more, as long as you visualize that amplified light, the breath stays stopped. The gross perception of breath leaves me now. Farls of nothing leave me starved. Death is a place and someone goes to death, as if going is the non-going of an echo. White Bird 383 �The Fourth Part of Air �You look at the sky through the tusk of a hill and a cloud disbands of scattered ones. A songbird chirps. The cry of a dog turns to sky. As if a nerve from sky measures her appearance within a context of light settings. A leaf unfurls, then fades into sky. Space is not sky, even though she’s dead. A bone of sky (one, two, three line up as skies), a wheeze of sky as if gotten out of the desert. White Bird 385 �A bird touches sky. It seems so sure. Sure displaces sky just at my ear-tip. The space of my dead mother is a content of mind, a shock of rest fallen from sky. Birds click sky toward the perfection sky. In their space are flowers falling. And after rain the full bare sky, deep black, like a sea of shells. 386 White Bird �I see a woman in a brace and the brace holds her up, but the brace is just breath. I am definitely what comes out of a trumpet, she’s saying. Its echo is like her whole mouth. Movement inhabits her whole mouth. It slowly slips down, though the girl in the death house, she’s too thin. Her death is too there. Very tangible air (cloth air) arrives in her there, in the fourth part of air, breathing her back to air’s non-air. White Bird 387 �A woman sits alone. The lines of her life spread. Her body waits for air to tip. The branching off of age grips a person’s face. A certain opaque color inhabits it like a lake. There is a hat-bearing person. What I hear is the hat swinging from side to side. The flesh of such greens. Like crushed paper in a branch sweeping ground-cover into green. 388 White Bird �My mother is a color (she could grow her color), like if a bird constellates in the blue of its color. As if her face were on me, a faint breeze or burr in the side of the dead one. In other rooms, under-rooms, a glimpse of her death in lieu of knowing the deep accord of her own death. The candles of a shade breathe the word without the illusion and the breath of us exchanging ourselves. White Bird 389 �So I laugh and compliment a person on her color. What’s that shade? I say and she says marigold, which is SO beautiful. She is wanting to tell the color, but is it the real color? Real could be a color. A woman sees me, an impression that doesn’t erase her image of me. Now I am real, I’m thinking, as if now contains the moment that that can occur. 390 White Bird �Am I alive? Maybe I’m just space. I am an interior walking through the door. The time of light may pass, you say. Light may fall outside its space. A lattice of light, a pod of light, gobbling space, or not space, light’s taste. You locate the light in the undergrowth of darker ones, a pale glow as if I am being buried. White Bird 391 �Food is light. Teeth are light. Her teeth grind back. Its Use is her presence. Her teeth are like a sling of teeth hitting you in the air. So there are mother teeth and father teeth beginning from the beginningless white and red bindu. Now, in the age of teeth, I mean hers are swollen and I am left with something I cannot piece together. 392 White Bird �White Bird �1 A man wearing birds, sitting in birds, inside the birds’ flow. Together they’re called White Bird. White Bird grows tall. White Bird hugs his own legs back. The meditation of sky streams into his heart so there’s a passage of heart into which he may relax. White Bird relaxes back into his heart, breathing white, like the beauty of a seed or wind in a bird’s hair. A man sits in wind wearing few clothes, but the birds come and sit on him like clothes. 394 White Bird �White Bird stops. Summer light swarms his shell and the blue shell breaks. The beauty of his wing fills with sky. A gull too drags its sky. As if it were an ear gathering in sky. Beauty is sky. Beauty is rain in sky’s past sky. White Bird 395 �My mother’s arm is pure, its curve of sky seeping into structures. Then later someone says, That person is a dead person. So then I think, The beauty of sky’s color flows from her arm reminding me of her arm. I want to wear sky, I holler. (I am in tune with degrees of my mother hanging from death like a soft shoe.) Her yellow armpit sags, like old newspapers would be lying fallow as they do on distant fields. 396 White Bird �A man buys socks but it is really death lurking in sky. I want to dust sky out so that my limbs swallow themselves. He looks, passing by death, as if he is new, in sky now, as he puts it. O look at the birds! They’re combing each other’s hair! (He’s watching a bird gather its gorgeousness.) My mother is a line. Within the death-lines she is one. But a node on her blackens and then she is not my mother. White Bird 397 �I know a bird whose color is sky before the sky admits itself. Like the brain of a color if sky admits the bird. A mountain is visible inside the bird then. Its color dies then. A queen bird releases into sky. There’s the sky! someone says, as if there is sky, the location sky. That bird knows me well, I’m thinking, because the bird is mostly dead. 398 White Bird �Here is a corner of sky, mother says, fondling a dead bird wrapped up in her pocket. (The bird had lost sky. That’s why it died.) I am the oscillations of a flower, inside, like a flower’s brevity, she whispers. A tall bird tumbles through sky. The touch of its voice is like a raw egg folded into zero. My mother feeds me air, the tablature of air, doubling air, forcing it to become air to something. White Bird 399 �I dream of air (a box of air) because I conflate air with my dead mother. She could taste the flavor of the box and in her mind suck out the box. (Secretly she criticized people who didn’t suck.) Her feet swell in air. The ascending foot, like you could crawl inside the foot. Who is the end of my mother? Who is the end of my death? (I am organizing myself backwards.) Flowers fall, but mountains blossom in air. Born in air, I’m in air already, like a broken piece of air. 400 White Bird �2 Sometimes a tree lies flat against sky and its outline in sky makes a sound. The sound has a color that is not something I know. The sound of a flower goes anywhere, you say. The water of its breast dribbles down the grass, which is old grass, with old sound, barely any. So then I think, My mother is dead but when I sleep with her, I’m old. White Bird 401 �A woman stands alone. She swings her eyes out past nothing. If you look at a squirrel and see it very clearly, its feeling pulls back, pulls its loyalty back. Squirrels are always alone. May the squirrel never be alone, she continues, as if time were a bottle of water. As if a young calf molts or a snake coils around a flower and then is the flower. 402 White Bird �Is it true or false, a child demands, hearing that petunia-lands exist. For sound doesn’t die, though its lineage may, like Buddha Shakyamuni’s dharma. Sharsin, Muni Sharsin, they say. Muni Sharsin means Buddha Shakyamuni’s dharma, which the Buddha said, without the lineage will die. Thus the longevity of a sound’s hand dissolves into its legacy of repertoire. Which is not acquisitive, does not form a habit of being. It’s the loin of the habit of the sound. White Bird 403 �3 Can sand laugh? You see sand and then sand’s throat. I mean the lax throat of her death-rattle. Is it a whole throat? Be aware of the whole throat. Take the climate of her throat. Like she could set it on the sill and it would still be her throat. Because things exist, and then exist, and their detritus is left in the mouth of the person. 404 White Bird �I see a photograph of her throat, which is not the actual throat. Where is her throat in the wake of that? (I’m guessing that means after her throat.) Does it learn? you ask. (I’m trying to remember if her throat learned during its lifetime as my mother.) Someone is the location of what once was my mother. (There are pigs, dogs and someone is riding the dog.) It’s the still core of an eye, thus my mother almost. She begins in her heart, like a step ladder of hearts all within one heart. White Bird 405 �A little dog trapes across the edges of a carcass, its spots blowing toward birth. The weight of its space creeps under space. (This is called ‘opening the space gate.’) Her parakeet that died can release itself in space. (She pictures her mother in an agony of space, beyond what she can imagine as being, as if her mother is, somehow, without being.) Take a maximum bird. One feather fills the canyon and its children eat plentifully. BECAUSE FROM TODAY SHE IS NOT DEAD. 406 White Bird �The Bardo Books contents Death 408 Bathing Suit 420 Black 430 Cow 437 Hunt 443 Birth 448 �Death �A man breaks fish. The man mentally smoothes its fins so that they don’t stick out. I’m waiting to be black, he’s saying, but it is food he’s uttering. I can see the food grow in his eyes. Though the black diffusion of fish swims away from the horizon, the fish continue endlessly. I see the fish who is my brother. Its time is pink like mine. We flow in the same yard. The Bardo Books 409 �Maybe my mother is a former fish whose throat was broken by the man. I offer her a word. I lift the word to the level of my forehead. Where’s my death? she is asking. But I think it’s the clairvoyance of my mother, the instant in her dream wandering around her body parts. Once she saw sun draining down a mountain path, like the ridges of a shell, the beauty of a hump on death. 410 The Bardo Books �Before my mother is dead, I begin, but you say, No. ‘before’ is a word. Words are time. Of is its existence. The time of the word, dead (the word), hanging from sky, is an activity that she knows from already having been dead. Time is not skin in which body parts are wrapped, but of ineffable pink flamingo fluff, later, back in the hotel room. The Bardo Books 411 �So there is this dream of a mother somewhere in death. Actually she isn’t dead, but merely spaces I shuffle around. As if a cold steel point is inserted in her with the sense that this is correct, this is good to insert this inside you. It’s the dead person, she thinks. Like a Harlem of her lying on either side of me, but someone says, No! Go to school, as if wherever she is is center but not the center of anything. Then I go, Oh, she’s dead! seeing as before, heavy rice-tassels ripening in the fields. 412 The Bardo Books �* Low sun from above you on lilies, blue flags. She walks a hill and the cool sun is prescient she feels. Like a garden of animals, caribou, birds, rhinoceros soaking, so that the sun emerges in them darkly. Dusk is like a hen absorbing herself into her chickens, she murmurs. The wrinkles of the sun swell on your back and I’m thinking, There’s the sun, but it’s just one of the five poisons. The Bardo Books 413 �A man stands on a hill. Light and birds and leaves dribble from his fingers. Unnnnn, he utters. I am without rivers. I am without a sound that can be replicated. As how light passes through death, like the skin of a bird peeled from its wing. A young bird honks, honk-honk-honk, as if its feathers are a territory, too excavated, almost the whole weather. 414 The Bardo Books �A body melts in sun. A herd melts. A melted herd is called downward directness. Because what is isolated is stopped. Air’s inside is caught. Upward directness stopped is like movement’s absolute inside. A hat might exist, in this sun, like snow in sun or a flower pressing sun. The beauty of the hat is because our world is situated at the heart level of Buddha Immense Ocean Vairochana, a person remarks. The Bardo Books 415 �Sun slips to sea as if air were sea so that within slipping there is existence. Sea is fact. And each sea avuncular like a family structure. I look out to sea and the green ripples wave and a little boat drifts like a concept I can forget about. The splendor of water admits a line of morning light, which could be light repelling its own limit or light irrespective of her sense of limit. 416 The Bardo Books �Somehow a bird slips away from its limits, therefore it exists, like a rainbow or a raindrop. The fusion of a shell touches a current of shells, or like the inside of a wave, if I died, it would be the same as seeing the wave in a mirror. If I look at the sun, slowly, imagining it’s a meadowlark, something is solidified in the tense mind of my hand. A mirror appears to take my hand inside, but I want my hand to be its own inside. The Bardo Books 417 �Which is of time, like being fed time. Taste is in her neck, the city of her body. A dead boy leaves a trail in a house toward the bottom of its body. Like if a peach dies and becomes decipherable, like the inside of my food. Daylight in a voice or the skin of sea is a separate gesture cordoned off as if for that you would have to stand in line. 418 The Bardo Books �I am now a person touched by sea, the motion of sea inside the horse, harvesting the horse. Maybe the artist drew the horse’s shell after it was a horse. The beauty of a horse is forever, you mutter. The scale of a horse inside a man or a man possessed by a dzo pulling a blazing cart of fire—the lines of thought cannot, like a ‘shippei,’ be grasped tightly in one’s fist. If a horse eats sea, it’s sea’s endless rocking land, the climax of one becoming one again, recycling what has never left. The Bardo Books 419 �Bathing Suit �A woman begins, is the value of space, like a child in a pool, shuffling air in which hard wood is air. She breathes through wood, taking sharp quick breaths. I want the soft cloth of children, she’s saying. Her breath has height and the texture of children swimming, new swim, out and out, yet clearly touching the bottom. The mind of wood may rest itself to completion, she murmurs. Wood and air is swimming there, in the space of air filtered through a dark forgotten memory. The Bardo Books 421 �She is complete air. She tucks herself in air, as in the taste of breath, the babysteps of breath. She is anterior to her air and tries to tie air like a ball. Someone gives me a ball and I tie up the ball. I feel certain that I want to tie the ball. She calls it air because it’s there like air, but actually it’s a kind of stupidity. 422 The Bardo Books �Swimming is like a captivity in its body. Every minute in a row I am swimming everywhere and wanting to spend my time swimming swimming swimming. Because death, too, is an integer. I say ‘grass’ and it follows me into longevity. The absence of time, like grass without time, or a lizard in its skin but outside time so that its purity lay in its body. The brain of the sky snaps an instant to its purity because everything perceived is Buddha Vairochana. The Bardo Books 423 �My mind vanishes then. Inside its skin it has its male and female aspects. A pool of mind is a passage of light, raw light, the membrane between the watery part of light. A person flows through wood and is the breath of a swimmer, like two dead people in love. Air in a heart is the same air resting there. 424 The Bardo Books �* A woman walks but she is dead. Her red dress is dead. She is pasted on a page like a paper doll. There is a handbag and hat that can be separately attached, which is how clothing exists if the person is not living. She longs for herself in the stray black bonnet, alone, by the sea, soft as a wave. She takes in sky like a flower sky. If I see you, then see you as if you were an outline, it’s like seeing an avoidance. The Bardo Books 425 �An image of a body has the sweet porous colors of body + ideal body, like the image of a bather standing under sky where sky, a haze of pink, traces itself onto the person’s body. Piercing a bather snuggly wrapped in towel, piercing straight through her body. To be a small body on the underside of the color. A housekeeper of color, someone remarks. (A bird swims in time that has already escaped.) I see the bather’s legs, long and clipped, its posture of mind rooting repetitious shadows. 426 The Bardo Books �The body is a uniform wearing the person. Color leaks out. A painted bather’s body is how light looks like this color. A bather’s cap and suit mark that person. Blue is the form of the feeling of her standing within boards shaped like a skeleton of sky. Boards in sky have a plethora of sky as if it’s sky that’s being constructed. The mark is interior, like the film of an angel disengaging from its body, wrapping itself around a life, saying I am my own angel. The Bardo Books 427 �Opaque light under a bather’s knee, reflecting from its knee, because we’re through the knee, seeing a miasma of lustrous color. As if sky is knee because of the bather and sky’s proximity. A bardo of knee makes time that is a color. (The interval of a knee where red skips to a color.) So a painter paints a shape that is an appearance of time’s color, like a word appears as object and can be the object even in darkened space. 428 The Bardo Books �Sky sheds words. The language of its space harkens toward direction, as if each object has its indigenous essential direction and the painter paints that. The interest in a knee wells up from light, like time plucked from myriad pools of time that whisper, I am that time. Roses are pure gold, their presence sartorial, upright. Scent is cast by their shadow. I sleep myself back to a set point of sky, like a ration of sky, raising the mass of doubt. The Bardo Books 429 �Black �A black bird’s hair flows in the wind as if instinct pursues forward but forward is inside its body. Because ordinary birds cannot implant as an animating principle the non-direction of breath. A black bird lifts. Direction, not sensed, but being in the time of the bird’s body which the is-ness of its nest matches. I know your breath. The vibration now channels through the black part because black-on-black is how its breath is sheltered. The Bardo Books 431 �Sweet water on the bird (the bounteous color of black as a form) dissolves back into its body. High black, like butterflies leaving imprints, in deference to that, which, after disappearance, is what is left. The allure is time, direction underneath itself, falling through wind, gushing through a mountain stream. She stares into a lake. A butterfly drifts on the surface of the water. Its wing is torn and she imagines its life rising briefly above its death before drifting off. 432 The Bardo Books �A body dissolves and there is no memory of its having been undissolving. Like a bird whose hair got swallowed of its color. It is sizeless, jigsawing red, as if red is the surrogate of all possible places. A man taps a bird on the window of its head. He can dissolve without passing away, someone says. Then I am in my body but not captive in my body, because the reflection of my body as a “high” black bird got swallowed up. The Bardo Books 433 �I describe an ideal of bird, a content of mind, like the sharpening of her hair so that she has little vajras of hair. Don’t suck your hair, her mother yells. An ideal of something ripening, a child’s bird near a nobleman’s. I want to put my bird near his so it will learn to sing with the same beautiful voice, the child explains. Her body has a sound and each limb I trace around my leg. Its breath-imprints paint the space of breath-swept thought. Like crammed flowers in a barrel hold together the heart of the person. 