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   John Howard Griffin Papers, 1920-1980

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Identification of specific item; Date (if known); John Howard Griffin Papers; Box and Folder; Rare Book and Manuscript Library, Columbia University Library.

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Summary Information

At a Glance

Bib ID:6749110 View CLIO record
Creator(s):Griffin, John Howard, 1920-1980.
Title:John Howard Griffin Papers, 1920-1980
Physical description:24.5 linear feet (45 document boxes)
Language(s): In English and French.
Access: This collection is located on-site. This collection has no restrictions.  More information »

Arrangement

Arrangement

This collection is arranged into 20 series:

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Description

Scope and Content

Correspondence, manuscripts, documents, photographs, and printed materials by and about John Howard Griffin. The correspondence is extensive and includes letter from Jacques Maritain; Thomas Merton; Maxwell Geismar; Eldridge Cleaver; Robert Casadeus; Abraham Rattner; P.D. East; Joseph Noonan; Sarah Patton Boyle; Lillian Smith; Father August Thompson; Nell Dorr; and Brother Patrick Hart. All of his major works are represented in manuscript form (usually typescript, carbon). In addition there are many original photographs by Griffin, which he pasted throughout his extensive journal, 1950-1980. This journal is a remarkable account of his life and thoughts, extending to over 3,000 pages

Series I: The Early Years: 1920-1947

Series II: The Devil Rides Outside

Series III: Shorter Writings 1950s

Series IV: Nuni , Street of the Seven Angels , Passacaglia

These are the three novels drafted by Griffin during the 1950s while he was still sightless. Only Nuni was published, in 1956. One chapter from Street was published as a short story in 1957.

Subseries IV.1: Nuni

Subseries IV.2: The Street of the Seven Angels

Concerning Griffin's novels, The Street of the Seven Angels and Passacaglia , it is necessary to outline the genesis of his creative process as regards these works begun in the mid-1950s. . Initially, all of this material was intended for one large novel, tentatively entitled "Point, Counterpoint," but when Griffin heard that Huxley had published a novel with that title, he began to rethink his concept. His journals indicate that the large novel was really made up of alternating chapters with two sets of characters (although a few characters cross from one story to the other). One, which became Street , focused on the character of Chez Durand, a bookshop owner, who becomes involved in an obscenity trial; this story features a large cast of characters and is comic in intent. The second novel, Passacaglia , is a serious work about a concert pianist and his illegitimate son--also a pianist. . The manuscript herein called Passacaolia is actually the remnants of the larger novel (207 pages of typescript carbon) which was never completed. The manuscript of Street of the Seven Angels is a 221 page typescript, an original he revised from portions of the carbon, from 1966-1972. He intended to publish Street as his third novel and even though he came under contract with Houghton Mifflin for the work, it was never published. He never returned to do a revision of Passacaglia . A reading of Street will reveal that it has been revised and completed, but a reading of the carbon of Passacaolia --which has gaps in pagination, as well as many adjustments (as many as five changes on some pages)--never received any revision.

Subseries IV.3: Passacaglia

Series V: Land of the High Sky

This is Griffin's working carbon of the first draft, containing his hand-written changes and cuts. The 336 page manuscript, initially entitled A Land Full of Sky is more than 100 pages longer than the published book. The story of how this book project came into being can be found in the notes by Bradford Daniel.

Series VI: The Decade of the Fifties

Series VII: General Correspondence, 1949-1980

Series VIII: Black Like Me

Series IX: Personal Essays and Journalism

By examining these typescripts in relation to the published pieces--both the Dialogue and the Journal article--we get a close look at Griffin's method. The Correspondence from this period--between Griffin and Fr. Thompson; between Griffin and Ramparts editor/publisher Ed Keating; between Griffin and Bishop Greco (Fr Thompson's superior); as well as the correspondences of the priest and the bishop (and both of these men with Keating of Ramparts)--document an interesting struggle that all experienced. Bishop Greco tried to block the interview on the grounds that Fr. Thompson's documented experience of racism by the Church would not be good for the Church. Eventually, the interview ran, setting off a controversy that reached beyond Bishop Greco's diocese to the hierarchy of the Catholic Church in the US during the 1960s.

