The George Baxt collection includes manuscripts, correspondence, and other items.
Manuscripts by Baxt in the collection include his novels A Queer Kind of Death (Simon and Schuster, 1966); Swing Low, Sweet Harriet (Simon and Schuster, 1967); A Parade of Cockeyed Creatures; or, Did Someone Murder Our Wandering Boy? (Random House, 1967); Topsy and Evil (Simon and Schuster, 1968); “I!” Said the Demon (Random House, 1969); Burning Sappho (Macmillan, 1972); The Neon Graveyard (St. Martin’s Press, 1979); The Dorothy Parker Murder Case (St. Martin’s Press, 1984); Process of Elimination (St. Martin’s Press, 1984); Satan Is a Woman (International Polygonics, 1987); Who’s Next? (International Polygonics, 1988); and Knowing Them When If Not Well (fragment, unpublished) and So Much Like Me (fragment, unpublished).
Plays, screenplays, and teleplays by Baxt include The Bough Broke (1941); Death is Our Companion (1942); 40 Weeks of Uncle Tom (for Kraft Television Theatre, 1954); Little Girls Grow Up (1955); The Curse of the Golem (1958); The First Men in the Moon (1958); The Man Who Laughs (1959); Meet Me in St. Louis (adaptation for television, 1959); Les Miserables (1960); The Scarlet Pimpernel (1960); Circus of Horrors (1960); The Suicide Club (1960); The Shadow of the Cat (1961); The Mystery Club (1964); The Hidden Fury (1964); Strangler’s Web (teleplay for the Edgar Wallace Mysteries television series in the U.K.,1965); The Worlds of Catherine Corey (1965); A Medal for Reese (for the television series Laredo, 1965); Spine Chiller (play, produced at London’s Duke of York Theatre, 1978); The Possessors (play); Laughter of Ladies (play); Make Momma Happy (play); and numerous other works.
Also present in the collection are several outlines, short stories, fragments, Baxt’s notebooks, and other miscellaneous manuscripts.
Correspondence in the collection consists of personal and professional letters to Baxt. Notable correspondents include Rita Gam and Rex T. Stout.Other material in the collection consists of photographs of Baxt and clipped reviews of Baxt’s work.