434 The Bardo Books �Vajra is extent, no hair the space of being so happy. A mother abides and is in favor of her (as at a baseball game sort of). A wind-stroke of abiding, like the earth on its axis, which as we find out, doesn’t make any difference. To cultivate the awkward eye, the bird’s back eye, under its shoulder sleeping (in the bottom way of a being’s shrill sleep). The circumference of her sleep makes a limit in her body so that she cannot move beyond the elusive space of her body. The Bardo Books 435 �The no-hair of her is exact her, so the mother thinks, I am not her. Then the mother fights. I am her also. Somewhere, like the bird, is why I keep one near me also. Slow words are on its belly. If you crawl under the bird, you see script you can decipher. A lexicon of hair (like a ballet of hair) so that repeatedly we converge on the edge of earth. 436 The Bardo Books �Cow �A woman paints cows in the passionate arena of some easiness in her. She relaxes into cow and paints a full and complete rectangle of color from her own memory. Like a wheelbarrow of cow (red squares may faintly vary according to the grass, which the woman doesn’t paint). The woman paints cows but she is actually painting her mind waving a khata for three seconds at death. 438 The Bardo Books �Of course there is the painting of a blue girl as if the artist’s mother were dead. I too am in deadland. That quickening sense, as if she were a hall. The animals of a person come out. Once I was pure. Now the casing of kittens unfolds on my bed and my mother’s ignorance spills out. If she cooks I am afraid. If she hears I’m in the dynasty. The Bardo Books 439 �Then a bird swoops down, soaring like a vulture. The tail of the bird shines its domino white/red/black. No-cow is cow, cow-time, or the fun of its calf, who is ticklish and laughs. So there’s a double cow, my dead mother’s mind, instead of her having her own. A woman plans her mind but quickly pastes something over it so it is lost. 440 The Bardo Books �The milk-white bird lands on a cow’s head. The coils of the bird are like the value of wind suddenly. The cow sits without breath, skin colored like a tree. The moon could be a boat and the cow jumps over the boat only it is sitting and breathless and there is no water. An old cow moos from below itself upwards. In the gaps of the cow, because the light of the moon makes the cow REAL. The Bardo Books 441 �A brown and white cow grazes on a hill. A common cow merging with the hill, as if it were a shelf holding all of the hill’s karma. The speed of the hill slows. Its eyes are just beginning, you proffer. A dead person becomes permeable. I’m that buttercup! I’m golden in the cow, a clear gold buttercup blossoming in the cow’s stomach. The tenderness of rushes and sweet voice of birds, a broom and bell till all sounds fluff them out. 442 The Bardo Books �Hunt �A songbird steps through sky, absorbs the moor into its shadows. Its woolly bottom carries the number of nights it has been alive. The habit of sky moves in its bones. As how a verb, energetically transcends its sphere of meaning. The chore of it is the meaning. The movement of the land, wet and cold, rubs the man’s limbs. His gun is slack like an intelligence he can’t quite muster. A game bird’s flesh in air absorbs the brother air of his body. As if the bird is hunting his body and knows the use of his body. 444 The Bardo Books �The head of a bird glows. Is it day or the bird? (The motility of its edges seeps through day like water.) Pieces of day. A pigeon moves in its body. If you leave air, there is no air, someone says. Sky bathes air like lineage brought from air. I have a pearl between my tail which can’t cross over the threshold. The wing of the bird drains of its flight as if one’s life is sped up so one can die. The Bardo Books 445 �The beauty of a kill hangs in fog, which is what the man is seeking. He is married to kill still living there. He is in and out of color. Like he could pet the color, whose correlate is nativity. My stumps have knees but my legs cannot hold them. (Plum light weaves through my idea of the sky’s body.) A bird is brush, its gaze a throb. Its blueblack wings dip and slip. 446 The Bardo Books �It feels like decomposition, flesh, rare-pink, a nick in the bird’s wing. The hair of the bird, digested by its mind in the mind of its karmic murderer. Whose bardo may be shot up. I eat sky, then the outcome of its body. (The belly of the bird waddles through flowers.) As if he eats his former mind thus twice-killing the bird and the potential of the bird. A moor fowl in the tentative sense of locale. The Bardo Books 447 �Birth �You are pock-marked like my birth. The wrongdoing of one in a long stream of Indian nobles. As if calamity rode in and no one was there. A war of one or no war being so violent. Like the Church or war-torn hearts afterwards in the alley, the animal’s eyes, dust to what is feral. The press of them, like cups, which is the smell of my birth in them. The Bardo Books 449 �You come like a gust and intimately, where intimate is my finger. Touching you, inside a stone, in the hearth of a house there. Your mind is alluvial. If you roam I see the stubble of water pierce through you like an arrow. A bird hums inside its beauty like the inside of a sound heard only by its bird. 450 The Bardo Books �If a bird arises from time and then the quick shape of something yellow, its gorgeousness is there. A tin of snow is your gift. The idea of immanence, a decoy of a time. The idea moves into other bodies. Cage-birds chirp in the bedroom of a sick person, making their singing esoteric. I count snow as if one, two, three live in the snow, are part of the snow’s paradisical logic. The Bardo Books 451 �Figures in Blue contents Daffodils 453 Eagle 457 Spring 461 Juke Box 465 Fuzz 469 Sprig of Laurel 473 Tulip 477 Tree 481 Thumb 485 Black 489 Cow 493 Meadow 497 �DAFFODILS A woman alone at a large open window gazes at the sky. The soft flesh of her arm folds around a basket. If she is dead, the colors may be alive. Her soft flesh holds a premonition of her, calls its form within the form of its space in sky. She is miming sky with her body. Taming its color, like a double her of color. There is a sense of intense activity in the buildings and neighborhood, so familiar, yet her skin is not that. Figures in Blue 453 �Angst from the street, but what prevails is the face of a person waiting. An agony of light chugs through her body. If she could roll out her body, like make a road of her body, there is the sense of that being all there is. As if her flesh were a habit, a woman stands in sky, catching it in the drape of her dress. 454 Figures in Blue �As she rests in the bare window she is dead. I (am dead) she says. It stands like a point of view. A strip of death is on the woman’s arm. She wants the death eagerly, like time tucked in her arm. On the crest you can just touch death, she feels. She sees an arm (the boundless ordinary nature of her arm) in a gown, in the sky, wrapped in a column of the unsaid. Figures in Blue 455 �Sky like sea, around a woman hugged by sea. A man is a response (like sky and a sea wall). The float of him sinks, then appears on the horizon. I am exempt from sky if I empty myself toward it. The flaccid man’s ribs absorb the thick musculature of her arm. Daffodils range, placated by time, but it is the habit of deep slumber. 456 Figures in Blue �EAGLE An old man sits, quiet like a log. His knees are crossed. Somehow he is stalling, unplaced, like the woods of his head. If he sees age, it is good age he feels. As if time happens twice in the crux of his body. But it waits. The spine of an animal coils in air as it dangles from a limb, sun stroking it nervously. Figures in Blue 457 �The man sees blue in a bulbous core of light. His outline bobs just outside his body. There are animals in his body (the knowing of what locomotes the folds of a man’s body). Sun spalls time. Something is heard but he is dead. Giddy describes the animal climbing out of his eyes. As the animal creeps away, a rising eagle empties (gathers slowly) into his body. 458 Figures in Blue �The eventual empty sky or incremental bardos of sky, as if sky is one continuous living membrane. The ridge of the eagle’s motility in my mind dwarfs its vanishing in clouds. I think I see the contour of its movement (the bird’s flying outside the possibilities of its body). It leans into the land, then drains into sky. As if a boundary included in its disappearance also imprints the bird, sky and the part of sky that’s thought. Figures in Blue 459 �I dream myself to being the majesty of a body, a sphere with an eye as in the self-view of a mental body. I dream myself to a shape that looks like a fresh smell. The sloppiness of birth, if I seek its tail in the crack of myself, whose poison, excrescence, great gelatinous spookiness hang like an old breast on the person. The androgynous bearing of a breast, sagging in day like a normal breast, the normal day of no-day, as if she were a fog leaning over and asking a question. 460 Figures in Blue �SPRING A child peers from the spines of a sapling, tender like soft eyes. A knuckle propping her cheek seems stiff, awkwardly awake in a dark rivet of sun. Now is between joining what is present to one. Light on the blue wall is making the child public, though she is alone, miscible, her feet are alone. To replay time, like a child’s favorite story, has the same soothing sense (her being a rabbit) again. Figures in Blue 461 �The foreclosure of a life being locked into this sky, this orb of seasons and death, such as the spring of sky. If a baby walks in sky, she too is an example of how containers simply amplify karmic structure. Pink flesh makes a covenant. An eye is silk and slips out. The play of a person’s face, in perfect precision with her, drifts in sky like a boat. 462 Figures in Blue �Like she might trip over her body wandering through a scarlet field. If the container formulates from inside, slippage becomes hostile. Spring touches the nonlocation of her ground, the pace of her mind as a shield. There is a string around a mind still situated in her body though no longer biologically seated in her body. Many insects collect there. It is a grieving ground. Figures in Blue 463 �Sometimes the sky looks like ducks and I remember floating on an arrow toward a city. Like time in a foot where sky is the foot. A thinking person’s thoughts die in little clumps. So the impact of the arrow, the brain of the arrow. When it dies its bones and tongue smell of spring as if spring were something made in its body and later revealed by its body. 464 Figures in Blue �JUKE BOX A woman in her doorway looks up. She raises her hand to her hat as her head tilts back. Summer is high. The image of sun fusing with her body such that she becomes the sun, its place in sky resting back toward herself watching. Her feet are bare in high-heeled shoes. Soft folds of her dress stir in a slight breeze. The description is a protection, a barrier placed as a scene. There is tension between herself and the scene. The brim of her hat dips. Its motion is time. There is tension between the time of her hat’s dipping and the time of the sun streaming through sky, creating decrepitation in her body. Figures in Blue 465 �The woman is loose. Her bones move as she rests back on her lungs. The woman breathes in conjunction with her lungs as if everything in her world were contained within a bagpipe. Her body no longer shields her, she feels. She lowers her arm and brushes its skin to remove the tension that has resulted. It is a thick body, like tea leaves or lamb. A body like sweet fruit. She leans against a piano. Her body is not a pianist’s though. 466 Figures in Blue �A woman hungering for her body moves along the edges of her body. She moves it to her heart, toward the belly of its hair. The chaos in a hair, a flank of hair, but the true flank refuses to spread farther than its own body. Sound cuts space bleeding in her bones, tourniquets of sound in her hemline. Being the grandmother of her sound, the great great grandmother of her highest lightest sound, like an unsound, sound with a backbone. Figures in Blue 467 �A moth spreads funerary wings across a fragment of sky. I see her skin (the sound in skin) hovering in its body. Dusk over grass lights a spot on the moth’s wing. There is a dance in her, but she will not know it. She looks away because she sees this. A juke box dissolves, calms into a shuffle, a slow dance of days in which she can be ready. 468 Figures in Blue �FUZZ If you look you see a little fuzz of hair above the head and neck of a blonde woman. She appears to be standing, waiting in a stall, reading a magazine. Her headband clears a space that she inhabits if I think of her. What is the real face? The photograph of someone living, but it is a paper face, double non-living. Is how we wait for our mind to know what we are, the fragrance of a number gone. Figures in Blue 469 �I want to cry when I see her hair, stiff with an idea of a place she might take up. Her skirt is loosely feral. Gravity is a lesion on her. Her laugh I infer from the hair. I live in my hair, she says to you casually, like a caucus of hair opprobriously abusing its own hair. She will relax and be her hair, the spine of each hair. Little hairs on your forearm. 470 Figures in Blue �Sky gathers around her hair. She lifts her hand. Sky crawls under her hand as if it recognizes its mother. Her hand is and always will be the life inside a hand. The belly of the hand is in the woman’s eyes. Time is umbilical, as if her hand suddenly defines my amount, more accurately than my amount. A cop’s black leather hand pushes back night because he knows he can. (He is a shepherd of fire.) Figures in Blue 471 �She passes herself (and her periphery) walking down as if down were handcuffing her. All arrows point down. Night abides making space for its light because night recognizes its same light family. There is a robbery. The lapse of a person (the mulling of its eye) whirring in air a few centimeters off. Night rubs night so that death can carry the sky to the people. 472 Figures in Blue �SPRIG OF LAUREL A woman’s full body in the folds of her soft full body may be a portrait of death. She is looking at sky, loosely alive. The painter paints light so that its breath is exposed in the folds of her t-shirt against her shoulder. Her hair is loose, pushed back behind her hand. It bends in like a child. May I loosely let go of her emaciated hand, like a turkey in flight hangs in sky, loosely falling away from its flying. Figures in Blue 473 �That the painter requires a sprig confuses her. He sticks the sprig into her hand. The gnarled causes of a hand are beginningless, she’s thinking. Air seeks the awareness of her, making a thin film between life. Soft desolation keeps churning against a wall. If I carry my shell up, the image of a bird. Hell is a bird which flickers in and out of being married like that. The room exists partially to mimic a bird flowing, but it leaves a bad color. 474 Figures in Blue �The wait of a woman at the edge of air, sweetly like a wing, swift and awake, so as to sweep the air close in. An image of her heart is showing on its face, which turns inside out so that the heart is holding the face. She smiles the smile of the face as it has appeared both during its growing and later during its samadhi. Even angels have faces in her, she feels. Until is the memory of one—until-when grasses—or how-long grasses is her own memory of one. Figures in Blue 475 �Is there, without the girl, a girl holding a sprig? (I’m wondering if she is simply an old longing.) Like if you die but you don’t, does your feeling for the girl disappear? If air dies but the girl is living, what happens to my feeling if she is Vajrapani? I offer light and smoke to an unassailable space, an aphasia of space, like a belt of space. 476 Figures in Blue �TULIP A woman sits facing light. Sun hits her hands resting on a flowered dress. A long row of windows stand in the dawn quietly. So that we too (that’s our mind). She is not existing in sitting’s aspect. We don’t see her eyes. We infer that she is reading from the texture of her skin. As if her skin is reading. To which her body, she feels, is surrogate. The space is there but not available, which the act of reading addresses. Figures in Blue 477 �The resonance of a reader’s mind coagulates in her earth sign. Earth is time, then making a little bowl of it for her head. As if time were skin, like a family of her body, I want the boy erect, she says. I want him like a card as its colors fold around it. She sees the color of the dead one so that she could be dead again. Autumn is the frame. Red leaves, violet sky, like a chop signing him off. 478 Figures in Blue �Sometimes I hear her death, like lip from behind a word. Words are a prick, prick, prick, thin as air, but some say. No! She’s round like a ball. The word is alive. I speak it by touch. My eyes bulge and my mouth puckers, but I am dead first, she is saying. The lip moves sleepily. In sticky summer like a heavy foot. See, it’s wandering through a vibrant field of flowers! No one arrives, which has the pleasant feeling of continuous sky. Figures in Blue 479 �A moth breaks off sky. It spins around then lands on a blue wall. A marking on its wing trails through its fur. Wind through a hill because of the hill holding a place for it, is how it can be that. Its feathers are broken. Whose long arc of pastness, like the wings of a crane fanning out in space. Death is imposed on blowing branches against a wall, like nearness and life, beauty and wilting tulips. 480 Figures in Blue �TREE A girl lolls on grass in a tutu. The blue ruffle of a violet is the same as sky, she’s thinking. (Blue is not a location but a warmth of pressure around an object.) Gathering rain presses against sky, then falls in squares mirroring the farmland. Tonally it is dark. The musicality of a land (almost neon in the palm) plays a doubly dark magnetic field. The thought of sky, dispersing itself to its own full origin, may be death in its still quiet flush. Figures in Blue 481 �I am older from sky, such as a waltz dovetailing sky. A guardian of sky sprinkles saffron across her body. Appearance quells in patterns against light, the curve of her hip, then flaring and draping over something we can’t see. If she could rest in sky, but she is aggravated. A tuft of cotton sticks out from an ear. A fundament of time is exactly a cigarette, the vagaries of a thumb suddenly weak and drifting. 482 Figures in Blue �The dissepiment may be a tree. Roots are bones, bone to bone in strange woolly clusters. The corpse is alive though. Its tongue is its mind as soon as it wakes up. Mountains of sad trees but one tree lays its limbs out wide, direction carpeled to a simple fruit. A caravan of heads, rolls and rolls of swaddled heads, fades into a bluebird’s call. Figures in Blue 483 �Rain through sky, through the greenery of sky. Fire and rain create a pocket. You are dead. Something in the pocket reaches for you. The spirit just sticks its hand into your body. Then he gives it back. A golden carp of golden bones escapes you, it says. The ache of a tree, like an arabesque of bones, sheds its trace imperceptibly. 