Series X: The Church and the Black Man

Series XI. Scattered Shadows and The John Howard Griffin Reader

The Reader , published by Houghton Mifflin in 1968, was a 600 page cloth edition of Griffin's best work to that time; the collection sold 40,000 copies, but was never reissued in a paperback edition. The Reader included condensed versions of his two published novels-- The Devil Rides Outside and Nuni ; ample selections from two other published books-- Land of the Hiqh Sky , a history of the staked plains region of west Texas, and Black Like Me . Three other sections completed the volume: a section of his photographic portraits, a gathering of journalistic pieces on racism, and a selection of "works-in-progress" that included two chapters from Scattered Shadows . The Reader was edited by Bradford Daniel, who also condensed the two novels and introduced each portion of the collection. The volume also contained an essay on Griffin's work by literary historian Maxwell Geismar, and several excerpts from Griffin's journals.. This series contains Griffin's correspondence with both Daniel and editors at Houghton Mifflin, and photocopies of the front matter to the book. There are no working manuscripts as everything was gathered from mostly published sources, and all selecting and editing were carried out by Daniel , who was Griffin's secretary at that time. (Copies of published reviews are included.. While The Reader was being readied for publication, Griffin was still lecturing on racism full-time, in order both to fulfill what he considered his obligation (under spiritual direction) to the civil rights struggle, and to support his wife and four children.. Besides the lecture circuit and writing magazine pieces on racism, Griffin worked on the manuscript of Scattered Shadows whenever possible.. Scattered Shadows , the autobiography of his loss of sight, decade of blindness, and eventual sight-recovery, has never been published as a book. The first 11 of 20 chapters were completed for Houghton Mifflin in 1967 and a contract was issued. However, Griffin never revised the last 9 chapters (which would have come from his ongoing journals) because the events of 1968 forced him back on the lecture circuit and also to the trouble spots of racial strife.. He never returned to the autobiography even after the explosions of 1968 had passed because; near the end of that year his friend and colleague, Thomas Merton, died of accidental electrocution in Bangkok (on December 10).. After negotiations with other publishers, Griffin and Houghton Mifflin agreed on a contract for the production of a photographic book (including Merton's photographs and drawings and Griffin's portraits of the monk and photographs of the Abbey of Gethsemani and its spacious grounds, along with texts by Griffin). The project eventually became A Hidden Wholeness: The Visual World of Thomas Merton , published by Houghton 1970. Early on in the process of making this visual book, Griffin interacted with the three members of the Merton Legacy Trust. By spring of 1969, the Trust decided to offer the "Official Biography" to Griffin. At first, he declined; later, he accepted the invitation, hoping that this new large work would support his family and allow him to withdraw from the lecture circuit and write full-time. Considering how difficult lecturing had became due to various medical set-backs and resolving any guilt he might have felt for not continuing the civil rights struggle, he leaped into the project with enthusiasm.. Griffin hoped that Scattered Shadows would be published after the Merton biography--both by Houghton-Mifflin. However, researching the biography took several more years than he had anticipated--partly because the subject was so complex and far-reaching and partly due to his own declining health--and there was never time to return to the autobiography.. The two chapters that appear in The Reader were first published in Ramparts magazine. In fact, the chapters appeared twice in that Catholic periodical--first, in 1963, when Ramparts was a quarterly with limited circulation, and then again, in 1966, when it had become a widely-read monthly. A third chapter, entitled "My Friend, Reverdy" in The Reader , first appeared in Southwest Review , the SMU literary quarterly. Various other pieces from the manuscript were published in such Catholic magazines as Jubilee and Catholic World ; and an account of his recovery of sight was published in Readers Digest and in the anthology The Spirit of Man .. This series contains a photocopy of the Ramparts chapters published in that magazine, as well as 20 file folders containing typescript carbons of the first 11 chapters from the unfinished manuscript. (Also six of Griffin's original file folders with typed labels made by the author.). These various chapter drafts afford glimpses of Griffin's manner of line by line revision and section by section reorganization--especially when compared to the few chapters that were published.

Series XII. The Decade of the Sixties

This Series is the second largest in the Griffin Archives. It gathers all the correspondence, documents and marginalia. from that decade.

Sunseries XII.1: General

Subseries XII.2: The Ramparts Interview

Subseries XII.3: Media

Catholic magazines; Correspondences with publishers concerning the use of his photographic portraits; Newspaper features and news stories on Griffin from the 1960s; Correspondences with magazine editors regarding published (as well as unpublished) articles--on racism--by Griffin; and much more miscellaneous business mail about his work.. This section includes more than 50 letters (original typescripts on various media stationery) to Griffin, as well as many of his responses (carbon typescripts). Because of Black Like Me and Griffin's extensive lecture tours speaking against racism, there was a tremendous spin-off of his work in the form of magazine articles, as well as many features about his work and life.

