A large 2-dimensional cardboard cutout of Karigan G'Ladheon, taken from the cover art for Green Rider, displayed at the exhibit and signed by Britain on April 7, 2024.

A fanmade costume of Karigan G'ladheon as the avatar of Westirion, the god of death (made by Megan Notman). The costume consists of: a belt, bracers, arm cuffs, chestpiece, corset, hip pieces, leg greaves, shoe covers, crown, cloak, and black bodysuit, together with magnets that hold portions of the costume together and to a dress form.

A fanmade costume of Captain Laren Mapstone (made by Kimberly White), and consisting of a vest, shirt, and green coat.

Unbound proofs with handwritten corrections and copyedits, autographed by Gibson, January 2007

Complete typescript, with handwritten corrections and copyedits, signed by Gibson

This collection consists of two versions of the manuscript for William Gibson's 2007 novel Spook Country, a science fiction technothriller that is the second in his acclaimed "Blue Ant" trilogy. (It follows Gibson's 2003 novel Pattern Recognitions and precedes 2010's Zero History). The trilogy has been defined by Gibson himself as "speculative novels of last Wednesday", that is, novels set in the contemporary world but viewed through a science fictional perspective, showing readers the present through a futuristic lens.

The Blue Ant trilogy centers on the character of Hubertus Bigend, an advertising executive and tech magnate who serves as the series' amoral antihero. Though Bigend dominates the trilogy as whole, Spook Country focuses on the intertwining stories of three characters in particular: Hollis Henry, a journalist hired by Bigend to write a story on the phenomenon of 'locative art'; Chinese-Cuban Tito, a member of a family of criminals who gets bound up in American secret intelligence operations; and Milgrim, a drug addict being held in captivity by a mysterious covert operative named Brown. The novel, set in the aftermath of the September 11 attacks, and explores the uses and misuses of locative technology, the eversion of cyberspace, and the changed political climate of the United States following the attacks. It was nominated for the 2008 Locus award for Best SF Novel, the 2009 Imaginaire Award, and the 2017 Prix Aurora for Best of the Decade.

Both versions are housed in clamshell boxes within the larger enclosure. The first box contains the autographed typescript of the novel, with heavy corrections and copyedits. The second box holds the autographed and corrected unbound proofs.

Handwritten and handcolored map of "The Lost Chasms", undated

This collection pertains to Ernesto Mejia-Sanchez, who was a major Nicaraguan diplomat, poet, scholar, and critic whose papers are primarily in Spanish. Materials include photographs, correspondence, writings, publications, newspapers, course writings, and research materials from archives and libraries around the world.

These two volumes documents feature the personal and political reminiscences of journalist William S. Robinson and were edited and published by his wife in 1877. In the first edition, the first volume was expanded to two with extra illustrations (142 portraits and 53 autograph letters from prominent Americans of the time). Writing as “Warrington,” the journalist was especially noted for his reform positions and radical anti-slavery voice. The portraits and views represent a wide range of 19th-century American historic events, sites, and public figures.

“John George for Congress; Vote June 4,” platform and other information.

"We demand that this University cut all ties to racist South Africa” flyer from U.C. Berkeley.

“Lo scrittore americano Richard Wright” by Agli Uomini Liberi.

Bulletin of the Worker’s Party: Convention Bulletin #7, Vol 1, No 13, May 8, 1946.

Bulletin of the Worker’s Party: Convention Bulletin #12, Vol 4, No 6, Mar. 17,1949.

Liberator, Sept 1921.

Scanlan’s: Suppressed Issue: Guerrilla War in the USA., Vol 1, No 8, Jan. 1971

“The Strike Explained,” by Third World Liberation Front, Feb. 5, 1969.

Invisible City, Numbers 18-20: October 1976. (poetry collection)

“Letter of support for the…” from the Bay Area Friend

“An appeal to those who…” from the Committee to Maintain

“Press release” from the Student Nonviolent Coordinating Committee

“Join the National Network in Solidarity with Black People’s Demand for Reparations” by the Anti-Colonial Solidarity Brigade

“FDP: One Man One Vote” Button.

“George W. Crockett, Jr.; Freedom is Everybody’s Job,” by Civil Rights Congress.

“Alliance for Black Unity; Free Picnic,” by Alliance for Black Unity, 1967.

“Join the March; For Jobs, For Freedom, In Oakland,” by Campus CORE, 1965.

“Come, see and hear the great Joe Tex” flyer for Joe Tex.

“Inner City Voice: Vol. 1, No. 8” from June, 1968.

“The Burning Spear: Vol. 1, No. 1” from November 1, 1971.

Liberator, Vol. III, No. 1, Jan 1963.

“Scottsboro: Act 3,” by Sasha Small, published by International Labor Defense, 1934.

“Why we are for Roosevelt,” by The Publishers of People’s Voice (reprint from the New York People’s Voice July 15, 1944).

“Why I Remain a Negro,” by Walter White, reprinted from the Saturday Review of Literature, October 11, 1947.

"Babylon is Fallen: Song and Chorus” by Henry C. Work.