484 Figures in Blue �THUMB A woman partially hidden by a wall stands in midday light. She is a rounded person with soft brown skin. A curl falls on her forehead. The fullness of the setting demands a potential connected object so that the image of her doesn’t fragment. A second woman seated facing away eludes space by an unseen motion, the peep of her hat, the beauty of thin leaves layering sky onto the woman standing. Wings of sky make flowers that look like birds, a spire of delicacy inside the person. Figures in Blue 485 �The view of a partially hidden woman is absolutely alive. Someone is jealous. A man shuffles by if he is alone. How light hits air is how the weight of her appearance, a tulip feathering out, a painter paints that, the feather-weight of appearance carried by a woman’s body. A town of women grow in light. If she’s free. (A dab of blue is not freedom though.) The man wears blue but he has not achieved the purity of blue. What is not blue’s purity is like another person. 486 Figures in Blue �I am watching sky and a dark man watching sky. The time of this sky is the non-time of looking. A vast amount of sky may take place inside his belly. If he sneezes it is there like his own twin body. Part of sky is a clear line of intensity but part scatters like sun over a pool. In the lordosis of sky the pulse of his blazing white undershirt refracts such that light stops behind itself inside his belly button. Figures in Blue 487 �A person waits. A brown bare body holds the tension of waiting. Nothing moves except (slightly) his thumb resting on the waist of his jeans. The excursion is in the neck, like sky along his neck. As how the eyes of a bird to a person from a distance form an intimacy one can’t touch. I make pleasant. If he waits for the portion he will ultimately be, like shine in a deep pool or wind in a rabbit’s eyes. I place my heart in some wishbone there. The wishbone pops like time in the dead man. 488 Figures in Blue �BLACK A humpback wearing red fishes in black water. He leans against a tree if it is angled in a cloudless morning. A bird flies out. Pierced hair slithers onto its wing. I am startled by the parity of a simple action by a simple person relatively relaxed, covered by time. The size of time works through day, like fish breathing mud, squirming against day’s barriers. Figures in Blue 489 �Perhaps the artist, as an effigy of death, makes the bird to avoid or ward death off. The bird could be suicide (or way of performing a natural process). Since the wakening of the bird, correlates (empty of the bird) may look like a higher stage of bird. Mountains and rivers are faces with hollow eyes. Stilettos in air hang prettily from blue satin. Clouds are like a string of pearls where one pearl is black and that’s why they’re all there. 490 Figures in Blue �A cloud in the shape of a bird hangs low in evening sky. Its shadow forms a hump. The cloud could be a door swiveling in space, a spark of lavender in grass, only it is black. If black peers from the death of me, I may lose track of its trajectory, confusing it with life, thinking it is my life. A nerve of sky pierces my side so I walk with a limp, which reminds me of a mountain’s breast. Figures in Blue 491 �A painter paints a mountain, shedding the mountain. (Black replaces black in the subtle crevice between himself and what he discards.) If he is where someone lives then. We place ribbons on our mountain and let its water fall out. You can kill a mountain by shutting your eyes or looking at the mountain thinking of your dead mother. No color rises. Orange turns to sand in a country without flowers. 492 Figures in Blue �COW If you throw some earth on a table, the figures in the earth, what is there to be derived, from air, from a spell, like a flavor. There is a geomancy there, taken from the harbor. Immanence in eating, what stands in front of it, so that when something happens, it has already happened also. Also is time. An eater places that against a numerology of color, like the brown wall of the room, which is neither earth nor his dark hand. Figures in Blue 493 �The thought in a wrist and each bare lobe of hand. Yellow is crucial in the gentle unfolding of its earth element. Hunger is the border, divination the table, a context clean of all past expression. I am born each minute that the man eats bread. I place a palm against his brow. My mind is what he digests. If I think of the person, yellow almost becomes the person because my mind and the thing don’t separate. 494 Figures in Blue �An eating man’s neck, free of all justification in him, is a portrait of time swallowing a neck. Electrical swallowing speaks the ache of time in his chewing. I’m reminded of a dog, knocking over cans, scarfing. A neck is a mental neck and the throat swallowing death thinks that it is still lunching. A petunia taking birth near a cow means that the teller (time) will definitely complete the yugas, it rambles. Figures in Blue 495 �A cow wearing red is gliding toward rebirth. Its mind is a plum that it sucks while they tear up its body. He draws the cow down into his body so it can rest and finally sleep within his body. Like if snow were food, the sense of miles and miles of snow. Still, the person’s throat has not even a particle of snow in it. If snow were crafted in earth with it in mind instead of sourcing it from sky (like the pair of lovers floating in sky with death in mind). 496 Figures in Blue �MEADOW A face in the light of you, which is dusk or early morning. Wind in hay and the tall anchoring of a blanket, as if her hair were the blanket. A cat bays in the moon whose face appears in the light of you. Dew is thick. The loosening of its weight holds an even placement of view. Arms and hair curve like grass in the exact amount of their sleeves. Figures in Blue 497 �Acres of red born in the same sky. A man watches light stretch and thin across the hay bundles. To comb a flame, his face against her hair. Aghast is what abides beyond the scope of shape. Shape is space in its aspect of brilliance, her face through shifting breeze brushing hair over shadows. The waist of a scene expands beyond its boundaries so that meadow convexes anterior to sky, like a bulge in sky, as if it were dead. 498 Figures in Blue �The eye of the painter focusing on a meadow is how my mind wants the space of its real dead body. They want it to be kinship, we two together, but in fact it is a splurge of shape (the potential shape of sky). Someone paints night, space consecutive with darkness, as if one space is more dead. Death is space whose appearance results from space, unbridled in the soft of low, emergent face on stone. Figures in Blue 499 �Night releases to I as an object. A winterland of limbs. (The winter of her body is this very body dead.) As if sky were alone a century beforehand. The sound, heavy through night, retains its weight in light. I locate you back to the outreaches of sky. Low slow land is a transparency in her body. Prehistoric quiet covers up day like a sheet. 500 Figures in Blue �The Twelve Nidānas note Nidāna (Pali/Sanskrit): “cause, foundation, source, origin.” The twelve nidānas are an application of the Buddhist concept of dependent origination. They identify the origin of suffering to be ignorance. �I A man’s hand in the midst of him, a simple expression of earth, the junction of red earth in lieu of something indeterminable in the person. The anthem of his hand, the flesh of his dark hand, as in the blood of someone you know. The attention of a leaf presses itself outwards. How many lights pierce through the clouds achieving themselves in its bit of space. A tattoo of leaves touches his head lightly, like an angel’s hand anointing his crown, passing on the light of him. 502 The Twelve Nidānas �A man may be carrying the images of an angel’s body, the division of light being the tilt of an angel’s body. He is wanting the complete light, the sense of arising trapped in the angel’s body. A concentration toward okay between what is presented to one, some subtlety coming to one. Like an absence that one carries, light vanishes light, innocuous space beyond what one recalls. The Twelve Nidānas 503 �The shadows of two people make a darkness in a field indistinguishable from the two people. As how a silhouette of space, imaging the angel’s dark form, as if his hand in pledge behind the eyesocket were internalized. His image of him, whether his angel is dark, a dark dark angel as a transparency on his desire. A filigree of space tips alluringly upwards as if it were imaging his own guts and belly. 504 The Twelve Nidānas �Maybe he were a queen then. Maybe so many queens in a reality that is fed queens. The city is an outbreath, a dark fabric of sky, as if sky were the angel’s eyes. A cat gets up, walks slowly over to sky, intuiting a sky that simply dissolves into a cat’s body. In the congregate of moving, dawn dissolves to sky, what holds between his feeling and a cityscape of sky. The Twelve Nidānas 505 �II The sky bleeds dark and lucent from its writing. A calf is clearly struggling. The absorption of a star, a linguistic signal, allows the sky to dangle there. Elements are like memory and function as a support. Earth is easy, though it moves to the ground and vanishes. Her mind pours light on a stalk-still bird and it stays still, then moves to the ground and vanishes. 506 The Twelve Nidānas �Something in the calf holds hostage as a fight, like war in its family that has descended in its body. She sees calf, the procession of a body. It is a baby engrossed in a footprint so its head is down. Leaving one guessing. Is this real? Is this a fact? Repetition is and is part of the calf. (I am feeling its feeling deep in my armpit.) Repetitive, not an irreducible spacing, is easily closed off, like dreaming or forgetting that in fact you are a calf. The Twelve Nidānas 507 �If she promises to be her eyes, the extension into space, not the calf but the contiguous motion of its body. Because the partial mind of seeing (the invisibleinclusive eye) binds what’s unavailable to what you see. Touch without touch, action without action. a feather-light eye touches the world back, like her death or above zero (if she were a lamb climbing out of her eyes). I seal space, closing my eyes lightly, touching things lightly, because my eyes touch and are touched and this has become onerous. 508 The Twelve Nidānas �What if seeing and touching were not simultaneous, that having seen, the product of your seeing does not come back to you? If time boycotts time and falls to clear seeing, its ersatz life exposed? Pairs of eyes peer through the dark, not seeing something but just the consciousness, knowing knowing seeing. Like you could skip seeing and just be seeing because the past of an eye comes from everywhere. The Twelve Nidānas 509 �III I walk through trees, a series of squat willows, and see the space between the willows as time. Because it’s not the space, it’s the emptiness of mind (whose energy is grounded to its darkest possible color). Taking birth beneath a tree, I want to feel my longing for the tree, my deep thought of you in its disentangled precision of stillness. One bends, taking its time, a full earth of time. How do I wander into its leaf? 510 The Twelve Nidānas �Merely touching earth, gently touching the awareness of earth, like the beginning of day in earth. Leaves stretch to sun, the full breath of sun, but I am left gasping. My reference point is fading. The underleaf is blank. But blank itself catches me in a kind of double-take. A gap exists but she refuses to see it, which is a third sort of fuging, like the darkly yellow on the leaf ’s bottom. The Twelve Nidānas 511 �That yellow cala lily, earth and earth-consecutivewith-darkness, a coincidence of blood and dark and color, such a yellow, heavy and unknown. Indexed to light, this card of light folds around the sleeve of your body. We take shelter in abyss, which looks like a color, magenta calligraphed in a cala lily’s cup, deep in the cup, its fire. Color filters light is not the net color that the cala lily tells by way of its earth sign. 512 The Twelve Nidānas �IV Night is her skin, its pleats the quiet fold of her. Background and foreground are the memory of a skin wearing dynasties of her. A bird touches night and her skin moves as if it were tied to this. As if a mass accumulates in a narrative of space. Now preserves as a robin opening out of its capacity in me. I want to pet it. I want to cry. The intimacy of a word before it is a word, so that it’s now, in the interval, wears its own full body. The Twelve Nidānas 513 �How many tiers live in a word and the hues of the tiers in the space of the word’s awareness. I, the word, in the space of my form, imaging my form, like a lion in its death throes. I swallow you and emergence in a word. (The word’s shape is how death looks like this image.) A cold press of wind through a word’s tired body could be hell or a word separate from its word. 514 The Twelve Nidānas �To feel into a word, which may be neutral, but may be like an animal who gets the word, as if the word were a lesion in its body. The lesion could be freedom because a word has no location, like a break in the hills. (Mostly our words are skeletons of themselves.) One senses the transparent quality of its body, an unchangeable power that runs alongside its body. I am a word. I am the ultimate fearless word, beauty or sky so that there is nothing in the way. The Twelve Nidānas 515 �A word lands on her cheeks. Unspeakable is the word. Unspeakable is the crutch, the cane of the word, the transparency of the word that relates to her as a body. As how several letters cast a sense of time, like a painting casts depth, which is the image of death in a room. Then the dream of the word amalgamates. First there’s sky, then the full comportment of a body. Sky-swaddled words catch the light of death. I want to believe each word, like pray to the word, because you want to believe in its denial, forgiveness, everything. 516 The Twelve Nidānas �A word lay in snow. If you lift the snow and suspend your idea of the possible, it’s like space linking space to all constellations of that word. The sheer resplendence of a word, as how the daughter of a word, a whole lineage pouring out from its god-father. A child picks up a word. It’s the enjoyment of the word, the shape of all commodious expressions that the mind living in that word carries. In a tapestry of texts, I am in the moment of one, as if I had gone to sleep. The Twelve Nidānas 517 �V I juxtapose pink with weather, seeing color emerge from shape. Pink constellates to a pig’s body. Pink’s trajectory, inclusive of pig, breeds pink into a legacy, but the real pink transmits its pinkness to the pig. The pig looks pink because it’s lost track of the possibility of being made vivid. (A rose is a rose is a rose brilliantly demonstrates the part of a rose that’s impossible.) It burns a background to itself. A tenderness comes out. That’s the leap, the already-known, like a rose seed. 518 The Twelve Nidānas �Yes is a style. I grow an extra bone. Here is my bone, which makes me happy. Its yes is and always has existed. But if I misuse it, if now, seeing my bone, I make use of it in a negative sense, which is vivid, even shocking because I carry my own style in them. You are involved with a style of being, relating your experience with a perception of your experience, e.g., crazy-shell pink, but pink reduces itself to nothing. The Twelve Nidānas 519 �I am a limb braced on a trapeze, but I am an ostrich dreaming with my eyes shut. If the pink is “swimmy” (it almost makes me cry—I could dwell on something that could happen). The forefather of a dream may be jealous and hoard the dream. (I am again that bird, rosy plumage taut, ribs holding my scrawny body, which is an extremely crowded situation.) What swims around the dream comes back. Me and my projections are put into a bag and I push as hard as I can. 520 The Twelve Nidānas �I am trying to fit into one particular bag, which becomes my limbs, a confabulation of infinity. Essence doesn’t flee. Essence stays with being. Time puffs itself into a thing, like saturation, which can resemble a pink color. As how the consumption of time will alleviate time’s stoppage to the degree that the person feels time’s stoppage. How is style, toggling illusory and dream, instead of coming across the material of a dream, offering it space because terror needs space. The Twelve Nidānas 521 �VI A teller’s face recedes. Silver bars entrap his shoulder, tie and shirt collar. If you search for his face, but it’s the no-search that finds his face. How much does it cost to find his face? (Now I am a slim finder of his face.) He passes me money. His hand does not touch the bills that I receive because relinquishing receiving, I just take the money. The transaction questions presence. If I arrive on both sides of receiving, everything disappears. 522 The Twelve Nidānas �One face of no face moving casually like a normal face. (Though the man is naked, his face seems even more naked.) Because energy needs a context of definite, specific events. If you are handless, there is still the environment of hands, like a throat of hands about to swallow your body. His shirtsleeve is hiked exposing a man’s wrist, vulnerable, droopy, as if the man’s energy floods into his hand, skipping the wrist, which could be the wrist of a different man. The flesh is white. Cold light yields a sting of hours, time defined, no long upright. The Twelve Nidānas 523 �The essence of its white is like a king wearing a hand. (That the king is wearing a hand depends on the viewpoint of the person.) A symbol of white spreads across the palm, a legacy of wind, like air that is yours. Something begins, is loosely held in one’s body, casting a sense of depth (as if its symbol is one’s body). A glove on my cupped hand cradles my lung, anchoring to the extreme, up and up to the hand that is so extreme. 524 The Twelve Nidānas �It’s how image and matter falter. Mother and child meet but the mother’s mind does not meet. You can see this in her hand, ring finger lax, then the laxing itself takes on existence. First sky, the fatty mound of a thumb, then figures topped by shapes inferred to have existence because sky undeniably has existence. A person’s hand is how sky looks like this body, which is so sad but is not her hand. The Twelve Nidānas 525 �VII A woman’s mind is young. It kneels like a child at bedtime. At the breathline of her wash she makes a path. As if a host is sketching the scene in white, the choicelessness of white, which is why it is so alive. One two three childs-of-her-skin hang from the edges, yes, and in them is the color yes. In her skin there is washing and the taste of white as in the climax of living now. 526 The Twelve Nidānas �About the logic of white, as soon as you say white, whose living experience can only come from space, she adds passively. The painter paints white as a form of disappearance sourced from the white that is her. So that nothing is derived, like the five kinds of eyes or a woman’s clothes that can only be cleaned by fire. The washerwoman looks down. Down is a color as she sits with her body because how many of us sit, actually sit down in our own body. The Twelve Nidānas 527 �Someone leaves. A panel of white looks like a cap and she is confused. It could be a bird with a beach plastered on it, the only spot the deepest bottom of her pupil. If I throw whiteness on the bird, like a piece of paper can be a bird. I touch white out but its geometry blurs, without guile (in its own nature) between what is so fervent. 