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The file includes correspondence, 1978, between the Academi and the Society of Authors regarding a copyright dispute between Gwen Watkins, wife of the late Vernon Watkins, and the Anglo-Welsh Review.

The file includes correspondence on various issues, 1984, including an article to be printed in ^<<The Guardian^>> newspaper by Mark Bourne regarding the Academi on its 25th anniversary; and a letter from Gwen Watkins regarding an article printed in BWA.

The file includes a letter from Rhys Davies regarding the reprinting of his first novel, The Withered Root; letters form Raymond Mathias and Gwen Watkins regarding the reprint of Vernon Watkins' Unity of the Stream and from Dai Smith regarding Lewis Jones's Cwmardy and We Live.

Draft score in ink with pencil annotations, dated 1956-1961 and titled Opus 10: 'Canticle for Tenor and Piano: Words by 20th-century Anglo-Welsh Poets'. The score is in six parts: Part 1, 'Lean on the Rail' by Randal Jenkins, dated 1 - 12 January 1957; Part 2, 'I Will Give you a Golden Flower' by David Harries, dated 16 December 1956; Part 3, 'Lie Still, Sleep Becalmed' by Dylan Thomas, dated 24 July 1957; Part 4, 'When I was a Child' by R. S. Thomas, dated 24 November 1959; Part 5, 'Is There a Cause?' by Vernon Watkins, dated 21 April 1960; and Part 7, 'There is No Time' by Raymond Garlick, as a loose page draft pencil partial score, dated 24 January 1961. Part 6 is wanting.

Ink score with pencil annotations, dated 1956-1961 and titled Opus 10: 'Canticle for Tenor and Piano: Words by 20th-century Anglo-Welsh Poets'. The score is in seven parts: Part 1, 'Lean on the Rail' by Randal Jenkins, dated 12 January 1957; Part 2, 'I Will Give you a Golden Flower' by David Harries, dated 16 December 1956; Part 3, 'Lie Still, Sleep Becalmed' by Dylan Thomas, dated 24 July 1957; Part 4, 'When I was a Child' by R. S. Thomas, dated 24 November 1959; Part 5, 'Is There a Cause?' by Vernon Watkins, dated 21 April 1960; Part 6, 'In the Grass Gold Rings' by Roland Mathias, dated 10 May 1957; Part 7, 'There is No Time' by Raymond Garlick, dated 24 January 1961.

Facsimile copy of ink score, dated 1956-1961, titled Opus 10: 'Canticle for Voice and Piano', and incorporating 'Words by Twentieth-Century Anglo-Welsh Poets'. Consisting of Part 1, 'Lean on the Rail' by Randal Jenkins, dated 12 January 1957; Part 2, 'I Will Give you a Golden Flower' by David Harries, dated16 December 1956; Part 3, 'Lie Still, Sleep Becalmed' by Dylan Thomas, dated 24 July 1957; Part 4, 'When I Was a Child' by R. S. Thomas, dated 24 November 1959; Part 5, 'Is There a Cause?' by Vernon Watkins, dated 21 April 1960; Part 6, 'In the Grass Gold Rings' by Roland Mathias, dated 10 May 1957; and Part 7, 'There is No Time' by Raymond Garlick, dated 24 January 1961.

The file comprises miscellaneous manuscript drafts of letters from David Jones to friends and associates, including William Blissett, Jim and Helen Ede, Dame Edith [Sitwell], Ethel [Watts], Rachel Bromwich, Vernon [Watkins], Aneirin [Talfan Davies], [Rhydwen] Williams, [Thomas] Charles Edwards, Prof. Thomas Jones and others. Many of the drafts are incomplete, many only of the first paragraph of the letter. There is also a short note from D. Gwenallt Jones, 1957.

The file comprises over 160 letters to David Jones relating to his pictures, exhibitions and reproductions of his pictures from The Redfern Gallery, The Tate Gallery, The Arts Council, The British Council, the Golden Cockerel Press, CEMA and many other galleries, museums, firms and organisations. There are also letters from Frances Richards, Margaret Aeron-Thomas and others with an introduction to an exhibition of the '56 group' by Vernon Watkins.

The file comprises letters to David Jones arranged alphabetically, W including Bernard [Wall], Vernon Watkins (2, 1 incomplete), Valerie Wynne-Williams, Ethel Watts, Harri Webb, and others. There are also some incomplete and unidentified letters arranged chronologically.

