Dangos 41 canlyniad

Pencil draft of Geraint Goodwin's novel The Heyday in the Blood (London, 1936) with a few sections in typescript. There is evidence of three typings and some rearrangement, e.g., chapter 13 was once chapter 1.

Drafts of Chapters 9 and 12 of An Asset to Wales (London, 1970).

Letters to the Welsh Arts Council from the authors listed below (number of letters in brackets). Ff. 1-36, Brenda Chamberlain, 1968-1971 (32). Ff. 37-42, Cathrin Daniel, 1969-1970 (5). Ff. 43-48, Jack Jones, 1967-1970 (6). Ff. 49-54, D. J. Williams, 1967-1969 (6). Ff. 55-58, Waldo Williams, 1969 (4). Formerly Welsh Arts Council MS 71.

Typescript of a three act play, 'No flowers in Tiger Bay', with a few autograph alterations and corrections. Iv + 138 ff. Formerly Welsh Arts Council MS 18.

Minor pieces, comprising: 'Merthyr bookend', 'a verse version of part of the final paragraphs of Off to Philadelphia in the morning', written 1968 (ff. 1-4); 'Come unto me, Poor Iron Man' a short story, a late work. Typescript, with autograph corrections (ff. 5-7); 'Old-timer visits New Town'. The author's reflections (f. 8); an autobiographical piece dated 27 April 1970 (ff. 9-11).

Corrected galley proofs of his collection of poems, A Sense of Europe: Collected Poems 1954-1968 (Llandysul, 1968). Apart from the preliminary matter, the author's corrections are restricted to typographical errors and layout. Formerly Welsh Arts Council MS 38.

Ff. 1-50, Drafts and worksheets of 27 poems collected in 'Green Rain' (Llandybie 1967);. Ff. 51-93, Drafts and worksheets of other poems;. Ff. 94-117, Typescript of 'Dic Penderyn', 'a poem for voices' broadcast by the BBC in 1968;. Ff. 118-161, Worksheets for 'Dic Penderyn'. Formerly Welsh Arts Council MSS 31-32.

Worked autograph drafts of slightly over half the poems collected in 'Turning away' (Llandysul, 1969), predominantly those in the second half of the volume, ff. 1-64; autograph drafts of 17 other poems, ff. 65-85. Formerly Welsh Arts Council MS 39.

Drafts, mostly pencil, parts in typescript, of all but four of the stories collected in The White Farm (London, 1937).

Pencil draft, with some typescript, of the novel 'Come Michaelmas' (London, 1939).

Fair holograph copies of the two collections of poems, Welshman in Bloomsbury (London, 1966) and The Sad Mountain (London, 1970).

Some two hundred poems, mostly fair copies, very few in more than one version, two in Welsh, only one noted in his published collections. A relatively small number are dated; these dates run from 1930 to 1951. The poems all originally on loose sheets of paper are bound in a very rough chronological order. 287 Ff. Formerly Welsh Arts Council MS 1.

Cyclostyled typescript of 'No flowers in Tiger Bay', incorporating the alterations and corrections made in NLW MS 20773.

Pencil drafts with additions and changes and including sections later suppressed, the source of the first typescript drafts, of six of the seven stories in the collection 'The Chosen One' (London, 1967), together with corrected typescript of two of the stories and corrected galley proofs of one. Fo. 1, Letter from Rhys Davies concerning MSS, 1968;. Ff. 2-142, 'The Chosen One';. Ff. 143-187, 'The Little Heiress';. Ff. 188-230, 'I will keep her company';. Ff. 231-245, Galley proofs of the same (?'New Yorker');. Ff. 246-289, 'The Old Adam';. Ff. 290-327, Typescript of the same;. Ff. 328-385, 'Betty Leyshon's marathon';. Ff. 386-414, Typescript of the same;. Ff. 415-449, 'Love kept waiting'. Formerly Welsh Arts Council MS 22. For other similar material relating to this volume, see NLW MS 21530D.

Autograph and a few typescript drafts of poems collected in 'The Green Desert' (Llandysul, 1969), all but seven of the poems in the volume being represented; most of these drafts are virtually fair copies of the poems as printed, ff. 1-77. Also autograph drafts of nine uncollected poems and translations, ff. 78-90. Formerly Welsh Arts Council MS 40.

Corrected galley proofs of the anthology The Lilting House, ed. by John Stuart Williams and Meic Stephens (London and Swansea, 1969). Formerly Welsh Arts Council MS 47.

Six letters from Charles Morgan to Geraint Goodwin 1929-1935: literary and a few personal matters (ff. 1-10); Eighteen letters from Hilda Vaughan to R. Ellis Roberts, the author and journalist, and his wife Harriet, mostly to the latter, 1927-1960: small-talk, some of it literary (ff. 11-42); Two letters from Arthur Machen, 1926 and 1929, the latter, if not both, to a Mr Parker: Machen's autograph (ff. 43-44); Three letters from John Cowper Powys to Sven Erik Tackmark, 1939-1949: personal, with some reference to literature (ff. 45-53); Two letters from W. H. Davies to William Maas of the Daily Chronicle, 1918-1919, about possible contributions; also, fair copies of the poems 'Elli' and 'Bird and Brook', with W. H. Davies's card. The former poem, beginning 'Thou comest unknown, my lady strange and rare', does not appear in the collected poems (ff. 54-60).

Typescript draft, corrected in autograph, of parts One to Three (to p. 228 in the printed work) of Oliver Onions's historical novel A Penny for the Harp (London, 1952). Considerable further changes of detail were made before publication.

Twenty-eight letters written by Alun Lewis to Brenda Chamberlain, published, but not all in their entirety, by Brenda Chamberlain in Alun Lewis and the Making of the Caseg Broadsheets (London, 1970) (ff. 1-50). The editing of this volume was careless. Apart from minor inaccuracies and omissions, there is confusion of matter from different letters, indication of omitted matter where no omission exists and vice versa. Omitted matter amounts to about a quarter of the total. It may be classified thus: comment on Brenda Chamberlain's work mostly her poetry; trivial business concerning the broadsheets, trivial (not uninteresting) details about Alun Lewis's life; comment on Gweno. A number of omissions in the last category are of some significance; one in the letter of 3 Oct. 1943 deplorably obfuscates the meaning: '... the deep happiness of body and brain [that Gweno brought with her when at last she came to me]'. Also included are letters to Brenda Chamberlain from Vernon Watkins, 1942 (f. 51; Appendix II in the above volume), Gweno Lewis, 1944 (ff. 52-53), and John Rolph, 1956 (f. 54).

Worked typescript and autograph drafts of about a third of the poems collected in 'Requiem and Celebration' (Swansea 1969). On f. 42 is an unidentified fragment, related to another on the verso of f. 19. Formerly Welsh Arts Council MS 46.