528 The Twelve Nidānas �VIII I wake before dawn and feel the emptiness of blue in my body. The country smells blue and little sprouts push from the earth. Blue light through hills absorbs into space, dismantling wind, coloring distant swallows. Blue may be light but boiled down to the earth of light so that even its image rides on a tiger. The Twelve Nidānas 529 �The quivering of earth vanishes with night. Blue is a response in its flimsy filmy costume. Such sweet blue, the nalo of blueness, I mimic. As if a cloud, like Dombipa, in a practicum of itself, throws the skull of itself to the place of its future self. The ground where it lands becomes frozen in the wake of how much blue is possible. A lizard-imitating-a-stone, a flower in natural connate sky, as if blue, sprung with the blue of sky, confabulates through beings to the absolute blue of sky. 530 The Twelve Nidānas �As if sound were blue and what sound touches also (inevitably) releases the sound of blue’s body. I live in this ground, a person says, who keeps the mountain close. Release is not into. His body along with a dimple in the meadow, in plentitude of them and what follows from blue’s generosity. I hear its song in the flakes falling downward but its echo is up and the time of the song even higher up. The Twelve Nidānas 531 �The sound of a mountain is soft, like a flock gathering inward. (The continual motion of the flock even down to its belly.) Each relaxed posture would be all the positive postures that the flock would be able to express. Sun kneads light into a sound of relating to light, tonsure-snow in sky as it washes over the vastness. I feel susceptible to snow as if I am snow, sun rising over snow, refusing to go to sleep now. 532 The Twelve Nidānas �IX A man has himself crafted in day, as if his monasticism lay into precise day. He stumbles upon himself, sniff sniff in day, which is not particularly intelligent, but which is following his body’s refusal. I won’t be day, he says. No! for him is moving ahead, as if a man is sculpted to the precise mind of who he will turn out to be. As if his man precedes his infant and the sound of that cry is so very stunning. The Twelve Nidānas 533 �The man in the shape of a bird, his perch against sky, is a large space inside me. Like a bean grows and there is sky (the imprimatur of sky) leaving only the action. If he weren’t sky, ’cause the elements are really deities, if he weren’t a rim of sky hungering for a space to be. Seeing beyond the man, flashing back but still beyond the man, seeing a bird whose profile appears to be part of the sky. 534 The Twelve Nidānas �When a man is a bird, the left of him shutters and he hides a little. Then the conviction of no, its dead-on precision of place. No is accurate, its discipline is accurate, the precision of reverent so solid and solemn. No-sky shatters the upaya of mortality, what forms in one’s mind, like lace on a tree. Will the man topple? He hovers on a ledge. A thick sinuous rope hugs the caliber of who he will be there. The Twelve Nidānas 535 �X Devotees mingle among bolts and bolts of fabric as if in this course they are studying water as all elements, but not sex. Ears are exclusive of sex. She lays in a room worrying if her water is enough. Exclusive looks like branches of a tree. She becomes the fabric wildly and coils and how many bolts will fill the bottom of her underworld. Joy abides in the flooding of the fields, in the bones of her voice (having metabolized her voice). 536 The Twelve Nidānas �The person says no, he doesn’t want sex with her, which she feels in her ears, water on people’s doorsteps. Seeing the water hearing, as if that’s the that of the first stage. A ritual vase holds the cup of your essential water, which is your dead poured slowly but sounding like a roar because you’re dead. As if one’s mind, replete with death’s form, like when can an animal convene if everything violet embodies a just-broken crucifix. The Twelve Nidānas 537 �A consort of energy maps intelligence onto place, like death is a place and she dances on the place. The place is dead yet searches in itself for a feeling. Dancing on a corpse, holding the mace of a baby’s body (what prevails between dead and the clean air of its body). Jumpstarting dead, regarding oneself as dead. Watching myself leap right into her. 538 The Twelve Nidānas �XI A carousel of birds raises a curtain with its beak and I pop out. (It’s a charm on my mother’s charm bracelet.) Rhinestones on her sweater are flecks of light shaped like birds whose fingers touch the bottom of the sea. An imprint of the bird remains in the sea. All animals and beings are the size of the sea, she is telling me. Lightly, lightly, like froth on sea, we lay our footprints out over the land. The Twelve Nidānas 539 �As if a bird becomes a bird first inside its own belly. The ease of its float, so hospitable and safe. Such nakedness stalks the nothingness of space. The flight exists and then the bird. First, if he is perched, as if a wrong thing will be completed in him. (The grip is what’s completed, that it has already happened.) Like the gait of a bird whose shape scatters. I see the songs instead of hearing them suddenly. One sings. One sings. Thus he is above himself, explicating what may slip away. 540 The Twelve Nidānas �The logic of a bird is the same as winter sky. Look straight into its eyes and it becomes invisible. What’s this math that makes a double bird but the bird is there anyway pecking at the icicles. I live in a cave and you can’t inherit it. Birds make my cave legible. Its snow runs wild (which is how the bird can remain quite healthy). The Twelve Nidānas 541 �Were it a bird or cloud in the shape of a bird, a place in sky repelling its illusion in space. Were I snow falling on birds’ wings, am I in its song, esoteric. Aloneness is there despite the bird trembling. You can feel it in its space, what he cannot sing to you. The bird and I are brothers. Our song is the same. Throw a spearhead and it’s the same. It will always become a flower. 542 The Twelve Nidānas �XII A tendency to real occurrence turns into space. A person is space. He is white, having been consumed by fire ravenously. His eyes lay on his face, like the words of his face (what would be taken from me manually in abutment to my suicide). The awareness is itself but also the source. Its seriality in space follows death along the trail of its body. That space between I and willing to die, that streak of I, like the nature of the real person habituated to I, but not definite, slightly fishy. The Twelve Nidānas 543 �If she thinks about the man or remembers thinking him into experience, a shift occurs, invisible yet definitive, who she is, which is so real. Because his skin is night now. A skin of wanting peering at a body, a locale. He separates from time as his swishy body folds, not physically (he is still groping) but the grope looks like a river. He gropes like a person in the slow motion of a dream, more and more till it is no longer slow, but some preternatural sub-slow, a mirror image of slow’s interior. 544 The Twelve Nidānas �The man’s death appears violent because the man himself is violent, but it is just death. Being a natural pause between death and its appearance. I no longer wish for omission, a map of space swallowed by some organic, mechanical process. The line between impression and breath, awareness and space, digs into space, mixing mind with space. The Twelve Nidānas 545 �Mingling the Threefold Sky contents White 547 Yellow 551 Red 560 Green 567 Blue 573 �WHITE A man in the dark is a dark man. He calls me from inside the dark water. That I recognize him in the night without waking is a growing urge of mind. And then the man appears. I gradually orient toward the man. The tremulous multiplicity of pause, as if dark is pause, an umbrella of veins puffing and dissolving. Mingling the Threefold Sky 547 �It senses her and stops. She orients towards the stopping like the possibility of a person who would be out of darkness. The stop repeals its form like a word repeals the sensation of something, the commission of a sound that holds the language of a word. Sound fills the cavity and she is there pressing. I am practicing the word through its darkest cubits of blackness. O sister word! Hold insouciance to any word and you have the word resolved even of the idea of word. 548 Mingling the Threefold Sky �The man holds the word in the space of himself, in a word made ready for itself. Such that time is rescued out of her, the long day of time. I am a thin bone of light, like a duck of light to nothing. The floor of the word, the long trouble of the word. (She feels from the word a certain mastery of negation.) I will live in the word. If its boundary is something produced by the word. Mingling the Threefold Sky 549 �She tries to feel her floor, but she is thinking about a cavity, something fluid like a worm and she wants to say the worm. A moan is a moan and where can it reside if not on her floor, the speech body of that word. She jerks it up but trips so that she is the floor and the glue and the shame. I have a habit of glue, she confesses. A flame of everything sears into shape, which is not the word, but the colorless basis of its Pure Land. 550 Mingling the Threefold Sky �Y E L L OW A vein of sun hits a woman’s cheek. What is her face, she wonders, a blush of cheek beneath the long hair of her goldenness. How sunlight fills the sky is how the mind myelenates appearances to her. Whose milt is on the edges. It stands in front of sky such that all she sees is sky. The absolute knowing of sky, weather and sky, like a prerogative that’s said against which she may stroke her child. Mingling the Threefold Sky 551 �Though she sits facing away, as if it is in her, one feels the age of this away as her. The painter paints time locked away from its material, like her own personal face exiled from her face. As if away without location is the real time, the real completion, a recrement of sky, the other loneliness of sky. Rangjung dorge’s face. Its light is not what is in me that way. 552 Mingling the Threefold Sky �As the moon releases into sky, shedding yellow back to sky, you see a person’s face deep in the heart of the eye of one. Day walks out of day losing track of its intelligence, the part of day held back from day or the end of his life which is so heartbreaking. Sound at a distance extends from in front of him. The arc of his face leaks into shape. The space between her face, the moon’s display of face. (The features of her belie her apparent face.) Mingling the Threefold Sky 553 �* The color of day, two figures in a plain, as if two were possible outside of itself as a number. As if day were a point dabbed like paint onto the brief cortex of togetherness. A pattern of her in yellow, such that she too, though he, the he of how they came to be here forever. Where clouds are yellow and birds are yellow, a double portrait of her, which is them as who she is. 554 Mingling the Threefold Sky �It’s like these two things, the way light throws itself over land, them as a pulse, a stream of apposite colors. The metaphysics of grey within a yellow space, or closeness, the duo of her body coming to be the grey. For this she’d received an empowerment. A doleful space of air. A prosody of air. The belly of the mind leaks the containment of them, as how the painter lifts the them of them and simply puts it on a piece of paper. Mingling the Threefold Sky 555 �Waiting is the movement. Waiting is not resting because the aspect of pair, a person’s hat of hair, the tip of the world at the edge of his hair. The man is not. He is thinking about something else. His hat facing light holds the tension of his being there. The skirl of light obscures to fading light. A vague sense of waiting hangs over his elbow. Now he is home listening to its softness as if inside me I have finally found my bedfellow. 556 Mingling the Threefold Sky �* The fold of a tree over light on a road, if she is in the road, the sense that she would be there anyway. An old live tree, like the life of someone screaming, is the language of the tree pushed outside its form. What colors grow untouched in her, her and her, what she sees on the Paris streets. Old registers hard even in a bit of shade. Mingling the Threefold Sky 557 �What is it in a tree that seems to be erased, as if emotion were space, and the subtlety that is part of the tree, the great washing over of space. The way time holds light on the inside of her which is how color organizes itself toward a person. It makes me question whether sky is the same since movement is not limited (I begin to see sky as limited). Fifty three skies settle in my backyard may simply be sky pouring out sky. 558 Mingling the Threefold Sky �The painter’s mind meets tree and recognizes where there should be a tree but it seems like a real tree. Tree is how time rests back on its own mind. Because trees need repeatability. Its eye is that prostration. I will catch my eye in the rigpa of her eye. Sacraments repeat in the full verse of eyes, the laying on of an eye, a closed eye or even an eye asleep. Mingling the Threefold Sky 559 �RED Someone paints a dream thinking it is the person, cuts out the dream and the dream becomes its word. Now the person will know and his word will have the letters of an eastern province. He is tied to this loosely as if beyond the chance of knowing, a bodice of time (angling loosely) down the crevice of his back, loosely. A man in a horn makes a home for himself in the horn such that the space in the horn opens to the vast expanse of his own mudra. 560 Mingling the Threefold Sky �Looking east into space as it pales into sky, he is hearing her painting her but not from the source of her hearing him hear her. A rattle, disassembled by his mind, appears at the flounce of her skirt-line. Can’t also. Can’t relates to time as an index. Can I fit? If I were who I am? The equation nags a memory. What is the equation for the mind outside the time, the Sugata of time, each tissue of time. Mingling the Threefold Sky 561 �The sound and the struggle to receive it in his body, like its bloodtype is wrong for a person with his body. It’s a situation of her blood becoming ready to be her blood, after the pogrom, after the sea. Actually red is Word. Shtetl is the adjective. Can’t is not east, nor made from the red of tongues. What translates from the sea (because her ankles hold the sea) now able to be a sea, steadying up the sea. 562 Mingling the Threefold Sky �The fib of the girl groping through herself, because real hearing is just itself, cheap like the wrong mother. I am swimming for ten minutes, cries the Ocean God’s one-eyed children. Though the habit of time makes red seem almost hollow, the dakinis say, no, please, our joy is red. Outside blessing there is no red. I tear up. I realize who she is in the sconce of her red body, like an offering to sky or how the dark sea holds up sky. Mingling the Threefold Sky 563 �The intimacy of red is like hearing the sound of your birth. Or the birth of red, like at Yale where red is a park. What pertains outside of what we think of as a color (if red were a smell and we put it in a jar, and someone opens the jar). If sound is red, coming to synthesis in a word, the word lifts off its word, the clarity of mind raised to the red of the word. 564 Mingling the Threefold Sky �Her body is red and her penis, also, is a thick red. Like you could vacuum red into your hand let’s say. Fucking red, sliding her hand up the thick course of all procreations of red fathers. HOW-at-large is how the mother dissolves. She clothes the bars that tie her land to red. Mingling the Threefold Sky 565 �Breaking back the skin of its tip, some say it’s the cut itself, the brave cut of red in the hollow of its mind. The mind of red cusses red, backwards toward the front of its tongue. The lungs of the sea are hollow of devotion. One keeps its body close like a vajra “dick” of red’s secret body. Tongue, mouth, body are as if painted red, but gushingly so that the green of red, the deep soft of green’s pure body becomes red’s Luscious Body. 566 Mingling the Threefold Sky �GREEN I look out on a hill. It is bald with exuberance of old decaying objects. A shallow hill and sense of day dissolving is a lateral memory of time. A shrub is alive, its decay is alive. The slope of the hill may not be selected into finitudes. In a cycle of empty light, no birds land. Mingling the Threefold Sky 567 �I see a house of rolling hills as if the hills had taken refuge but had not taken a vow of refuge. Hills and hills of bedding in light, the taking of light, the laying down of light. The observance of the vow is definitely green, though below the ground dark movement churns, as if the spirits of light are upset. A pretense of green, which is unfortunate, like the mistress of the beds whose greens purvey a chakra that can’t settle. 568 Mingling the Threefold Sky �The engine of green is continuous, she says. (You are sitting in a room watching a broadcast on a small screen near the ceiling.) Many people are there, like a corporation of there (the sense of there is inside them, which they now realize). Their ribcages have come ajar, but instantaneously and with conviction, like This ajar is final. As a woman teems into the room, what stands as her own body. Mind implodes its fulfillment body. Mingling the Threefold Sky 569 �* Windows play to light and glass and hair and pointing, but the heel of the point is old and its green is old. Sucking green, like at night when she sucks the hell out of her body. Her form stands inside the essence of her body, a symbol of space like a letter that stands for space. The dawning of an arm through a glass of green, a species of pirouette on the point of her final green. 