Subseries XII.4: Censorship

Subseries XII.5: Painting & Photography

Series XIII: The Thomas Merton File

The close friendship of Thomas Merton and John Howard Griffin is detailed by Griffin in his "Prologue" to Follow the Ecstasy ; as well, there is a discussion of their affinities in Robert Bonazzi's "Foreword" to the Orbis Books edition of Follow the Ecstasy . The correspondence focuses on a wide range of subjects--race relations, the Vietnam War, major change in the Church under Pope John XXIII, and their mutual friendship with French philosopher Jacques Maritain, etc. The most discussed subject, however, turned out to be Merton's new-found passion for photography, which was greatly encouraged by Griffin (who gave the monk a good camera and processed his negatives).

Subseries XIII.1: General Correspondence

Subseries XIII.2: Merton's Family Members

Subseries XIII.3: Merton's Physicians

Subseries XIII.4: Merton Collections

Subseries XIII.5: Close Friends of Merton

Subseries XIII.6: Asian Contacts

Subseries XIII.7: Friends and Colleagues

Series XIV. A Hidden Wholeness and Follow the Ecstasy

Subseries XIV.1: A Hidden Wholeness

A Hidden Wholeness: The Visual World of Thomas Merton was published by Houghton Mifflin, in cloth and paperback-large-format editions, in 1970. An inferior cloth edition was later published by Norman Berg in 1977. The working title for the book was The Visual Merton , as cited in the correspondence between Griffin and publishers, as well as his correspondence with the Members of The Merton Legacy Trust. The book consists of a short text by Griffin, his photographs of Merton and the surrounding environment, and Merton's own photographs and paintings (which he called "calligraphs" or "signatures"--abstract miniatures suggesting the influences of Franz Kline, Paul Klee, and Zen calligraphy). Griffin was appointed "Official Biographer" in 1969; he worked on the "Official Biography" from 1969 until 1977.

Subseries XIV.2: Follow the Ecstasy: Thomas Merton, The Hemitage Years, 1965-1968

Published by Latitudes Press in 1983 in a quality paperback edition with slip-cover dust jacket. Three paperback editions (without dust jacket) followed under the Latitudes imprint. This edition was edited by Robert Bonazzi, who also wrote the Preface. A Revised edition was published by Orbis Books in 1993. This paperback includes a 16 page glossy folio of Griffin photographs and a new Foreword by the editor. The Orbis edition is entitled: Follow the Ecstasy: The Hemitage Years of Thomas Merton .. [It is important to note here that Follow the Ecstasy represents only a portion of Griffin's proposed "Official Biography of Thomas Merton". The official biography was never completed. The full story, including the genesis of Follow the Ecstasy that emerged from the unfinished biography, is documented in Robert Bonazzi's "Foreword" to the Orbis Books revised edition.]. This Series includes all of Griffin's working drafts from the unfinished "Official Biography of Thomas Merton"

Series XV. The Jacques Maritain Files

Jacques Maritain, author of thirty books of philosophy and theology, was one of the most important Catholic writers of the 20th Century. He and his wife, the poet Raissa Maritain, are remembered in more than a dozen biographies, as well as in her popular memoirs--in particular, We Were Friends Together , which tells the story of the famous French circle that gathered around the Maritains in the 1930s and 1940s in Paris. They were in close consort with the many great artists of that period, including Picasso, Braque, Reverdy, the philosophers Gilson and Pegeuy, the composer Lourie, American painter Abraham Rattner, and many others. The Maritains were converted to Catholicism by the radical philosopher Leon Bloy during their student days. Maritain, known principally for his work on St. Thomas Aquinas, was considered the ultimate Thomist in modern times. He had great influence over Thomas Merton and John Howard Griffin--also Catholic converts--who considered the French philosopher to be their friend and mentor. Griffin, in particular, saw Maritain as his ultimate mentor and spiritual guide.

Subseries XV.1: General

Subseries XV.2: Literary Matters

Subseries XV.3: The Gwen John Project

Gwen John, sister of Augustus John, was little known during her lifetime. After her death, her meticulous paintings--especially portraits--became highly regarded. As a friend of the Maritains, she left with them several paintings as gifts (watercolors and gouaches), as well as drawings.

