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Cuttings from magazines, fair typescript copies, fair and worked typescript and autograph drafts of the poems collected in Fidelities (London, 1968). All but one of the poems in the volume are represented, by numbers of drafts up to twenty. Also included are drafts of the preliminaries of the volume (ff. 4-9) and a letter from Gwen Watkins (f. 3) concerning these papers. Drafts of a few poems in Fidelities are among the Vernon Watkins Papers in the British Museum, as Mrs Watkins's letter explains. A contents list shows the number of drafts of each poem, as well as locating them. Some of the drafts are dated. There are five short poems not included in Fidelities, cf. contents list.

Poetry notebooks containing drafts and notes for poems, as follows: Small notebook with drafts of poems 1964-1965 (ff. 1-18); Ditto, 1965-1966 (ff. 19-36); Ditto, 1966-1967 (ff. 37-60); Drafts of two poems, originally loose leaves (ff. 61-63); Sketchbook containing worked drafts of poems, 1967-1968 (ff. 64-81); Drawing block containing worked drafts of poems, 1968-1969 (ff. 82-88); Typescript drafts with autograph changes of six poems; autograph fair copies, dated 1964, on the back of picture postcards which illustrate the poems, of 'Camargue' and 'Camargue Cross' (ff. 89-102). Most of the poems included in this volume were collected in A Sense of Europe: Collected Poems 1954-1968 (Llandysul, 1968).

Ff. 1-17, Worked drafts, some typescript, of sixteen uncollected poems;. Ff. 18-25, Typescript drafts, heavily revised, of seven poems collected in 'Diesel to Yesterday' (Cardiff, 1966);. Ff. 26-32, Lists of poems, etc, c.1969;. Ff. 33-42, Drafts and worksheets, typescript and autograph, of eight poems collected in 'The Loss of Ancestry' (Swansea & Llandybie, 1969);. Ff. 43-61, Drafts and worksheets, typescript and autograph, of nine poems collected in 'The Province of Belief' (Llandybie, 1971);. Ff. 62-96, Drafts and worksheets of other poems. Formerly Welsh Arts Council MSS 34, 41, 65, 68.

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).

Manuscripts, 1901-1971, brought together (as gifts and purchases) by the Welsh Arts Council, 1965-1971.

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.

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 with autograph additions and corrections of An Introduction to Anglo-Welsh Literature (Cardiff, 1970).

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.

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.

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.

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.

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

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

Typescript of the autobiographical volume A Trickle of Welsh Blood (London, 1967) with autograph corrections.

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

Pencil draft of the novel 'Watch for the Morning' (London, 1938).

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

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.

Notebook containing a draft of the novel 'The Water-Castle' (London 1964), based on a journal kept 23 Dec. 1952-2 Feb. 1953. This draft was apparently written in the spring of 1953 (see inside front cover). Changes were later made in this volume; others were made before publication. The volume ends with the journal entry for 31 Jan. (corresponding to p. 140 of the published work). 174 Ff. Annotated catalogues of shows of Brenda Chamberlain's paintings and drawings at Gimpel Fils, 1950 and 1952, which accompanied this volume have been transferred to the Brenda Chamberlain Papers (in NLW). Formerly Welsh Arts Council MS 49.