570 Mingling the Threefold Sky �She feels stuck in the glass, both sensing its meaning, but like a dream, sensing a peripheral lurking falseness. In the wild of glass, how can I be born in so much glass? (The rectitude of her sash has long been known by the girl.) Anything formed loses nascence, someone cries. Crystal becomes a deity, rice a snake lashing about as a protector. Movement has stopped but the agony of time, a dancer stands in the glass of her toe shoe’s time, like an asana of time. Mingling the Threefold Sky 571 �The still of a dancer’s back, if it is of movement, is not an image of my feeling. Because there needs to be green. That’s the mandala inside my whole body. The nuance of the color will convene in me. Its word is laid in me. Quiet morning light brings a bowl of it to her forehead. Day is her support, the first position of mind, a turn-out of mind so that day may grow long. 572 Mingling the Threefold Sky �B LU E A paradigm of phrase, such as a woman bending, whether it be evening or fall, in the slow motion of bending toward something. The awareness is in her neck and gentle down of softness as if the profile of her face faces a separate direction from her face. As if her face stands beside its own absolute loveliness, revealed in down whose axis is not the axis of the intelligence of her body. Her body sits down in the weight of a person’s shell whose full curving masses become, some say, the racial quality of the shell. Mingling the Threefold Sky 573 �Race is blue as in the catching of a mind, a shallow remainder of mind deep in its inheritance. Whose dristi settles, both in herself, if her mind spreads to his through her body. That a dristi can be queen combines a long history of sewing, how her character can stop (though the motion of bending does not stop). As a painter paints the lack of occurrence of mind, she goes in which is instantly the real mind. 574 Mingling the Threefold Sky �Am is the assessment. (I am new, clean as sky.) Because boredom is open and joy is open, like if I am a bird and then tomorrow the intervening presence of myself. Whose scent is in the tukdam. The bird grows small but she is dead. The awareness is there and the vicinity, too, holds the bird. Mingling the Threefold Sky 575 �She’s a shot bird. (Shot is a value.) I am in the purview of tenderness, she’s crying. I am a broken bird. I am raped and then I am a bird again. Is heard through a clearing, but it is just the bird and she shines its light so prettily like the repeated sequence of a waterfall. 576 Mingling the Threefold Sky �* Here is night and death lies bleeding, the deepest black of light at the edge of a sparrow’s forehead. Its dark internal quest pushes toward what is exact in him, to say a state of dark at the bottom of his pillow. And there’s something else that I can’t remember, a holocaust of birds being the blackness of pale color. The space of black is the barren essence of a color, like pain or his mind that we can no longer say is a color. Mingling the Threefold Sky 577 �Blackness is alive, palpable in an accused person. A guard senses it trembling. The black of an iris makes black out of light. It’s the kingdom of black blowing black across the fields. What is this word, like a domino of air, which they cannot know, cannot take. Light enters through its scales. We welcome you into air, they say, but they have no idea of air, they are just saying air. 578 Mingling the Threefold Sky �The guard sees a scale and says this is the scale. Its stillness is black and its water is black. Like a bodice of death is effluvial and lightly striated colors. Said and its air that comes to him from somewhere. Saraha is the name of one, whose arrows have the thickness of one. Is pierced in my hair (or half of hair) excoriates the poverty of its word. Mingling the Threefold Sky 579 �He sees the mind in the word as a sudden realization, not just the vision but as a particular situation. Like time exists in time, but due to the power of infinity of ordinary errors stays fully dissolved in confusion. Past doesn’t exist, the guard repeats. (The struggle to extort a sense of how exist can be.) The blue motion of a star, the torture of the star. In the ash of it is a word, but not conceived, as in the slow fingernails of his father. 580 Mingling the Threefold Sky �* Blue land falls to dusk before dusk falls, like a taste that opens in your heart. A wind of blue settles with sky as it fades over the land. A gum-tree is quiet. Air absorbs its light. As if a penny were dead, slow in slow night. The slow vase and touch of winter. Mingling the Threefold Sky 581 �His view of mud in the full jelly of the land, blue or black as he calls to her primitively. Shadows of time pour out their place so as to not encounter anything. Shapes at a distance may be sky making arcs, a vagina aroused to sky and open to sky’s subtleties. Blue is space. Dusk is source. In a lapse of wind, the skin of rain hovering, a word that has departed. 582 Mingling the Threefold Sky �Lust in the wet land. (I fish into my mind.) Mud in particular stands beside each light particle differently. Night is light. Night is so light. If you touch it it turns into memory. He stares into blue as it softens into not blue, making distance from elaborations of blue-on-blue, blue-on-not-blue. Mingling the Threefold Sky 583 �Dusk in a hill dissolves into a cow, visible but indistinguishable, like consciousness. The cow has an umbrella. The dakinis are playing their drums, people say. A rainbow is the deities welcoming the cow back. The local wisdom deities are so happy to see the cow. The cow allows its happiness to be seen. 584 Mingling the Threefold Sky �late work 2014-2018 Introduction Late work (the poetry I began writing in 2014) addresses a different part of the brain than my earlier work. The element of space directs itself no longer to wisdom mind but to lesser-exalted areas of the self. That human beings are primarily relational takes on new significance. Formerly silence was in the word and was the word (introverted). Now it is also referential (extroverted). New Year’s Eve listen— snow is falling1 Sensation becomes memory. Pale Sky, p. 10, (page references to the original publication; see bibliography for details). 1 Introduction 585 �What erupts may be from the reptilian brain but may also stem from more highly evolved areas. Meaning extends beyond the word into clusters of words, sentences and remainders after the sentences have passed. The mind of the woman is warm, her sweaters and chickens and all the places on the boat . . . “Hello,” Unn offers. “What?” shouts the woman.2 Meaning finally is useful. Before, it not only was not useful, it obstructed what was useful. Before there was the boat. Now there’s the other shore. The device—thinking you know what it means— becomes authenticated by the text—you do know what it means. She wondered if the fact that things ceased to exist in her meant that they ceased to exist. Does time cease to exist or does it flow Sunny Day, Spring, p. 3. 2 586 Introduction �parallel to what looks like one’s existence? What is one’s existence? What is the relation between time and one’s existence?3 It means what it means to you, but meaning is intended whereas in the earlier work, the flow toward meaning was simply bait. Ezekiel, p. 78. 3 Introduction 587 �from Sunny Day, Spring Unn had been reading. Light from the dawning sky fell upon her book. “The days are such that I hardly need a lamp,” she was thinking when she heard a click. “That would be Töl.” Unn returned to her book and to the deep silence of the day. “Was that Töl?” Aware suddenly of how quiet the house seemed, she paused. “Was that today? Maybe it was yesterday.” Unn tried to remember precisely when she’d heard the lock on the door click, but she couldn’t be sure. She closed her eyes. Recently she’d read­—the article was in the New York Times—a war victim who’d been tortured was being treated for post traumatic stress. Though he’d suffered physical pain, his main symptom­—what was intolerable to him and wouldn’t leave him—was the loss of a sense of time. He simply had no idea of where he was in space, of how much time had passed or how long any activity 588 Sunny Day, Spring �would take. When the therapist slowly said, “Take your time, Sergio, we have plenty of time,” it was as if his sobbing would never stop. Sunny Day, Spring 589 �from Ezekiel “My eyes are watering it’s so cold.” Her cheeks were flushed. He thought he saw them flicker for a second. “It’s just my eyes. Everything else is fine,” she added, blinking rapidly as if the action itself would warm them. “We’re lucky it’s so clear.” Luciano didn’t feel like talking. He was looking at the sky and looking at Ezekiel. Silence filled the air as though the universe were voiceless now. As though a core, a point of reference, had irrevocably been torn away. When it fanned out spreading higher and higher and higher, it left Luciano and Ezekiel in darkness. 590 Ezekiel �from Pale Sky From the first moment I enter the zendo I am changed. The fragrance, the clarity stir a deadness in me that I’ve lugged around and lugged around. I recognize it with my teeth, behind my ears, between my toes, the bottoms of my feet. It is startling and immediate. Pale Sky 591 �The same sense—almost a nostalgia—filters through the air, the grounds, the trees. People talking, jays cawing. It’s just a caw but its rawness makes a point and repeats the point and repeats the point. I’m hearing the empty beginning, before the person or the jay get involved. Even the air rattles with its mind. 592 Pale Sky �The sound is fresh. It stays cool in the heat. Beyond immaculate, its cleanness is original. The wind in the trees is crisper. Leaves are more defined. Colors are subtler as if elsewhere, even elsewhere in the same range of mountains, this feeling is quelled by the lack of an inherited intelligence. The legacy of mind, big mind, Zen mind, establishes the legitimacy, even of the pansies. Pale Sky 593 �Traipsing in my getas down the rain-drenched path, my muscles know precisely the beyond-knowing of its importance. Like a nocturnal bird seeks a safe place to rest during the day in a vacant attic. Chirps and caws sprinkle through the air as dawn hits the trees and pale sky colors the brick wall that I am staring at. It’s this path but it’s the sky and the eon’s sky and the yuga’s sky and all the yugas’ skies. 594 Pale Sky �“O n e . . .” she said mentally, listening to the soft stream of air through her nostrils. “T w o . . .” started at the top while the air was in her nose but the sound, slower now and more nasal, seemed to be coming from her throat. “T h r e e . . .” though the “three” came as an afterthought. The person to her right was leaning forward on his knees trying to fit a third zafu under his buttocks, but the second one kept slipping out making the third one lopsided. Eliza stayed still. Steadying her gaze she continued counting exhales, but her mind went to the day— she’d so wanted to make a personal connection. Pale Sky 595 �“Is there anything I should bring?” She twiddled a strand of hair too tightly around a finger. He yawned with his jaw, without opening his mouth. “You’ll be doing the personal lists.” It wasn’t really an answer. Then he’d simply stood absorbed in looking out. She wished he wouldn’t shift around on his pillows so much. 596 Pale Sky �“This morning early Roshi, peacefully, died. We continue our efforts along with all beings.” The words entered the hall toward the beginning of second period. Silence. More silence. Bristling silence. But it was soft. New Year’s Eve listen— snow is falling Pale Sky 597 �We just sit. It is like something happening in the great sky. To express our way along with all beings—we sit for this and it will always be the same. Whatever kind of bird, the sky doesn’t care. That is the mind transmitted from the Buddha to us. Avalokiteshvara Bodhisattva, practicing deeply Prajña Paramita . . . 598 Pale Sky �from Elm A nighthawk’s cry startled her. As if in response Machie moaned. Her hair, loose now, lay over one cheek and the palm of her hand over that. It was her right hand. The long middle finger reached her jaw. Her other hand fell toward the corner of the bed. It was a child’s hand. Elm 599 �“Take me to bed.” Machie had said it first. The warmth of her, undeveloped, a little skittish, had been unlike the smooth, clean-burning warmth of the woman she was now. Her dark places were warm. Sometimes even now . . . She could be sixteen any minute. 600 Elm �“Can I know you? Will you live?” Once she’d seen a picture of very young Machie in roller skates laughing, arm slung around a boy. But her eyes had looked old. Her laughter somehow stilted. Living old, a child lives out her oldness so that when she comes of age she has the knowledge to be young originally. Elm 601 �A scar on Machie’s shoulder took the shape of violets. Despite the scar the shoulder was young and fresh. Might it be that the scar, the result of her experience, richened the flavor of Machie’s innocence? The scent of a baby came to her. It had the close warm softness of sleep. A faint wild crying from the violets ebbed and rose, ebbed and rose. 602 Elm �The piquant odor of blood, Machie’s menstrual blood, rose from the depths of her slumber. The scent was full with the presence of Machie’s womanliness. “It’s like blood that wants a baby,” Naoko’d once observed, meaning only that it was a rich, good blood. “Don’t say that,” Machie’d smarted. Elm 603 �Along with the smell, pungent yet sweet, was the memory of the smell mixed as it was with their past. “How did you lose your virginity,” Machie’d teased, egging Naoko on with question after question. She looked so new. The undone braid fanned over her mouth. It wore an echo that carried time like the condensed feelings of sadness that made the air crack. 604 Elm �“How many women have you kissed?” Machie had asked and she had asked but they were just sounds to cover the amazement of their passion. Outside there’d been thrushes singing themselves crazy. “Let’s find a less-musical bird,” Machie had joked, rolling out of bed, pulling on her jeans. “Okay, let’s.” But the neighborhood was transfixed. “So how many women have you kissed?” insisted Machie in dazed sobriety. Elm 605 �Lying face up with her legs spread wide, bedding pushed down, Machie slept on. Her head had slid to the far left edge. Lips pursed, the usually broad mouth seemed almost to form a heart, puckered at the center and totally unlike her. Her bones were resting. Even her teeth seemed to be resting. 606 Elm �from Mary’s Eyes i cold and snow. the sound of snow falling. the young novice’s eyes it’s (the) forgiveness that she notices (an old noticing) she feels thinks about Christ. will she marry him. she has already married him (she feels) asks if she is sure [bells sound in the background] figures appear. the clink of plates, spoons, hush of nuns eating the rule of the meal (omitting) the meal the weight of the prioress’s eyes readings turn to time (the word Mary repeated) verse empty of her suddenly Mary’s Eyes 607 �ii a tall girl and her girl (their “astrology” of brotherhood) the eyes of one watching from a second-floor window what the watching girl is thinking versus the couple— walking, carrying books, talking loneliness and time. more loneliness and time “crippled time” she muses opening the sash for a better view as if time and her ribs—as if time stopped her ribs “see” she presses placing a hand on one 608 Mary’s Eyes �interlude alone in an open room water and wind (their) hardness in time wearing out time replaced she feels with time the freshness of wet blows around her lightly [her sense of the sea (awareness) of time (her presence in the room) co-adjacent with time] her dog too on the rug below one eye opening then closing (seemingly) content the sand covering its body and what the sand says about its life the dog’s ear and what the dog is noticing (waiting) for something to end sees the waves of the sea melt into sea its song vanishing to nothing the rhythm of the vanishing repetitive (prayerful) the earth (too) which the sea hears Mary’s Eyes 609 �listens to sea (the sound of the sea breathing) the implacability of sea time its power and its blueness circling her like a tiger the tiger’s immaculate stealth 610 Mary’s Eyes �iv blue late-April sky, sound of waves lashing the girl’s jaw remembering something ungraspable the sea itself ungraspable thin (soft) time which she dreads the coming of harm, ripening and then, moonlit coming to know (coming being its own naked color) “soon” she thinks but it’s vague the upshot of vague like a portion of a color notices sky, a shadow of a tree, the mind of the tree transferred to a form what the form may imply and whether or not she generalizes its significance reads the clothes for clues Mary’s Eyes 611 �sees Jesus in his robes rising a little (bowing) toward her (slightly) sees herself seeing the vivid reality of his form the body of Christ (touching) it with sight (its) aperture and tone with regard to so much happening the event—Jesus rising—and then again rising— “toward her” had been there the first time (she is realizing) as if his life took place (in her mind a lion yawns) [but it’s clapping. someone is bowing to an act seemingly ended the impossibility of blue (since it stands for itself) ending] authority of blue (standing for itself) attentive (to) what we call color which may have taken place previous to time or even in some other time “what is my color before there was color” ransacks blue as if it were light instead 612 Mary’s Eyes �new poems Introduction These poems are written as tanka (Japanese: “short song”). In terms of treatment of subject, tanka resemble the sonnet. Like a sonnet they employ a turn which marks the transition from the examination of an image to the examination of a personal response. Instead of a haiku-like flash of insight, tanka quietly recognize things as they are. Introduction 613 �from City of Sleep It’s quiet outside during the night it rained but it’s quiet I’m alone no one knows my thoughts. 614 City of Sleep �Black clouds through gray pre-dawn sky move forebodingly toward the hills sounds of night linger I want to stay awhile, listen what prevents me I wonder? City of Sleep 615 �Old now, I live in the city: A temple bell wakes me it’s not your bell—you don’t have to move I tell myself as I’m turning over it’s dawn, the sky is pink thank God. 616 City of Sleep �I hear you cough from the other room while you are having breakfast and I think how it could be that you are no longer in the other room— what will I listen to then? City of Sleep 617 �It will die soon anyway I think, snapping it off before anyone sees—thus, because of my rashness . . . o the damage done by my rashness. 618 City of Sleep �Inside me is a ghost of me I saw it yesterday— cold, unwell it had blue eyes. City of Sleep 619 �You and I, sweet bird hang together in this spot you stare out I stare out please don’t forget to return. 620 City of Sleep �Responding to a tanka by Saigyō (1118-1190) Ten Poems for the Lady-in-Waiting of the Second Rank Adding one more to the graves at the foot of Boat Hill, we make you “someone of the past” Your “someone of the past” speaks with such sorrow, Saigyō as for me it won’t be long . . . pray for me in my life to come! City of Sleep 621 �Chronologies A Personal Chronology of External Life Circumstances 1942: Born in St. Louis, Missouri’s Jewish Hospital. 1947-53: Elementary school in University City, a suburb of St. Louis. 1954-57: Hanley Junior High School in University City. 1958-60: University City Senior High School (avid reader, diary writer and aspiring pianist studying with Harold Zabrach). 1960-61: University of Florida, Gainesville (study piano, music history, composition, theory). 1961-62: Hebrew University, Jerusalem (study Hebrew, Torah and piano at the Jerusalem Academy of Music). 1962-64: BA in English at Northwestern University. Receive Ford Foundation Fellowship to study linguistics at the University of Texas at Austin. 622 Chronologies �1964: Choose instead to study Middle English at the University of California, Berkeley; meet Arthur Weiner, fellow graduate student in English and reader for the poet Thom Gunn. 1965: Arthur and I marry. 1966: Receive a secondary teaching credential from U.C. Berkeley. 