Subseries XV.4: The Peasant of Garonne

For an in-depth discussion of the controversial ideas in Jacques Maritain's last book, a reading of the Griffin interview with Maritain is illuminating. However, there is a story behind the book's publication in America, and this story behind the story is revealed in the correspondences that follow. This short morality play features a French publisher, several American publishers, a French literary agent based in Manhattan, a translator, concerned friends like Thomas Merton and John Howard Griffin, and the elderly layman who called himself "the peasant of Garonne" (Jacques Maritain). Georges Borchardt, a literary agent for the Paris publishing house, Declee de Brouwer (which published the original edition of Peasant ) offered both the Maritain book and French edition of Raissa Maritain's Journal to Charles Scribner's Sons of New York. The legendary Scribner, a long-time friend of the Maritains and the publisher of many of the philosopher's books in English, was interested in Peasant but not the poetic reflections of Raissa's Journal. Displeased with Scribner and Borchardt, Maritain wrote the publisher to say that either both books would be published by his old publisher or neither would be published under his imprint. And he turned the proceedings over to his friend, John Howard Griffin, who agreed to find an appropriate American publisher for both books, as well as translators.. However, as Griffin made contacts with publishers--and had interest from Arabel Porter at New American Library and Ralph Manheim at Harcourt--Borchardt was contacting other New York publishers with the encouragement of the original French publisher, Deciee de Brouwer. Borchardt managed to interest Joseph Cunneen, the religious editor at Holt, Rinehart and Winston, in Peasant , reaching preliminary agreement on a contract. When Maritain hear of this from Cunneen, he wrote to say that he was not against Holt publishing his book, but insisted that Griffin and not Borchardt handle the negotiations (as well as choose the translator). At the same time, Borchardt wrote Griffin to say that he had came to terms with Holt on behalf of Declee de Brouwer. Griffin, in an agony of embarrassment because this was exactly the sort of tension he wanted to avoid for Maritain, was forced to alert NAL and Harcourt of the mess, as well as correspond with Holt to make certain that the contract did not violate Maritain's wishes.. Finally, after several rounds of letters, the issue was clarified.. Holt would publish Peasant , Borchardt would be the link between Holt and Declee de Brouwer, and Griffin would select the translator. In the shuffle, there was no mention of Raissals Journal, so Griffin went elsewhere with that project, eventually landing it with Magi Books several years later. Michael Cuddihy was chosen to translate with the understanding that his English version would be examined by Griffin, Thomas Merton, and Joseph Evans of the Maritain society -- all trusted Maritain friends and translators (from French) in their own right.. All the preceding took place from November 1966 until the spring of 1967. At that point, a complete retyping of the Cuddihy translation had to be made at Holt, and Maritain became concerned about the slow progress. For some of the others there was a greater problem: No one was very impressed with the translation. So, after making changes suggested by Merton and Evans, Griffin took the translation to France, spending several weeks working it over with Maritain, who was not impressed with Cuddihy's work either. The accepted translation was dispatch by Maritain to Griffin's hands and then on to Joseph Cunneen at Holt, who made the point that not only had Cuddihy improved his work as he went along (and that his work had been further improved by Merton and Griffin especially), but that he was not pleased with Maritain's low opinion of the translation or with the philosopher's changes which he felt were neither "that extensive nor that helpful". When all the smoke of ego had cleared, the book was published by Holt with a portrait of Maritain (by Griffin) on its dust jacket. It sold well and went into a paperback-reprint by MacMillan (again with Griffin's portrait as the cover). Extensive detail is revealed by the actual documents

Subseries XV.5: Jacques Maritain: Homage in Words and Pictures

A 64-page large format book of photographs and texts, published by Magi Books in 1974. This is the same Albany, NY publisher who brought out Raissa's Journal and also Maritain's Notebooks . All three of these books are still in print. The Homaqe consists of an essay on Maritain by philosopher Yves Simon; this one of many written by a close friend and colleague, who illuminates Maritain's ideas and personality for the general reader. The second part of this "homage in words" is by John Howard Griffin, excerpts from journals kept while visiting with Martain in Princeton (1962), Fort Worth and Gethsemani (1966), Kolbsheim (1967) and Toulouse (1970).. The book ends with Griffin's 1973 entry about the last days of the philosopher. The book opens with a Foreword by Anthony Simon, son of Yves Simon, that reflects on the friendship of his father and Maritain. The magnificent photos throughout the book are by Griffin

