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Leila Míccolis (b. 1947) is a Brazilian author, poet, script-writer, and literary critic. A native of Rio de Janeiro, Míccolis holds a Master of Science degree in Literature and Literary Theory from the Federal University of Rio de Janeiro. She has edited over thirty books, and is internationally renowned for her involvement in the Brazilian poetical generation of the 1970s and 1980s, as well as her scriptwriting for soap operas in the 1980s and 1990s.

In addition to being a participant and authority in Brazilian alternative poetry and literature, Míccolis was also a collector. Her collection was painstakingly accumulated over the course of forty-five years. The collection is of an "alternative" character because it contains materials that reflect countercultural resistance, in its widest possible sense, and includes, but is not limited to, political and countercultural pamphlets and periodicals, concrete poetry, neo-concrete poetry and other vanguard/avant-garde artistic experimentation, fanzines, film reviews, university publications, theater, and musical pieces. As opposed to the commercial and widely-circulated press of "official” Brazilian governmental venues, the publications contained in the collection especially treat stigmatized or marginalized groups, such as Afro-Brazilians, women, sexual minorities, in various forms including literary pieces, editorial cartoons, political comics, sociopolitical critiques of "Brazilianness," humor, and the promotion of ecological and environmental awareness. The collection also contains a large variety of materials from the 1970s Marginália movement, a term used to describe a series of underground publications which circulated during the military dictatorship.

As such, her collection tells the story of contemporary Brazil (1960s to the present) from an "unofficial" perspective, one which often diverts from the stereotypical images of what Brazilians and non-Brazilians alike have come to understand as "brasilidade" (Brazilian character) during the second half of the twentieth century.

Steven Butterman, assistant professor of Portuguese in the University’s Department of Foreign Languages and Literatures, came across the Collection while conducting research for his book, Perversions on Parade (Hyperbole Books, San Diego State University Press, 2005), the first book-length scholarly treatment in English of Brazilian poet Glauco Mattoso’s work. Mattoso, who was a co-collaborator in the creation of "Lampiao da Esquina," explored themes of homosexual transgression as a form of cultural resistance. “Ms. Míccolis has managed to preserve a diverse host of alternative voices which sought creative expression despite being officially silenced. Collectively these works represent Brazil’s burgeoning civil rights movement within the surrounding culture of repression,” states Professor Butterman.

Leila Míccolis resides in Rio de Janeiro, Brazil.

Leila Míccolis (b. 1947) is a Brazilian author, poet, script-writer, and literary critic. A native of Rio de Janeiro, Míccolis holds a Master of Science degree in Literature and Literary Theory from the Federal University of Rio de Janeiro. She has edited over thirty books, and is internationally renowned for her involvement in the Brazilian poetical generation of the 1970s and 1980s, as well as her script writing for soap operas in the 1980s and 1990s.

In addition to being a participant and authority in Brazilian alternative poetry and literature, Míccolis was also a collector. Her collection was painstakingly accumulated over the course of forty-five years. The collection is of an "alternative" character because it contains materials that reflect counter cultural resistance, in its widest possible sense, and includes, but is not limited to, political and counter cultural pamphlets and periodicals, concrete poetry, neo-concrete poetry and other vanguard/avant-garde artistic experimentation, fanzines, film reviews, university publications, theater, and musical pieces. As opposed to the commercial and widely-circulated press of "official” Brazilian governmental venues, the publications contained in the collection especially treat stigmatized or marginalized groups, such as Afro-Brazilians, women, sexual minorities, in various forms including literary pieces, editorial cartoons, political comics, sociopolitical critiques of "Brazilianness," humor, and the promotion of ecological and environmental awareness. The collection also contains a large variety of materials from the 1970s Marginália movement, a term used to describe a series of underground publications which circulated during the military dictatorship.

As such, her collection tells the story of contemporary Brazil (1960s to the present) from an "unofficial" perspective, one which often diverts from the stereotypical images of what Brazilians and non-Brazilians alike have come to understand as "brasilidade" (Brazilian character) during the second half of the twentieth century.

Steven Butterman, assistant professor of Portuguese in the University’s Department of Foreign Languages and Literatures, came across the Collection while conducting research for his book, Perversions on Parade (Hyperbole Books, San Diego State University Press, 2005), the first book-length scholarly treatment in English of Brazilian poet Glauco Mattoso’s work. Mattoso, who was a co-collaborator in the creation of "Lampiao da Esquina," explored themes of homosexual transgression as a form of cultural resistance. “Ms. Míccolis has managed to preserve a diverse host of alternative voices which sought creative expression despite being officially silenced. Collectively these works represent Brazil’s burgeoning civil rights movement within the surrounding culture of repression,” states Professor Butterman.

Leila Míccolis resides in Rio de Janeiro, Brazil.

The Miami Woman’s Club organizes and participates in a variety of civic and community service activities in the Miami area. It also played a lead role in establishing public libraries in Miami.

The club formed in 1900 when a group of women began meeting weekly to socialize and read. They drew up an official constitution in September of that year,  as the Married Ladies’ Afternoon Club. In 1902, club members voted to emphasize the literary nature of the club and began to circulate books for $1.50 per year to non-members.

The club grew to 80 members by 1903, when it joined the State Federation of Woman’s Clubs.  In 1906, the club changed its name to the Miami Woman’s Club. Henry Flagler and the Model Land Company donated land at the corner of Royal Palm Park for a club building in 1912, with the stipulation that the building must also be used as a public library and free reading room. Club membership continued to grow, and by 1916, the Miami Woman’s Club was the largest woman’s club in the state.

In 1923, the Miami Woman’s Club opened a children’s library, and sold the building at Royal Palm Park. The club purchased a site for its new facilities at Bay Shore Drive and NE 17th Terrace, and selected August Geiger as the architect for the building, which opened in 1926. The building was named the Flagler Memorial Library and Woman’s Club, and is still used by the club.

In 1924, the City of Miami began paying the operating expenses for the library, and in 1942, it took over management of the Flagler Library and other area branch libraries. The club’s Library Committee continued to serve in an advisory capacity.

With a mission of supporting education and community stewardship, the Miami Woman’s Club participates in numerous civic and community service activities. To facilitate its work, the club includes the following departments and committees: Arts Department, Conservation Department, Education Department, Home Life Department, International Affairs Department, Public Affairs Department, Budget Committee, Hospitality Committee, House Committee, Telephone Committee, Library Committee, Program Committee, Revisions Committee, Special Improvement Committee, Advisory Board, Cashier, Trustees, and Yearbook.