1966-68: Enjoy teaching high school English at Ygnacio Valley High and Pleasant Hill High; win ”Teacher of the Year” Award from three education faculties (Stanford, Berkeley, San Francisco State). Have a harpsichord built and begin studying harpsichord with a very gifted teacher, Jean Nandi, a student of Gustav Leonhardt. November 1968: Arthur and I separate; I begin sitting zazen at the Berkeley Zendo (part of the San Francisco Zen Center). Summer 1969: Attend Summer Practice Period at Tassajara Zen Mountain Center with Suzuki-roshi. Fall 1969: Move into the Berkeley Zendo; and, encouraged by Jean Nandi, begin a second BA, in music, at UC Berkeley. Chronologies 623 �1971: Move to San Francisco Zen Center and Tassajara Zen Mountain Center in order to practice Zen full-time; ordained a lay disciple of Suzuki-roshi. 1980: Leave Zen Center after eleven years, realizing that my practice needs to be writing.1 I had already abandoned the formal practice of music, consciously dedicating my musical ability to writing, selling my harpsichord and donating the proceeds to purchase a great temple bell, crafted in Japan, for Zen Center. 1980: I move to an apartment on Haight Street and begin writing daily, publishing poems in small literary journals. Become friends with Beau Beausoleil, Leslie Scalapino and Merry Benezra. 1Moon of the Swaying Buds describes how I came to this decision. Through Zen I discover “Yes Practice”: only doing those things I can say Yes to with my whole body and mind. By then, however, “I am through with Zen Center. I need to define my own regime. Zen Center has had it with me anyway. I am told privately that unless my attitude changes, I will not be accepted for Fall Practice Period. Indeed, my attitude has changed but not in the direction that would pique my interest in Fall Practice Period” (Moon of the Swaying Buds, 2017, p.392). 624 Chronologies �1980: At my first poetry reading at Beau Beausoleil’s San Francisco bookstore, Robert Duncan is in attendance and asks, “Would you read that again?” He encourages me to send what I had just read to a new poetry journal, Credences, published by the Poetry Collection at the University at Buffalo. My work appears in the inaugural issue along with poetry by Duncan himself. 1982-1986: Leslie Scalapino arranges for me to move into the apartment next to hers in Berkeley and we give joint poetry readings and visit other poets, including a memorable trip to Albuquerque in 1986 for a reading at the Living Batch Bookstore and to visit one of my favorite poets, Mei-Mei Berssenbrugge. I work as a personal assistant for Billy and Alice Shapiro and begin publishing books of poetry with small, independent presses. 1982-1993: Yoga-based meditation practice with Self Realization Fellowship. I am attracted to this heart-based practice, which complements the mindbased Zen I knew; I especially appreciate that this community, founded by Paramahansa Yogananda in the 1920s, is led by women. Chronologies 625 �1985-1990 Complete MA in Clinical Psychology at John F. Kennedy University; meet Brendan Collins, former Benedictine monk, photographer, teacher and psychologist. 1990: Brendan and I marry; I begin private practice as psychotherapist; continue publishing with small presses. 1995: Meet Adzom Paylo Rinpoche, meditation master in the Nyingma tradition of Tibetan Buddhism, and begin a concentrated study of Tibetan Buddhism; complete the Longchen Nyingthig Ngondro under his direction and guidance. This form of Buddhism brings together the heart and mind practice I have long sought. 1997-continuing: After the closing of so many small independent presses, Brendan and I establish Night Crane Press; I continue writing early every morning, working as a psychotherapist, practicing Tibetan Buddhism, and enjoying living with Brendan. 626 Chronologies �An Internal History of My Relationship with Language “The literary persona who enacts the poet’s struggle can be glimpsed, always, in one early work that Ted Hughes calls the ‘first,’ which contains, in a single image, ‘a package of precisely folded, multiple meanings.’ The origin of this image is a trauma, usually hidden from the writer’s consciousness, that partakes in a wholly personal way of some destructive aspect of cultural life.”1 The dates are vague. We live on an army base in North Carolina where my father, Charles Sher, is stationed. While he is overseas, I live with my mother, her three volatile sisters, her absent father, nervousbreakdown-prone mother, and a slightly older, noisy and aggressive male cousin. In this household—I am two—I begin stuttering and am diagnosed with 1Diane Middlebrook, Her Husband: Ted Hughes and Sylvia Plath—A Marriage (New York: Penguin, 2003), p. 245. Chronologies 627 �a “nervous breakdown.” The symptoms—stuttering, hypervigilance and nonadaptability to change—are consistent with recent research on pre-school children in traumatic, disruptive, unpredictable environments. I am removed to the apartment of my paternal grandmother who says to my mother, “You can live here but I’m not paying for her milk.” With his impressive purple heart my war veteran father returns. “Honey, that’s your father.” “No it’s not. This is my father,” I say, pointing to his photograph. I believe I am four. A primary memory is sitting on an outside step striving toward collecting all my words and feeling extremely frustrated that I do not know how to write. My hysterical mother and war-traumatized father fight constantly (about money and sexual transgressions on both parts). I act out in elementary school. Feel very very ugly. Take refuge in reading the interesting books provided by my mother. 628 Chronologies �I rock in bed, at my desk in school, in my rocking chair when I am reading. Begin to adjust socially in 9th grade, become a cheerleader and am liked by boys, but I cannot think analytically and only do average in my classes, which feels not only humiliating but somehow wrong (incorrect). In 10th grade an English teacher compliments what she calls a “parallel structure” that I use inadvertently. On the spot I decide to become a writer but am discouraged by my father who says, “Oh everyone wants to be that.” Thinking and writing analytically continue to be problems all the way through graduate school, though at Northwestern I devised a way to pass written exams, receive my B.A. and a Ford Foundation Fellowship to study linguistics. Meanwhile in high school, in an outside study, I test at the 99th percentile in math and language, and have been in a longitudinal study for gifted children ever since. (I am now 77.) Chronologies 629 �Oddly (to me) I feel I “belong” in the gifted group yet consistently my drifting mind and grades do not back that up. Eventually I have the following thought: “I CAN’T see white like everyone else, but the black I see is not nothing. It is rich and full of music.” I begin to feature it in my stabs at writing (having still the sense that I do not know what I’m doing, but liking the result). The thought that it is something is a turning point. Based on recent research on the neurological effect of trauma, my frontal lobes probably were dysfunctional, but my implicit memories and awareness were not dysfunctional. Since this is all I have, I lavish my attention on THAT. I discover that I am hyper-aware of aspects about language that most people ignore. With years of disciplined Buddhist practice behind me, I force myself to write from the right side of my brain and discover a whole new relationship with words. 630 Chronologies �In retrospect I feel that were it not for the trauma— whose effect was at the forefront through my thirties, into my forties and to some extent is still present—I would not have seen, certainly not so clearly, the contents of the space brightened by a shut-down left frontal cortex. I feel grateful for the passion that insisted on a way, and eventually found a way, and made it my WAY. Chronologies 631 �Bibliography Poetry Books by Gail Sher organized by phase 1. radical language experiments, 1982-1997 From another point of view the woman seems to be resting. San Francisco: Trike, 1982. (As) on things which (headpiece) touches the Moslem. San Francisco: Square Zero, 1982. Rouge to beak having me. Paris: Moving Letters Press, 1983. Broke Aide. Providence: Burning Deck, 1985. Cops. Berkeley: Little Dinosaur, 1988. KUKLOS. Providence: Paradigm Press, 1995. la. Boulder: Rodent Press, 1996. Marginalia. Chicago: Rodent Press, 1997. Early Work. Emeryville, CA: Night Crane Press, 2016. 632 Bibliography �2 asian-influenced work, 2001-2017 Moon of the Swaying Buds. Emeryville, CA: Night Crane Press, 2001. Third Edition, 2017. Look at That Dog All Dressed Out in Plum Blossoms. Emeryville, CA: Night Crane Press, 2002. RAGA. Emeryville, CA: Night Crane Press, 2004. redwing daylong daylong. Emeryville, CA: Night Crane Press, 2004. Once There Was Grass. Emeryville, CA: Night Crane Press, 2004. DOHA. Emeryville, CA: Night Crane Press, 2005. Watching Slow Flowers. Emeryville, CA: Night Crane Press, 2006. The Haiku Masters: Four Poetic Diaries. Emeryville, CA: Night Crane Press, 2008. Five Haiku Narratives Emeryville, CA: Night Crane 1 Press. 2015. 1 Contains the following out-of-print chapbooks written between 1996-2002: Like a Crane at Night (1996); One Bug ... One Mouth ... Snap! (1997); Saffron Wings (1998); Fifty Jigsawed Bones (1999); Lines: The Life of a Laysan Albatross (2002). Bibliography 633 �3 the wisdom-mind collection, 2008-2013 though actually it is the same earth. Emeryville, CA: Night Crane Press, 2008. The Tethering of Mind to Its Five Permanent Qualities. Emeryville, CA: Night Crane Press, 2009. Mother’s Warm Breath. Emeryville, CA: Night Crane Press, 2010. White Bird. Emeryville, CA: Night Crane Press, 2010. The Bardo Books. Emeryville, CA: Night Crane Press, 2011. Figures in Blue. Emeryville, CA: Night Crane Press, 2012. The Twelve Nidānas. Emeryville, CA: Night Crane Press, 2012. Mingling the Threefold Sky. Emeryville, CA: Night Crane Press, 2013. 634 Bibliography �4 late work, 2014-present Sunny Day, Spring. Emeryville, CA: Night Crane Press, 2014. Ezekiel. Emeryville, CA: Night Crane Press, 2015. Pale Sky. Emeryville, CA: Night Crane Press, 2015. Elm. Emeryville, CA: Night Crane Press, 2016. Mary’s Eyes. Emeryville, CA: Night Crane Press, 2018. City of Sleep (in press) Bibliography 635 �Publications by Gail Sher by date, 1980-2020 prose books Reading Gail Sher. Emeryville, CA: Night Crane Press, 2016. Poetry, Zen and the Linguistic Unconscious. Emeryville, CA: Night Crane Press, 2016. Writing the Fire: Yoga and the Art of Making Your Words Come Alive. New York: Random House/Bell Tower, 2006. The Intuitive Writer: Listening to Your Own Voice. New York: Penguin, 2002. One Continuous Mistake: Four Noble Truths for Writers. New York: Penguin, 1999. From a Baker’s Kitchen: Techniques and Recipes for Quality Baking in the Home Kitchen. Twentieth Anniversary Edition. New York: Marlow & Co., 2004. From a Baker’s Kitchen: Techniques and Recipes for Professional Quality Baking in the Home Kitchen. Berkeley: Aris Books, 1984. 636 Bibliography �poetry books City of Sleep (in press). Gail Sher Poetry & Poetics 1980-2020. Emeryville, CA: Night Crane Press, 2020 Mary’s Eyes. Emeryville, CA: Night Crane Press, 2018. Elm. Emeryville, CA: Night Crane Press, 2016. Early Work. Emeryville, CA: Night Crane Press, 2016. Ezekiel. Emeryville, CA: Night Crane Press, 2015. Pale Sky. Emeryville, CA: Night Crane Press, 2015. Five Haiku Narratives. Emeryville, CA: Night Crane Press. 2015. Sunny Day, Spring. Emeryville, CA: Night Crane Press, 2014. Mingling the Threefold Sky. Emeryville, CA: Night Crane Press, 2013. The Twelve Nidānas. Emeryville, CA: Night Crane Press, 2012. Figures in Blue. Emeryville, CA: Night Crane Press, 2012. Bibliography 637 �The Bardo Books. Emeryville, CA: Night Crane Press, 2011. White Bird. Emeryville, CA: Night Crane Press, 2010. Mother’s Warm Breath. Emeryville, CA: Night Crane Press, 2010. The Tethering of Mind to Its Five Permanent Qualities. Emeryville, CA: Night Crane Press, 2009. though actually it is the same earth. Emeryville, CA: Night Crane Press, 2008. The Haiku Masters: Four Poetic Diaries. Emeryville, CA: Night Crane Press, 2008. Who, a Licchavi. Emeryville, CA: Night Crane Press, 2007. Calliope. Emeryville, CA: Night Crane Press, 2007. old dri’s lament. Emeryville, CA: Night Crane Press, 2007. The Copper Pheasant Ceases Its Call. Emeryville, CA: Night Crane Press, 2007. East Wind Melts the Ice. Emeryville, CA: Night Crane Press, 2007. 638 Bibliography �Watching Slow Flowers. Emeryville, CA: Night Crane Press, 2006. DOHĀ. Emeryville, CA: Night Crane Press, 2005. RAGA. Emeryville, CA: Night Crane Press, 2004. Once There Was Grass. Emeryville, CA: Night Crane Press, 2004. redwing daylong daylong. Emeryville, CA: Night Crane Press, 2004. Birds of Celtic Twilight: A Novel in Verse. Emeryville, CA: Night Crane Press, 2004. Look at That Dog All Dressed Out in Plum Blossoms. Emeryville, CA: Night Crane Press, 2002. Lines: The Life of a Laysan Albatross. Emeryville, CA: Night Crane Press, 2002 [reprinted in Five Haiku Narratives]. Moon of the Swaying Buds (Limited First Edition). Emeryville, CA: Night Crane Press, 2001. Moon of the Swaying Buds. San Francisco: Edgework, 2002. Bibliography 639 �Moon of the Swaying Buds. Third Edition. Emeryville, CA: Night Crane Press, 2017. Fifty Jigsawed Bones: A Sea Turtle’s Life. Emeryville, CA: Night Crane Press, 2001 [reprinted in Five Haiku Narratives]. Saffron Wings. Berkeley: Night Crane Press, 1998 [reprinted in Five Haiku Narratives]. . One bug . . . one mouth . . . snap! A Year in the Life of a Turtle. Berkeley: Night Crane Press, 1997 [reprinted in Five Haiku Narrative]. Marginalia. Chicago: Rodent Press, 1997. la. Boulder: Rodent Press, 1996. Like a Crane at Night. Berkeley: Night Crane Press, 1996 [reprinted in Five Haiku Narratives]. KUKLOS. Providence: Paradigm Press, 1995. Cops. Berkeley: Little Dinosaur, 1988. Broke Aide. Providence: Burning Deck, 1985. Rouge to beak having me. Paris: Moving Letters Press, 1983. 640 Bibliography �(As) on things which (headpiece) touches the Moslem. San Francisco: Square Zero, 1982. From another point of view the woman seems to be resting. San Francisco: Trike, 1982. Bibliography 641 �periodicals & anthologies “Excerpt from Blue.” Al-Mutanabbi Street Starts Here. Eds. Beau Beausoleil & Deema K. Shehabi. Oakland, CA: PM Press, 2012. 71. Print. “Hundred-Stanza Renga” [with Andrew Schelling], Simply Haiku, 8.2, Autumn 2010. “can’t touch you” [with David Rice]. The Tanka Journal 14. Tokyo: Nihon Kajin Club [Japan Tanka Poets’ Club], 1999. 10. Print. “Lovers” [nine poems]. Generator 8.1: A Magazine of International Experimental Visual and Language Material. Cleveland, OH: Generator Press, 1998. n.p. Print. “Autumn” [includes Japanese translation]. Ashiya International Haiku Festa 1998. [Award]. Ashiya, Hyogo, Japan: 1998. 36. Print. “Against the longed-for clouds” [with David Rice]. Tanka Splendor 1997. [Award]. Gualala, CA: AHA Books, 1997. n.p. Print. “Fallout.” [Honorable Mention]. Hiroshima Haiku and Tanka Competition, 1997. n.p. Print. 642 Bibliography �“Silent snow.” One Breath: Haiku Society of America 1995 Members’ Anthology. New York: Haiku Society of America, 1996. 14. Print, “Basho.” Black Bough 8. Flemington, NJ: 1996. 5. Print. “The Paintings of Social Concern.” Juxta 4. Charlottesville, VA: 1996. n.p. Print. “Wipers steady,” “Home at last,” “Night Falls” [corrected version]. Frogpond 19.1. New York: Haiku Society of America, 1996. 8, 20, 52. Print. “Innocent Diversions” Chain 3. Special Topic: Hybrid Genres/Mixed Media. Buffalo: 1996. 183-188. Print. “Night falls,” Woodnotes 28. [Associate Editor: Gail Sher]. Foster City, CA, Spring 1996. 9. Print. “The boy dozes,” “Winter sun.” Woodnotes 29 [Associate Editor: Gail Sher]. Foster City, CA, Summer, 1996. 10, 22. Print. “George Tooker: Marginalia” [excerpt]. Big Allis 7. Brooklyn: 1996. 30-33. Print. “Autumn leaves.” Ant 3: A Periodical of Autochthonous Poetry & Other Conundrums. Oakland, CA, Summer 1996. n.p. Print. Bibliography 643 �“Resurrection,” “The Seven Sacraments.” Raddle Moon 15. Vancouver, BC, Canada, 1996. 113-118. Print. “Noisy city.” Raw NerVZ 2.4. Aylmer, QC, Canada: Proof Press, Winter 1995-96. 29. Print. “Winds blow briskly this evening.” Five Lines Down: A Tanka Journal. Redwood City, CA: Winter 1995. 12. Print. “Even in his company,” “The wind blows stronger.” Woodnotes, 25. San Francisco: Haiku Poets of Northern California, Summer 1995. 8, 13. Print. “Cross-legged I sit.” Ant 2. Oakland, CA: Summer 1995. n.p. Print. “Home at last” [includes Japanese translation]. Basho Festival Dedicatory Anthology. [Award]. Ueno City, Mie Prefecture, Japan: Master Basho Museum, 1995. n.p. Print. “Night falls.” Woodnotes 26. San Francisco: Haiku Poets of Northern California, Autumn 1995. 24. Print. “Snow buries,” “A train whistle blows,” “Tassajara Summer 1969.” Woodnotes 27. San Francisco: Haiku Poets of Northern California, Winter 1995. 17, 31, 41. Print. 644 Bibliography �“Folding its wings.” Modern Haiku, 26.1. Madison, WI: 1995. 10. Print. “Sudden squall,” “Misty rain.” Frogpond 18.3. New York, NY: Haiku Society of America, Autumn 1995. 22, 37. Print. “Night Falls.” Frogpond 18.4. New York, NY: Haiku Society of America, Winter 1995. 21. Print. “Silent snow.” Woodnotes 23. San Francisco: Haiku Poets of Northern California, Winter 1994. 5. Print. “la” [excerpt]. Big Allis 5. New York, 1992. 34-41. Print. “Ex voto” [excerpt from Broke Aide (1985) translated into French by Pierre Alferi & Joseph Simas]. 49+1: Nouveaux Poètes Américains. Eds. Emmanuel Hocquard & Claude Royet-Journoud. Royaumont (France): 1991. 222-223. Print. “Osiris co rider” [from “Kuklos”]. Gallery Works 8. Aptos, CA: 1991. n.p. Print. “Tamarind Esau” [from “Kuklos”]. Big Allis 1. New York: 1989. Print. Bibliography 645 �“W/” Abacus 35. Elmwood, CT: Potes & Poets Press: 1988. n.p. Print. “The Fasting Spirit.” [review essay on anorexia nervosa, with excerpts from “Moon of the Swaying Buds”]. The San Francisco Jung Institute Library Journal, 8:2. San Francisco: 1988. 61-80. Print. Starving passion: A Tribute to Anorexia. Thesis (M.A.), John F. Kennedy University, 1988, listed in: catalog.jfku.edu; print copy in the Gail Sher Collection, Poetry Collection, University at Buffalo. “Cops” [excerpt read by Gail Sher at UCSD November 24, 1987]. Archive Newsletter: The Archive of New Poetry. San Diego: University of California, 1987. 12-14. Print. “Cops” [excerpt]. Writing 18. Vancouver BC, Canada: 1987. Print. Ten poems. Gallery Works 7. Norwalk, CT: 1987. n.p. Print. “For Bart II.” Karamu, 10:2. Charleston, IL: Eastern Illinois University, 1987. 14-19. Print. “The Lanyard.” Notus: New Writing, 1:1. Ann Arbor: 1986. 13-21. Print. 646 Bibliography �“For Bart.” Tramen, 4. San Francisco: 1985. n.p. Print. “Which Collateral Bends the Sea,” “Deft and Resilient.” Gallery Works 6. Bronx, NY: 1984. n.p. Print. Poems. Credences: A Journal of Twentieth Century Poetry and Poetics, New Series 3:1. Buffalo: State University of New York, 1984. 84-88. Print. “From Another Point of View the Woman Seems To Be Resting.” Credences: A Journal of Twentieth Century Poetry and Poetics, New Series 2:1, Buffalo: State University of New York, 1982. 