Series XVI. A Time To Be Human

Commissioned by MacMillan as a book on racism for young adults, A Time To Be Human was published in 1977. It was Griffin's last book about racism (and human rights issues), as well as a summation of all his work in this area:. With Black Like Me and The Church and the Black Man it forms a remarkable trilogy. The text reprises the Black Like Me experience with different anecdotes and a re-evaluation of the 1960s; and it draws on many of his Sepia articles from the 1970s, as well as updated materials. Begun as a tape recording, Griffin worked up the published book through three manuscript drafts, giving the scholar a rare overview of his method.. The series includes Griffin's Original Typescript of the First Draft, a 73 page manuscript, with the author's corrections. Major changes can be studied in Griffin's Second Draft, also the Original Typescript, which runs to 71 manuscript pages. Finally, there is the 75 page manuscript of the Final Draft (a photocopy), including both the author's and the editor's changes. The Editor in this instance was David Reuther of MacMillan, who had made Griffin's acquaintance through correspondence regarding another MacMillan publication for young adults--the Cornelia and Irving Sussman biography of Thomas Merton. Griffin provided the cover photographs for the Merton biography, as well as advice to its authors, the husband and wife team who were his close friends (see their correspondence in Series VII)

Series XVII.The Decade of the Seventies

During his last decade, Griffin concentrated most of his energies on the research and writing of the official Biography of Thomas Merton--a project he relinquished to a second biographer (Michael Mott) in 1977. In order to support his family, he also became an editor for Sepia , the monthly magazine which had serialized his "Journey into Shame" articles which eventually became Black Like Me . Also, he lectured at universities on the theme of racism, but he spoke about Thomas Merton's spirituality as well. He traveled increasingly to Toronto, where he developed a huge Catholic student following, lecturing in Canada more often than in the States. By 1976, he experienced a serious decline in health, with complications that eventually ended his hope of completing the Merton biography. But from 1969-1972, he was. in reasonably good health, and completed most of the Merton research in a series of retreats at the monk's hermitage on the grounds of the Abbey of Gethsemani in Kentucky. Series XIII and XIV cover that period and document the Merton connection. Series XVIII is the journal he kept at Gethsemani, a book he worked on in 1979 and 1980, the year he died.. Even though he worked most diligently on the Merton materials until 1977, he did manage to write and publish a wide variety of shorter pieces and complete an immense number of photographic works.

Subseries XVII.1: General

Subseries XVII.2: The Sepia Magazine File

Sepia , originally based in Fort Worth, moved to Chicago in the 1970s

Subseries XVII.3: Media

Subseries XVII.4: Correspondence

Subseries XVII.5: The Noonan File

Joe Noonan, staff cartoonist for WAY Magazine, first wrote to Griffin in 1971. Soon the two men were corresponding so regularly--and ultimately much more voluminously than Griffin corresponded with anyone in. his lifetime--that the file of Noonan letters to Griffin numbers 1,592 pieces. This is staggering when one considers that this computes to one letter every other day arriving in Griffin's mailbox for nine years (from 1971 until 1980). The pieces vary from postcards and notes to hundreds of single-spaced typed letters (totaling ever 3,000 pages). Noonan was an extremely clever cartoonist and nearly 800 of the 948 envelopes are decorated with his witty cartoons (and nearly all of these take-offs on the ongoing correspondence). Cartoons decorate the letters also; there are an estimated 4,000 original cartoons in the file.. While the accent of the correspondence is one of humor (subtle, bawd , satiric, absurd, and downright silly at times), there are also many Noonan letters that evoke seriousness--discussions of literature, politics, religion and society. Noonan's letters, however, are most notable for their wide range of humor--not only cartoons, but hundreds of loony news items and photographs that were often altered with the cartoonist's sharp pen. Noonan's primary motive was to keep a beleaguered and often very ill author cheered up, laughing, and several steps away from taking it all too seriously. Griffin loved his letters (and envelopes) and perhaps nothing else cheered him so jubilantly in his last years, (1977-1980) especially.. The little we know of Griffin's side of the correspondence (a safe estimate would be about 1,200 letters which are in Noonan's possession) is what is reflected in the Noonan letters. Also, we have an excellent article about the correspondence written by the cartoonist after Griffin's death, and published in a special issue of Way magazine exclusively dedicated to various aspects of the author.

