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The file comprises a typescript draft of the text of Dai Greatcoat with index and sections 2-4.

The file comprises a complete manuscript draft of 'The Book of Balaam's Ass' numbered by David Jones 1-15, 15a-54, 54-56; a carbon typescript of the above with corrections by David Jones, pages 1-35; a typescript with corrections by David Jones of the part of 'Balaam's Ass' which was printed in The Sleeping Lord, numbered 1-16; alternative manuscript opening and note, and alternative typescript sheets of 'Balaam's Ass'; and a typed copy of a letter from David Jones to Jim and Helen [Ede], 1939. The file also contains notes by René Hague and Harman Grisewood.

The file comprises manuscript drafts of prose writings. Many of these drafts appear to be of letters from David Jones to private correspondents. Amongst the subjects discussed are various matters of Welsh interest (ff. 2-15, with two drafts concerning Saunders Lewis), and the relationship between the Last Supper, the Crucifixion and the Mass and between the nature of the Mass and the nature of art. There is one draft of what appears to be the end of a letter to Petra Tegetmeier (née Gill).

The file comprises a complete manuscript draft of 'Under Arcturus', numbered on the lower right hand corner 571-637, 637a, with typescript and carbon copies. One of the sheets (numbered 624) is apparently dated 1971.

The file comprises manuscript drafts of 'The Agent', which is referred to on the folder as the 'Judas MS.' and 'MS. C.' It is divided into four sections: Judas soliloquising (numbered 438-460); Judas has slipped out (numbered 461-82, 482a); Judas and Caiaphas (numbered 483-552), and Judas in the garden (numbered 553-64). There are also miscellaneous manuscript pages (numbered 565-70) and typescript pages (1-4, 6-37), and notes by René Hague.

The file comprises miscellaneous manuscript material in David Jones's hand, almost all consisting of drafts of prose writings. Amongst the subjects discussed or referred to in these drafts, many of which have only a few lines of writing, are the abdication of Edward VIII, the Renaissance, Malory, Gog and Magog, the significance in British history of the date 655 AD, Goronwy Owen, the pre-1485 history of the Tudor family and modern civilization.

Manuscript drafts of letters from David Jones, almost all concerning his work as an artist. The addressees are listed on the wrapper. Amongst the subjects to which these letters relate are a proposal to reprint the engravings made by him for the Golden Cockerel Press (1944); the blocks illustrating the Chester Play of the Deluge (1959); the example of his work to be reproduced in the Arrow Press paperback edition of Sir John Rothenstein's book Modern English Painters, Lewis to Moore (1962); 'Panthers', 1931, a drawing in the possession of the Walker Gallery, Liverpool (1968); illustrations for 'Thirty Ways of Drowning in the Sea' by Peter Levi (1969) and 'Lancelot', 1940 (1944).

The series comprises material relating to some or all of the fragments published in The Sleeping Lord, including manuscript drafts, galley proofs and page proofs, instructions to printers, an introduction to a reading, and a review.

The file comprises photographs of two dry-point engravings by David Jones in the possession of the Victoria and Albert Museum, together with a covering letter from the Deputy Keeper of Circulation at the Museum dated 18 June 1965.

The file comprises a design mounted on cardboard for the American publication of The Anathemata, with two letters to and from the Chilmark press discussing the design, 1962-1963. The cover of the English edition with David Jones' lettering has been cut out and is included with the file.

The file comprises sheets identified by René Hague as being manuscripts for The Anathemata, unused by David Jones for the published version. They are variations on half a dozen or so passages. They have been arranged by Tom Golpaugh into sections and identified as follows: material relating to Manuscript A1 (ff. 1-13); A2 (ff. 16-19, 110-113, 116-122, 160-183, 186-193, 200-216); A3 (fols. 123-139, 141-159); ); A4 (ff. 20-102, 194-199); A5 (ff. 103-105); AY (f. 106). See notes by Tom Golpaugh (ff. i-viii). Some of the other pages (ff. 107-216) are numbered 5, 37, 62A, 37P, 46A-F, 54A, 243 and 192-3 by David Jones, but they are mostly unnumbered and are written in ink and pencil on a variety of papers. There is also a page of typescript (f. 107) and a page proof (f. 217) . The pages of The Anathemata to which they correspond is written on the bottom left hand corner of some of the leaves. A letter from David Jones to 'J.S' [Thornton, Oxford] dated 1958 discusses references to 'Sarras' on f. 221. Folios 218-20 (numbered 192-3) belong to In Parenthesis. Folio 140 belongs with LR 8/6.

The series consists of early manuscript drafts of In Parenthesis, parts I-VII, with fragments of earliest draft pp.1-6, and notes.

The file comprises proofs of part of Part VII probably made in 1936: three copies of text corresponding to pp. 153-172 printed in two columns on four newspaper-sized sheets, one copy corrected in pencil by David Jones (ff. 1-12); text corresponding to pp. 161-164 printed on two folio-sized leaves with notes in margin (f. 13); and one leaf, with text of pp. 161-163, differing only in spacing (f. 14). On these proofs, probably made in 1936, see René Hague David Jones p. 36. They were pulled on 'a type of Cope's Albion handpress'. Their text is not from the final typescript. It is possibly from the final manuscript draft before the last revision of that draft.

The file comprises an early typescript draft of Part I 'All Men, children and upwards', pp. 1-18, 39, with manuscript revisions by David Jones. These typescripts are later than any of the manuscript drafts and were rejected from the 1932 draft whilst pp. 19-38 of the typescripts were retained (see LP2/2 and LP2/3).

The file comprises eight letters (one incomplete), and two telegrams, 1955-1960 and undated, from Dame Edith Sitwell to David Jones, and one from her secretary.

The file comprises letters to David Jones from editors and publishers (other than Faber and Faber), with letters from Alwyn D. Rees, Moelwyn Merchant, George Ewart Evans, Raymond Garlick, Keidrych Rhys, Stephen Spender, Louis G. Cowan, John H. Johnston, Neville Braybrooke, Myra Owen, K. M. E. Murray, Bernard Bergonzi, Elizabeth Pakenham, Fr. Illtud Evans, Ffransis Payne, Kenneth Clark, Henry Rago, Eleanor Farjeon and others.

The file comprises Emblems by Eric Gill, a volume of six wood engravings selected from twelve illustrations made for The Devil's Devices or Control versus Service by Douglas Pepler, 1915. Thirty three copies of this, the second edition, were printed at Ditchling, February 1916. The volume is inscribed by David Jones 'from Eric Gill and Hilary Pepler (the printer of this work) circa 1921, Ditchling common, Sussex'. It has been numbered 'No. 3 Eric Gill'.

The file comprises three manuscript drafts of a one-page epilogue to In Parenthesis, the second of them paginated 179 by David Jones (and so later than the 1936 typescript), the third paginated 183 (and so later than the revised ending to the 1936 typescript). On the third draft David Jones has written 'discarded'.

The group contains manuscript and typescript drafts of the selected writings, page proofs and corrections, and material relating to publication.

The file comprises a manuscript draft of an article about Eric Gill, possibly relating to one of the two articles published in Epoch and Artist on 'Eric Gill as Sculptor' and 'Eric Gill, an Appreciation', which were originally published in 1940 and 1941. Alternatively it may be for a radio broadcast by David Jones on Eric Gill produced by Douglas Cleverdon.