9-11. Print. “Suppose deeply offers up.” Hambone 2. Santa Cruz, CA, 1982. 18-22. Print. “River the Office My Own,” “Lord and Give the Necklace Child” Gallery Works 5. Bronx, NY: 1981.n.p. Print. Poems. Gnome Baker 7 & 8 (1981): n.p. [10 pages]. Print. Nine Pieces. Credences: A Journal of Twentieth Century Poetry and Poetics, New Series 1:1, Buffalo: University at Buffalo, 1981. 16-20. Print. Bibliography 647 �“foal the water bush.” Hoots Who. San Francisco: Boiled Owl, 1980. n.p. Print. “An Exorcism of Representational Language”[review of Red Light with Blue Sky by Beau Beausoleil]. L=A=N=G=U=A=G=E 11. New York, January 1980. n.p. Print. 648 Bibliography �Resources The Gail Sher Digital Collection in the Poetry Collection of the Univeristy at Buffalo contains downloadable copies of almost all of Gail Sher’s poetry books and journal appearances as well as audio and video recordings of interviews, readings, and discussions. digital.lib.buffalo.edu/collection/LIB-PC011/ The Gail Sher Collection in the Poetry Collection of the University at Buffalo includes manuscripts, notebooks, correspondence, photographs, artwork, documentation of her published work, and many of the journals in which her poetry appeared. findingaids.lib.buffalo.edu/repositories/3/resources/572 Resources 649 �Gail Sher Poetry & Poetics 1980-2020 is set in Minion, a digital typeface designed by Robert Slimbach in the spirit of the humanist typefaces of fifteenth-century Venice; it was released by Adobe Systems in 1990 Cover Design: Bryan Kring Cover Art: Gail Sher � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gail Sher Collection Subject The topic of the resource Sher, Gail, 1942- Poetry -- United States Creator An entity primarily responsible for making the resource Sher, Gail, 1942- Identifier An unambiguous reference to the resource within a given context LIB-PC011 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gail Sher Poetry & Poetics, 1980-2020 Creator An entity primarily responsible for making the resource Sher, Gail, 1942- Publisher An entity responsible for making the resource available Night Crane Press State University of New York at Buffalo. Poetry Collection. Date A point or period of time associated with an event in the lifecycle of the resource 2020 Contributor An entity responsible for making contributions to the resource State University of New York at Buffalo. Poetry Collection. Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright the Poetry Collection. For more information contact the Poetry Collection at lpo-poetry@buffalo.edu. Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context LIB-PC011_129 Date Copyrighted Date of copyright. 2018 Is Part Of A related resource in which the described resource is physically or logically included. LIB-PC011 Gail Sher Collection Extent The size or duration of the resource. 665 p. Date Created Date of creation of the resource. 2021-02-08 Language A language of the resource eng SherPublications https://digital.lib.buffalo.edu/files/original/fc47e5c7d06e10b52366169e1995c08b.jpg 974b228d7d30571eea933dffa307368c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Angled view of the August Feine 2017 Junior League of Buffalo Show House which was an expansion of the Kevin Guest House medical hospitality home Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Junior League of Buffalo Collection Subject The topic of the resource Junior League of Buffalo--History Women--Societies and clubs--History Description An account of the resource Historical Context The Junior League of Buffalo (JLB) has been recognized as one of the premier volunteer organizations in Western New York for nearly 100 years. In collaboration with community agencies and organizations, the JLB provides volunteers and funds to create projects designed to close the gap in critical community services. Through training, its members are equipped with skills that enable them to move beyond the organization and become community and civic leaders. On June 5, 1919 a meeting was held in the home of Mrs. Seymour M. Knox (800 Delaware Avenue) to discuss bringing the Junior League to Buffalo. Sixty-seven women responded to the first roll call with Mrs. Nelson Taylor presiding. The first community collaboration was with Children’s Hospital when the League donated $50 for sewing supplies. Since that first donation, the JLB has made a practice of identifying needs in the community and earmarking human and financial resources in order to meet those needs in a measurable way. It is Junior League of Buffalo tradition to create initiatives and programs that are sustainable and will continue to positively impact the community for years to come. Over the past 96 years, the Junior League of Buffalo has provided thousands of volunteer hours to those initiatives and programs. Funding in the form of grants, large and small, now exceeds four million dollars. As the JLB approaches its centennial celebration in 2019, the organization has continued to evolve and to recognize the changing dynamics within the community. Currently, members are focused on affecting change in the lives of female heads of households living in poverty. Through research, advocacy, partnering with local service agencies and dedicated financial resources, countless families in the community have been and will continue to be served. The Junior League of Buffalo has more than 400 members. It is one of 296 Junior Leagues in four countries comprising the Association of Junior Leagues International, Inc. Additional information regarding the Junior League of Buffalo can be found on their website. Scope of Collection The collection includes many photographs depicting Junior League events and performances. Some of the photographs are portraits of prominent members. The Junior League of Buffalo is known for presenting a Decorator’s Show House in collaboration with the Buffalo News; many photographs and documents relate to these events. There are scanned images of many awards and certificates presented to the JLB. In addition, there are invitations, promotional materials, and even a book produced by the JLB. The collection spans almost a century, the entire lifespan of the organization from the early 20th century to present day. Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1919-2019 Contributor An entity responsible for making contributions to the resource Junior League of Buffalo Rights Information about rights held in and over the resource For educational and non-commercial uses only. Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Date Created Date of creation of the resource. 2020-01 Is Part Of A related resource in which the described resource is physically or logically included. LIB-018 Junior League of Buffalo Collection Creator An entity primarily responsible for making the resource State University of New York at Buffalo Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Angled view of the August Feine 2017 Junior League of Buffalo Show House which was an expansion of the Kevin Guest House medical hospitality home Subject The topic of the resource Junior League of Buffalo--History Decorator showhouses--New York (State)--Buffalo Women--Societies and clubs--History Description An account of the resource 2017 project beneficiary: Westminster Economic Development Initiative, Inc. which expanded the Kevin Guest House Campus of medical hospitality houses; later renamed the Russell J. Salvatore Hospitality House. The Junior League of Buffalo and the Buffalo News have collaborated since 1981 to present a Decorators' Show House every two years. Together, they have raised more than 4 million dollars for the Western New York community. Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 2017-04 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-018_2017AFeineShoHse_001 Date Created Date of creation of the resource. 2017-04 Is Part Of A related resource in which the described resource is physically or logically included. Junior League of Buffalo LIB-018 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Women--Societies and clubs https://digital.lib.buffalo.edu/files/original/931caaa7a3e81d1122ad7d61f784f744.jpg e0f92e73a0b376aa766418304f27915d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artist's rendering of the August Feine 2017 Junior League of Buffalo Show House which was an expansion of the Kevin Guest House medical hospitality home Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Junior League of Buffalo Collection Subject The topic of the resource Junior League of Buffalo--History Women--Societies and clubs--History Description An account of the resource Historical Context The Junior League of Buffalo (JLB) has been recognized as one of the premier volunteer organizations in Western New York for nearly 100 years. In collaboration with community agencies and organizations, the JLB provides volunteers and funds to create projects designed to close the gap in critical community services. Through training, its members are equipped with skills that enable them to move beyond the organization and become community and civic leaders. On June 5, 1919 a meeting was held in the home of Mrs. Seymour M. Knox (800 Delaware Avenue) to discuss bringing the Junior League to Buffalo. Sixty-seven women responded to the first roll call with Mrs. Nelson Taylor presiding. The first community collaboration was with Children’s Hospital when the League donated $50 for sewing supplies. Since that first donation, the JLB has made a practice of identifying needs in the community and earmarking human and financial resources in order to meet those needs in a measurable way. It is Junior League of Buffalo tradition to create initiatives and programs that are sustainable and will continue to positively impact the community for years to come. Over the past 96 years, the Junior League of Buffalo has provided thousands of volunteer hours to those initiatives and programs. Funding in the form of grants, large and small, now exceeds four million dollars. As the JLB approaches its centennial celebration in 2019, the organization has continued to evolve and to recognize the changing dynamics within the community. Currently, members are focused on affecting change in the lives of female heads of households living in poverty. Through research, advocacy, partnering with local service agencies and dedicated financial resources, countless families in the community have been and will continue to be served. The Junior League of Buffalo has more than 400 members. It is one of 296 Junior Leagues in four countries comprising the Association of Junior Leagues International, Inc. Additional information regarding the Junior League of Buffalo can be found on their website. Scope of Collection The collection includes many photographs depicting Junior League events and performances. Some of the photographs are portraits of prominent members. The Junior League of Buffalo is known for presenting a Decorator’s Show House in collaboration with the Buffalo News; many photographs and documents relate to these events. There are scanned images of many awards and certificates presented to the JLB. In addition, there are invitations, promotional materials, and even a book produced by the JLB. The collection spans almost a century, the entire lifespan of the organization from the early 20th century to present day. Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1919-2019 Contributor An entity responsible for making contributions to the resource Junior League of Buffalo Rights Information about rights held in and over the resource For educational and non-commercial uses only. Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Date Created Date of creation of the resource. 2020-01 Is Part Of A related resource in which the described resource is physically or logically included. LIB-018 Junior League of Buffalo Collection Creator An entity primarily responsible for making the resource State University of New York at Buffalo Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Architectural drawings (visual works) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artist's rendering of the August Feine 2017 Junior League of Buffalo Show House which was an expansion of the Kevin Guest House medical hospitality home Subject The topic of the resource Junior League of Buffalo--History Decorator showhouses--New York (State)--Buffalo Women--Societies and clubs--History Description An account of the resource 2017 project beneficiary: Westminster Economic Development Initiative, Inc. which expanded the Kevin Guest House Campus of medical hospitality houses later renamed the Russell J. Salvatore Hospitality House. The Junior League of Buffalo and the Buffalo News have collaborated since 1981 to present a Decorators' Show House every two years. Together, they have raised more than 4 million dollars for the Western New York community. Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 2017-04 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context LIB-018_JLB2017AFeineShoHseRendering_001 Date Created Date of creation of the resource. 2017-04 Is Part Of A related resource in which the described resource is physically or logically included. Junior League of Buffalo LIB-018 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Women--Societies and clubs https://digital.lib.buffalo.edu/files/original/9a23c850301e290167d95b2eaafedce9.jpg 75b14b50e25650d7fe5ac43bf447e5f2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black and white photograph of Junior League volunteers leaving Children's Hospital after visiting recuperating youngsters and the Birthday Shop Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Junior League of Buffalo Collection Subject The topic of the resource Junior League of Buffalo--History Women--Societies and clubs--History Description An account of the resource Historical Context The Junior League of Buffalo (JLB) has been recognized as one of the premier volunteer organizations in Western New York for nearly 100 years. In collaboration with community agencies and organizations, the JLB provides volunteers and funds to create projects designed to close the gap in critical community services. Through training, its members are equipped with skills that enable them to move beyond the organization and become community and civic leaders. On June 5, 1919 a meeting was held in the home of Mrs. Seymour M. Knox (800 Delaware Avenue) to discuss bringing the Junior League to Buffalo. Sixty-seven women responded to the first roll call with Mrs. Nelson Taylor presiding. The first community collaboration was with Children’s Hospital when the League donated $50 for sewing supplies. Since that first donation, the JLB has made a practice of identifying needs in the community and earmarking human and financial resources in order to meet those needs in a measurable way. It is Junior League of Buffalo tradition to create initiatives and programs that are sustainable and will continue to positively impact the community for years to come. Over the past 96 years, the Junior League of Buffalo has provided thousands of volunteer hours to those initiatives and programs. Funding in the form of grants, large and small, now exceeds four million dollars. As the JLB approaches its centennial celebration in 2019, the organization has continued to evolve and to recognize the changing dynamics within the community. Currently, members are focused on affecting change in the lives of female heads of households living in poverty. Through research, advocacy, partnering with local service agencies and dedicated financial resources, countless families in the community have been and will continue to be served. The Junior League of Buffalo has more than 400 members. It is one of 296 Junior Leagues in four countries comprising the Association of Junior Leagues International, Inc. Additional information regarding the Junior League of Buffalo can be found on their website. Scope of Collection The collection includes many photographs depicting Junior League events and performances. Some of the photographs are portraits of prominent members. The Junior League of Buffalo is known for presenting a Decorator’s Show House in collaboration with the Buffalo News; many photographs and documents relate to these events. There are scanned images of many awards and certificates presented to the JLB. In addition, there are invitations, promotional materials, and even a book produced by the JLB. The collection spans almost a century, the entire lifespan of the organization from the early 20th century to present day. Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1919-2019 Contributor An entity responsible for making contributions to the resource Junior League of Buffalo Rights Information about rights held in and over the resource For educational and non-commercial uses only. Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Date Created Date of creation of the resource. 2020-01 Is Part Of A related resource in which the described resource is physically or logically included. LIB-018 Junior League of Buffalo Collection Creator An entity primarily responsible for making the resource State University of New York at Buffalo Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Junior League volunteers leaving Children's Hospital after visiting recuperating youngsters and the Birthday Shop Subject The topic of the resource Quackenbush, Molly Quackenbush, Ann Junior League of Buffalo--History Children's Hospital of Buffalo--History Volunteers--New York (State)--Buffalo Voluntarism --New York (State)--Buffalo Hospital gift shops--New York (State)--Buffalo Women--Societies and clubs--History Description An account of the resource Pictured left to right are: Mrs. David (Molly) Quackenbush and Miss Ann Quackenbush. Junior League of Buffalo members have continued to provide both financial and volunteer support to Children's Hospital (now, Women & Children's Hospital of Buffalo) throughout its history. Creator An entity primarily responsible for making the resource Delane, R. C. Source A related resource from which the described resource is derived Buffalo courier express Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1979-06-10 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-018_JLBGiftShopChildrensHosp_001 Date Created Date of creation of the resource. 