Series XVIII. The Hermitage Journals

Subtitled A Diary Kept While Working on the Biography of Thomas Merton , this 231 page published book charts Griffin's 18 visits to Merton's hermitage, from August 5, 1969 through June 15, 1972 (plus three other entries made at his home in Fort Worth, Texas). The edition includes a short preface by Griffin--his last piece of writing composed for publication--and a folio of his photographs of the hermitage and its surroundings. The cloth edition was published by Andrews and McMeel in 1981, the year after Griffin's death; a paperback version appeared a few years later under Doubleday's Image imprint.. Like Black Like Me , this book is a diary set apart from Griffin's ongoing Journal (1950-1980), and was intended as a self-contained work for publication. The scholar will not find either text in the overall pagination of the Journal, even though there are other entries for the years (in which these two books were composed) in that larger 3,000 page compendium. Nonetheless, if one were to read the two published diaries and the Journal chronologically, the overall story of Griffin's life-line continues uninterrupted from 1950 to 1980.. In the case of The Hermitage Journals , the text was first drafted as a diary from 1969-1972. That draft was edited and a second draft was made in 1978-1979 by Griffin in collaboration with Father Tom McKillop, the author's close friend and spiritual guide during the last three years of life. That second draft was edited by Conger Beasley for the cloth edition. But because both Father McKillop and Griffin's widow, Elizabeth, did not favor all the deletions Beasley had made from the second draft, yet a fourth and final draft was agreed upon for cloth publication.. The Hermitage Journals , then, was the last book Griffin prepared for publication under contract, although it appeared posthumously.