2015-05-12 Is Part Of A related resource in which the described resource is physically or logically included. Junior League of Buffalo LIB-018 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Children's hospitals Women--Societies and clubs https://digital.lib.buffalo.edu/files/original/2febf7cf01dba5eec1847fa6c5628237.jpg ebe5ff20de443636239ff098056ea1ef Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black white photograph of Junior League President Mrs. Robert (Kay) Bickford and a member cutting the League's twenty-fifth anniversary cake Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Junior League of Buffalo Collection Subject The topic of the resource Junior League of Buffalo--History Women--Societies and clubs--History Description An account of the resource Historical Context The Junior League of Buffalo (JLB) has been recognized as one of the premier volunteer organizations in Western New York for nearly 100 years. In collaboration with community agencies and organizations, the JLB provides volunteers and funds to create projects designed to close the gap in critical community services. Through training, its members are equipped with skills that enable them to move beyond the organization and become community and civic leaders. On June 5, 1919 a meeting was held in the home of Mrs. Seymour M. Knox (800 Delaware Avenue) to discuss bringing the Junior League to Buffalo. Sixty-seven women responded to the first roll call with Mrs. Nelson Taylor presiding. The first community collaboration was with Children’s Hospital when the League donated $50 for sewing supplies. Since that first donation, the JLB has made a practice of identifying needs in the community and earmarking human and financial resources in order to meet those needs in a measurable way. It is Junior League of Buffalo tradition to create initiatives and programs that are sustainable and will continue to positively impact the community for years to come. Over the past 96 years, the Junior League of Buffalo has provided thousands of volunteer hours to those initiatives and programs. Funding in the form of grants, large and small, now exceeds four million dollars. As the JLB approaches its centennial celebration in 2019, the organization has continued to evolve and to recognize the changing dynamics within the community. Currently, members are focused on affecting change in the lives of female heads of households living in poverty. Through research, advocacy, partnering with local service agencies and dedicated financial resources, countless families in the community have been and will continue to be served. The Junior League of Buffalo has more than 400 members. It is one of 296 Junior Leagues in four countries comprising the Association of Junior Leagues International, Inc. Additional information regarding the Junior League of Buffalo can be found on their website. Scope of Collection The collection includes many photographs depicting Junior League events and performances. Some of the photographs are portraits of prominent members. The Junior League of Buffalo is known for presenting a Decorator’s Show House in collaboration with the Buffalo News; many photographs and documents relate to these events. There are scanned images of many awards and certificates presented to the JLB. In addition, there are invitations, promotional materials, and even a book produced by the JLB. The collection spans almost a century, the entire lifespan of the organization from the early 20th century to present day. Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1919-2019 Contributor An entity responsible for making contributions to the resource Junior League of Buffalo Rights Information about rights held in and over the resource For educational and non-commercial uses only. Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Date Created Date of creation of the resource. 2020-01 Is Part Of A related resource in which the described resource is physically or logically included. LIB-018 Junior League of Buffalo Collection Creator An entity primarily responsible for making the resource State University of New York at Buffalo Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Junior League President Mrs. Robert (Kay) Bickford and a member cutting the League's twenty-fifth anniversary cake Subject The topic of the resource Bickford, Kay Junior League of Buffalo--Anniversaries, etc. Women--Societies and clubs--History Description An account of the resource Junior League of Buffalo twenty-fifth anniversary, multi-layer cake decorated with 1920-1945 is ceremoniously cut by Kay Bickford (who served as Junior League president from 1944-1946) and an unidentified League member. Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1945 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-018_JLBPresAnniversaryCake_0027_001 Date Created Date of creation of the resource. 2014-10-22 Is Part Of A related resource in which the described resource is physically or logically included. Junior League of Buffalo LIB-018 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Club presidents Women--Societies and clubs https://digital.lib.buffalo.edu/files/original/da9b077354ffd9cdee441f0ef5cdbc61.jpg d6615dd85166a32baf7342b321052439 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Color photograph of the corner of the living room/parlor framed by arched windows in the Palmer Centennial 2019 Junior League of Buffalo Decorators' Show House Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Junior League of Buffalo Collection Subject The topic of the resource Junior League of Buffalo--History Women--Societies and clubs--History Description An account of the resource Historical Context The Junior League of Buffalo (JLB) has been recognized as one of the premier volunteer organizations in Western New York for nearly 100 years. In collaboration with community agencies and organizations, the JLB provides volunteers and funds to create projects designed to close the gap in critical community services. Through training, its members are equipped with skills that enable them to move beyond the organization and become community and civic leaders. On June 5, 1919 a meeting was held in the home of Mrs. Seymour M. Knox (800 Delaware Avenue) to discuss bringing the Junior League to Buffalo. Sixty-seven women responded to the first roll call with Mrs. Nelson Taylor presiding. The first community collaboration was with Children’s Hospital when the League donated $50 for sewing supplies. Since that first donation, the JLB has made a practice of identifying needs in the community and earmarking human and financial resources in order to meet those needs in a measurable way. It is Junior League of Buffalo tradition to create initiatives and programs that are sustainable and will continue to positively impact the community for years to come. Over the past 96 years, the Junior League of Buffalo has provided thousands of volunteer hours to those initiatives and programs. Funding in the form of grants, large and small, now exceeds four million dollars. As the JLB approaches its centennial celebration in 2019, the organization has continued to evolve and to recognize the changing dynamics within the community. Currently, members are focused on affecting change in the lives of female heads of households living in poverty. Through research, advocacy, partnering with local service agencies and dedicated financial resources, countless families in the community have been and will continue to be served. The Junior League of Buffalo has more than 400 members. It is one of 296 Junior Leagues in four countries comprising the Association of Junior Leagues International, Inc. Additional information regarding the Junior League of Buffalo can be found on their website. Scope of Collection The collection includes many photographs depicting Junior League events and performances. Some of the photographs are portraits of prominent members. The Junior League of Buffalo is known for presenting a Decorator’s Show House in collaboration with the Buffalo News; many photographs and documents relate to these events. There are scanned images of many awards and certificates presented to the JLB. In addition, there are invitations, promotional materials, and even a book produced by the JLB. The collection spans almost a century, the entire lifespan of the organization from the early 20th century to present day. Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1919-2019 Contributor An entity responsible for making contributions to the resource Junior League of Buffalo Rights Information about rights held in and over the resource For educational and non-commercial uses only. Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Date Created Date of creation of the resource. 2020-01 Is Part Of A related resource in which the described resource is physically or logically included. LIB-018 Junior League of Buffalo Collection Creator An entity primarily responsible for making the resource State University of New York at Buffalo Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wide view of the corner of the living room/parlor framed by arched windows in the Palmer Centennial 2019 Junior League of Buffalo Decorators' Show House Subject The topic of the resource Junior League of Buffalo--History Decorator showhouses--New York (State)--Buffalo Women--Societies and clubs--History Living rooms Windows Description An account of the resource The Junior League of Buffalo and the Buffalo News have collaborated since 1981 to present a Decorators' Show House every two years. Together, they have raised more than 4 million dollars for the Western New York community. Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 2019-05-17 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LiB-018_JLBShoHouse2019LivingRoomSideWindows_001 Date Created Date of creation of the resource. 2019-05-17 Is Part Of A related resource in which the described resource is physically or logically included. Junior League of Buffalo LIB-018 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Living rooms Windows Women--Societies and clubs https://digital.lib.buffalo.edu/files/original/ce7fe9e0ced3c158e428118d3e4b4de7.jpg 9bdb953326d94578465f57a1f03ce871 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Color photograph of open red balcony B on the second floor of the Palmer Centennial 2019 Junior League of Buffalo Decorators' Show House Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Junior League of Buffalo Collection Subject The topic of the resource Junior League of Buffalo--History Women--Societies and clubs--History Description An account of the resource Historical Context The Junior League of Buffalo (JLB) has been recognized as one of the premier volunteer organizations in Western New York for nearly 100 years. In collaboration with community agencies and organizations, the JLB provides volunteers and funds to create projects designed to close the gap in critical community services. Through training, its members are equipped with skills that enable them to move beyond the organization and become community and civic leaders. On June 5, 1919 a meeting was held in the home of Mrs. Seymour M. Knox (800 Delaware Avenue) to discuss bringing the Junior League to Buffalo. Sixty-seven women responded to the first roll call with Mrs. Nelson Taylor presiding. The first community collaboration was with Children’s Hospital when the League donated $50 for sewing supplies. Since that first donation, the JLB has made a practice of identifying needs in the community and earmarking human and financial resources in order to meet those needs in a measurable way. It is Junior League of Buffalo tradition to create initiatives and programs that are sustainable and will continue to positively impact the community for years to come. Over the past 96 years, the Junior League of Buffalo has provided thousands of volunteer hours to those initiatives and programs. Funding in the form of grants, large and small, now exceeds four million dollars. As the JLB approaches its centennial celebration in 2019, the organization has continued to evolve and to recognize the changing dynamics within the community. Currently, members are focused on affecting change in the lives of female heads of households living in poverty. Through research, advocacy, partnering with local service agencies and dedicated financial resources, countless families in the community have been and will continue to be served. The Junior League of Buffalo has more than 400 members. It is one of 296 Junior Leagues in four countries comprising the Association of Junior Leagues International, Inc. Additional information regarding the Junior League of Buffalo can be found on their website. Scope of Collection The collection includes many photographs depicting Junior League events and performances. Some of the photographs are portraits of prominent members. The Junior League of Buffalo is known for presenting a Decorator’s Show House in collaboration with the Buffalo News; many photographs and documents relate to these events. There are scanned images of many awards and certificates presented to the JLB. In addition, there are invitations, promotional materials, and even a book produced by the JLB. The collection spans almost a century, the entire lifespan of the organization from the early 20th century to present day. Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1919-2019 Contributor An entity responsible for making contributions to the resource Junior League of Buffalo Rights Information about rights held in and over the resource For educational and non-commercial uses only. Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Date Created Date of creation of the resource. 2020-01 Is Part Of A related resource in which the described resource is physically or logically included. LIB-018 Junior League of Buffalo Collection Creator An entity primarily responsible for making the resource State University of New York at Buffalo Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Open red balcony B on the second floor of the Palmer Centennial 2019 Junior League of Buffalo Decorators' Show House Subject The topic of the resource Junior League of Buffalo--History Decorator showhouses--New York (State)--Buffalo Women--Societies and clubs--History Balconies Sunspaces Description An account of the resource The Junior League of Buffalo and the Buffalo News have collaborated since 1981 to present a Decorators' Show House every two years. Together, they have raised more than 4 million dollars for the Western New York community. Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 2019-05-17 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-018_JLBShoHse2019BalconyRedB_001 Date Created Date of creation of the resource. 2019-05-17 Is Part Of A related resource in which the described resource is physically or logically included. Junior League of Buffalo LIB-018 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Balconies Sunspaces Women--Societies and clubs https://digital.lib.buffalo.edu/files/original/b66fd47d1c70e41315e75102458e361b.jpg a6f8743a0fc492d631b6f10980f94b76 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Color photograph of the tree-decorated doors in the Doggie den of the Palmer Centennial 2019 Junior League of Buffalo Decorators' Show House Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Junior League of Buffalo Collection Subject The topic of the resource Junior League of Buffalo--History Women--Societies and clubs--History Description An account of the resource Historical Context The Junior League of Buffalo (JLB) has been recognized as one of the premier volunteer organizations in Western New York for nearly 100 years. In collaboration with community agencies and organizations, the JLB provides volunteers and funds to create projects designed to close the gap in critical community services. Through training, its members are equipped with skills that enable them to move beyond the organization and become community and civic leaders. On June 5, 1919 a meeting was held in the home of Mrs. Seymour M. Knox (800 Delaware Avenue) to discuss bringing the Junior League to Buffalo. Sixty-seven women responded to the first roll call with Mrs. Nelson Taylor presiding. The first community collaboration was with Children’s Hospital when the League donated $50 for sewing supplies. Since that first donation, the JLB has made a practice of identifying needs in the community and earmarking human and financial resources in order to meet those needs in a measurable way. It is Junior League of Buffalo tradition to create initiatives and programs that are sustainable and will continue to positively impact the community for years to come. Over the past 96 years, the Junior League of Buffalo has provided thousands of volunteer hours to those initiatives and programs. Funding in the form of grants, large and small, now exceeds four million dollars. As the JLB approaches its centennial celebration in 2019, the organization has continued to evolve and to recognize the changing dynamics within the community. Currently, members are focused on affecting change in the lives of female heads of households living in poverty. Through research, advocacy, partnering with local service agencies and dedicated financial resources, countless families in the community have been and will continue to be served. The Junior League of Buffalo has more than 400 members. It is one of 296 Junior Leagues in four countries comprising the Association of Junior Leagues International, Inc. Additional information regarding the Junior League of Buffalo can be found on their website. Scope of Collection The collection includes many photographs depicting Junior League events and performances. Some of the photographs are portraits of prominent members. The Junior League of Buffalo is known for presenting a Decorator’s Show House in collaboration with the Buffalo News; many photographs and documents relate to these events. There are scanned images of many awards and certificates presented to the JLB. In addition, there are invitations, promotional materials, and even a book produced by the JLB. The collection spans almost a century, the entire lifespan of the organization from the early 20th century to present day. Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 1919-2019 Contributor An entity responsible for making contributions to the resource Junior League of Buffalo Rights Information about rights held in and over the resource For educational and non-commercial uses only. Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Date Created Date of creation of the resource. 2020-01 Is Part Of A related resource in which the described resource is physically or logically included. LIB-018 Junior League of Buffalo Collection Creator An entity primarily responsible for making the resource State University of New York at Buffalo Rights Holder A person or organization owning or managing rights over the resource. State University of New York at Buffalo Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tree-decorated doors in the Doggie den of the Palmer Centennial 2019 Junior League of Buffalo Decorators' Show House Subject The topic of the resource Junior League of Buffalo--History Decorator showhouses--New York (State)--Buffalo Women--Societies and clubs--History Doors Description An account of the resource The Junior League of Buffalo and the Buffalo News have collaborated since 1981 to present a Decorators' Show House every two years. Together, they have raised more than 4 million dollars for the Western New York community. Publisher An entity responsible for making the resource available State University of New York at Buffalo Date A point or period of time associated with an event in the lifecycle of the resource 2019-05-17 Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context LIB-018_JLBShoHouse2019TreeDoor_001 Date Created Date of creation of the resource. 2019-05-17 Is Part Of A related resource in which the described resource is physically or logically included. Junior League of Buffalo LIB-018 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Women--Societies and clubs