Series XIX.The Griffin Journal, 1950-1980

"In my teens, when I was a student at the Lycéee Descartes, in Tours, France," wrote Griffin in the unpublished preface to his Journal, "a man I greatly admired suggested that I begin keeping a journal of my life. He said it was one way of learning to know myself provided I let no one else see it, wrote it honestly and wrote in it even when I felt I had nothing to say.". From the age of sixteen until he was twenty-one, Griffin continued his journal; but when France was about to fall to the Germans, he gave the autograph journals to a schoolmate for safe-keeping, and returned to the states. "Years later when I returned to France [in 19761, I retrieved the journal which had been buried on my friend's father's farm during the war." He began to read his reflections. "It was a sickening experience. Pages were filled with literary analyses, musical analyses, foods we ate, with scarcely a word about the supreme reality of the war which preoccupied us day and night. It was pure escape from that reality rather than any attempt to handle it. I was heartsick to find myself so false.... I burned those pages and did not resume [a journal] until some years later when I was blind and had learned to use the typewriter.". Curiously, it was again on the advice of a man he admired--the theatre critic John Mason Brown--that Griffin began to write. But it was not a journal; it was his first novel, The Devil Rides Outside , written in 1949. His mature Journal was launched in December of 1950, during the third year of sightlessness. When.he was not working on novels or short stories, he poured impressions into the Journal, which became a seedbed for most of work he would publish later. We find in its pages fragments and drafts of stories and novels; essays and articles; voluminous meditations on ethics, religion and philosophy; responses to the music he listened to constantly; discussions of cooking, farming and family relationships; insights into the realities of blindness and how the condition is wrongly perceived by the sighted; speculations on psychology, sociology, anthropology and the arts in relation to the diminishment of culture in America. We hear every tone of voice from the compassionate to the dismissive; styles that range from lyric to polemic, from the scholarly to the absurd. At times he was naive and narrowly opinionated; at other times, measured and wise. He reflected on literature and life--the books he had read (and those which were read to him or recorded on tapes) and all the places he had traveled and lived. He was always a bit nostalgic for the high culture of France and the great joy of learning he had discovered in that adopted land; nostalgic also for the year he spent on a remote island in the South Seas living among the native inhabitants. Conversely, he had been horrified by war--both what he had witnessed working in the French Underground and the devastation of combat while in the Air Force in the Pacific.. Reading the Journal one is always aware that it is an intensely human document--full of contradictions and paradoxes; hope and despair; criticism of the world and self-criticism; fear and anguish over what often did not matter, as well as heroism in the face of what mattered most. The writing is, by turns, elegant and crude; often brilliant and sometimes ignorant; and splattered with passages that roar with comic hyperbole or soar with a spiritual clarity. But always one reads as if one has discovered a secret document; that one is looking over the shoulder of a man who is truely alive in the immense process of becoming a genuine artist and thinker. And later we meet the justly famous author who has absorbed the profound wisdom of humility.. This massive Journal runs to 2,762 pages of single-spaced typed pages. This page count does not include ten autograph notebooks he kept away from the typewriter nor the published books (previously mentioned) that were pulled out of the overall Journal and composed into separate books.. During the period of his blindness--recorded in the Journal from December of 1950 until sight-recovery in January of 1957--he typed almost 900 pages in a span of just slightly more than six years. That is roughly 150 pages each year. Yet, the count for 1951, the first full year of keeping the Journal, is 231 pages (the third highest volume for any year). This was a period of intense introspection for Griffin, he was in the process of making what the French call "the great yes" or the leap of faith from indecision to belief; Griffin became a convert to Catholicism in 1952.. In 1954 we find the second most voluminous year with 255 pages. That year, he was suffering not only from the complications of blindness and diabetes, but he had contracted spinal malaria--a condition which paralyzed him from the waist down and confined him to a wheelchair. All he could do was sit at the typewriter, listen to music, and write.. The entries of 1954 record a very real agony and ecstasy. Griffin experienced the most alienating depths of despair alternating with some of the greatest spiritual heights of his life. Without the love and understanding of his young wife (Elizabeth Holland and Griffin married in 1953), as well as his parents and also her parents--and with absolute faith in God--he would not have survived the ordeal. Instead he wrote about everything that year and drafted over 400 pages of Nuni , his second novel.. In the decade of blindness--from 1947 to early 1957--Griffin composed five novels (two were published, two remain unpublished and the fifth was lost); over sixty short stories (most unpublished); a short book on blindness ( Handbook For Darkness ); music lectures and articles; and nearly a thousand pages in the Journal . Virtually all of his fiction--literally thousands of pages--were written during the decade of sightlessness. Except for revisions of earlier novels in draft and one short piece of humor ("Pilgrimage"), his career as a fiction writer was over when he regained his sight.. During the 1960s he managed to average over100 pages per year in the Journal, including the second highest page count (248) in 1966. In general, however, these entries move away from introspection toward the concerns of a public life--a-decade which found him away from the studio and his expanding family and in a world of turmoil. His writings were much shorter and their focus was temporal not eternal. He published polemical and journalistic articles on racism, injustice, war, censorship, politics, and lectured extensively on these same issues (and, of course, specifically- on his experiences in Black Like Me , its aftermath, and the civil rights battles that followed. He wrote brilliantly and courageously, and his lectures and writings were in great demand. But the public life took its toll on the books he was forced to leave unfinished (novels as well as Scattered Shadows ), and what limited private time that remained was spent with his family and friends and in the darkroom (where his photographic career blossomed), but not in the writing studio. Those years also took their toll on his fragile health. He was no longer blind and the paralysis had lasted only one year, but the stress of his schedule far from solitude increased the debilitating effects of his diabetic condition. He experienced blackouts and exhaustion. His Journal records all this activity in a cryptic rather than expansive manner.. With his appointment as the Official Biographer of Thomas Merton, illness turned toward relative health, exhaustion was replaced by energy, and Griffin once again found spiritual joy in solitude and a fascinating long-range project. The Journal, from 1970-1980 runs about 650 pages--about 65 pages as an annual average with only 1975 accumulating more than 200 pages. This drop in production was a result of the work on the biography and that includes The Hermitage Journals factored out of the equation, as well as a tremendous amounts of photographic work--choices that Griffin was pleased to make, of course. But other factors--not of his choosing--also impacted upon the Journal. There was a significant decline in his health (this is why the entries are more than three times the volume of 1970-1974; he was confined and unable to travel to Gethsemani and Europe where so much research had been accomplished); and there was also the countless intrusions of the curious making pilgrimages to his door.. The Autograph Notebooks, which Griffin considered part of his overall Journal, are from widely different time-frames. Written in spiral notebooks or bound composition books that Griffin carried on his travels when having a typewriter was impossible or inconvenient; these generally reflect a specific event or span of days that can be integrated by dated passage into the overall scheme of his personal Journal.

Series XX. Posthumous Papers

John Howard Griffin left his home the afternoon of July 21, 1980. He was checked into Medical Plaza Hospital by his long-time physician, Dr. E. Ross Kyger. Griffin lived another fifty days, expiring of a cerebral hemorrhage on September 9, 1980. He was less than three months into his sixtieth year. The funeral was held on September 11, and Griffin was buried at the Mansfield Cemetery, Mansfield, Texas, next to the grave of his old friend, Clyde Parker Holland (father of Griffin's widow, Elizabeth). He was survived by his wife, four children, his mother, brother, and two sisters.. Griffin's funeral was attended by hundreds of friends, family members, and devoted acquaintances. The Mass was written by Father Tom McKillop--a moving ceremony that included many of Griffin's words read and anecdotes remembered. Friends travelled from all over the United States and Canada to attend. A fuller version of that day is detailed in Fr.McKillop's text, in many news features and obituaries

Series XXI. Photographs

Series XXII: Photographs by Others

Additions to the Papers, 2017

Photograph Archive purchased from Roberto Bonnazzi on behalf of Griffin Family 5/2015 From the Estate of John Howard Griffin and Elizabeth Griffin-Bonazzi

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Using the Collection

RBML

Access Restrictions

This collection is located on-site.

This collection has no restrictions.

Restrictions on Use

Single photocopies may be made for research purposes. Permission to publish material from the collection must be requested from the Curator of Manuscripts/University Archivist, Rare Book and Manuscript Library (RBML). The RBML approves permission to publish that which it physically owns; the responsibility to secure copyright permission rests with the patron.

Preferred Citation

Identification of specific item; Date (if known); John Howard Griffin Papers; Box and Folder; Rare Book and Manuscript Library, Columbia University Library.

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About the Finding Aid / Processing Information

Columbia University Libraries. Rare Book and Manuscript Library; machine readable finding aid created by Columbia University Libraries Digital Library Program Division

Processing Information

Papers processed 2008 Jillian Cuellar.

Finding Aid written by Jillian Cuellar March 2008.

Machine readable finding aid generated from MARC-AMC source via XSLT conversion June 26, 2009 Finding aid written in English.
    2009-06-26 File created.

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Subject Headings

The subject headings listed below are found in this collection. Links below allow searches at Columbia University through the Archival Collections Portal and through CLIO, the catalog for Columbia University Libraries, as well as ArchiveGRID, a catalog that allows users to search the holdings of multiple research libraries and archives.

All links open new windows.

Genre/Form

HeadingCUL Archives:
Portal
CUL Collections:
CLIO
Nat'l / Int'l Archives:
ArchiveGRID
Articles.PortalCLIOArchiveGRID
Card files.PortalCLIOArchiveGRID
Correspondence.PortalCLIOArchiveGRID
Drafts (literary).PortalCLIOArchiveGRID
Essays.PortalCLIOArchiveGRID
Journals.PortalCLIOArchiveGRID
Lectures.PortalCLIOArchiveGRID
Manuscripts (literary).PortalCLIOArchiveGRID
Notes.PortalCLIOArchiveGRID
Reviews.PortalCLIOArchiveGRID

Subjects

HeadingCUL Archives:
Portal
CUL Collections:
CLIO
Nat'l / Int'l Archives:
ArchiveGRID
American literature--History and criticism.PortalCLIOArchiveGRID
Anderson, Maxwell, 1888-1959.PortalCLIOArchiveGRID
Anderson, Quentin, 1912-2003.PortalCLIOArchiveGRID
Columbia University.PortalCLIOArchiveGRID
Criticism--United States.PortalCLIOArchiveGRID
Education--Study and teaching--United States.PortalCLIOArchiveGRID
Emerson, Ralph Waldo, 1803-1882--Criticism and interpretation.PortalCLIOArchiveGRID
James, Henry, 1843-1916--Criticism and interpretation.PortalCLIOArchiveGRID
Lionel Trilling Seminars.PortalCLIOArchiveGRID
Literature and society.PortalCLIOArchiveGRID
Trilling, Lionel, 1905-1975.PortalCLIOArchiveGRID

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History / Biographical Note

Biographical Note

John Howard Griffin (1920-1980) was born in Mansfield, Texas. His early training was as a musicologist in Tours, France specializing in Gregorian Chant. He studied psychology, specializing in the effects of music on the mentally disturbed. He also studied photography and became an expert portrait photography.

During WWII he help Jews in France escape the Nazis. After the fall of France, he joined the U. S. Army Air Corps and was sent to the South Pacific to work with the native islanders. Injured by a bomb blast he gradually lost his sight, becoming totally blind by 1947. During his blindness he wrote his two major novels The Devil Rides Outside and Nuni as well as numerous short stories. In 1951 he became a Roman Catholic. After recovering his sight in 1957, he wrote for Sepia magazine and in 1959 he wrote a series of articles for Sepia magazine based on his travels through the Deep South as a "black" man. This series was published as Black Like Me in 1961.

In 1969 he was appointed the Official Biographer of Thomas Merton. Throughout his life he wrote and lectured widely on race relation and social justice. He died in 1980 at the age of sixty.

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