The file comprises typescript, manuscript and printed copies of poems by various authors (in many cases the author's name is not noted). Includes a typescript copy of a poem by Peter Levi entitled 'Thirty ways of drowning in the sea', with a letter from Alasdair Clayre at All Souls College, Oxford, dated 17 Sept. 1965, asking David Jones whether he would like 'a drawing or two drawings of yours to be used as illustrations for a limited edition of this poem?' (for drafts of a reply to this letter see A2/1), and typescript copies of poems by Charles Madge ('The Storming of the Brain', dated 2 July 1950), Dylan Thomas ('Elegy'), Saunders Lewis ('The Choice', translated by R. Wynne), Stefan George ('Come in the Park described as dead and see', translated by Vernon Watkins and signed by him), William Hayward, Herbert Read, and a translation of 'Wales' by Gwenallt Jones.

Correspondence, 1953-1954 and 1958, comprising twenty-two mainly typescript letters, mostly from the literary agent David Higham, of Pearn, Pollinger & Higham Ltd, to Daniel Jones, and including five replies (two unsigned) from Daniel Jones, one being a 9 ff. draft letter. Among the topics discussed are the collection of Dylan Thomas letters, edited by Daniel Jones and Vernon Watkins; the publication of a collection of radio talks by Dylan Thomas; the radio production of 'Under Milk Wood'; the publication of Under Milk Wood in Mademoiselle, the serialisation of the work in the Sunday Observer, the edition published by Dent containing a preface by Daniel Jones, and the Acting Edition of the play; incidental music to Under Milk Wood, including the composer's rights; the poet's papers in America; the circumstances surrounding his death; and Caitlin Thomas.

Includes letters, 1935-1997, from John Malcolm Brinnin (4), John Davenport (2), Nicolette Devas, George Firmage (2), Alfred Janes (2), Mary Keene, Mervyn Levy, Mably Ceredig Owen (2), John Prichard (to Dylan Thomas, enclosing typescript play, 'The centric part'), Bill Read (2), Lynette Roberts, Stephen Spender (3), Margaret Taylor (2), and Tom Warner (2). Amongst the recipients are Vernon Watkins, Daniel Jones, and Charles Fisher. Also included are press cuttings, [1949]-1999, relating to Alfred Janes, mostly tributes.

Seven letters, 1979-1983, from Francis Dufau-Labeyrie to Gwen Watkins, assisting with research for her book, Portrait of a friend (Llandysul, 1983); he discusses correspondence between himself and Vernon Watkins and his recollections of Dylan Thomas. Also included are photocopies of letters, dated [1937]-1963, from Vernon Watkins to Francis Dufau-Labeyrie containing references to Dylan Thomas, and a copy of Dufau-Labeyrie's 'Notes in memory of Vernon Watkins', 1977.

Bound typescript (photocopy), [1965x1968], of a paper by B. W. Murphy, entitled 'Creation and destruction. Notes on Dylan Thomas'; together with an offprint of an article based on this work published in the British Journal of Medical Psychology, 41, (1968), pp. 149-167; three related letters, 1964-1965, from the author to Vernon Watkins; and an undated typescript copy of an unsigned letter by Dylan Thomas to Marguerite Caetani.

Photocopies and typescript copies, produced [1955x2000], of seven letters from Dylan Thomas, dated [?1935]-1953, found loose amongst papers acquired in this group. Most were published in Paul Ferris ed., The collected letters of Dylan Thomas (London, 1985). Among the recipients are Marguerite Caetani (2), Pamela Hansford Johnson, J. Oliver Stephens, and Vernon Watkins (signed by VW).

Thirty-four unpublished autograph letters and cards, together with a telegram, 1947-1984, from Caitlin Thomas; among the recipients are Paul Ferris, Daniel Jones (with a draft reply by him), Mervyn Levy, Andrew Sinclair, Stuart Thomas, Ruthven Todd, and Gwen and Vernon Watkins. Also included is a handwritten and typescript copy of a letter, dated 16 December 1953, to George Reavey and Irene Rice Pereira, with a photograph of Caitlin and baby Colm; a typescript copy of a letter, 1954, to David [Higham]; and photocopies of two letters, 1951 and 1962, sent to Helen [McAlpine], held at the University of Texas. Personal matters are mainly discussed in these letters, and Caitlin's life and relationship with Dylan Thomas; several letters are written during the months following her husband's death, and some relate to the trial concerning ownership of the manuscript of 'Under Milk Wood'.

Six autograph letters (one photocopy), [1953]-1957, from Dylan Thomas's mother, Florence ('Florrie') Thomas, to various recipients including Daniel Jones, J. Oliver Stephens and Vernon Watkins. They mainly relate to her bereavement, to Dylan, Caitlin and the grandchildren, and her health.

Holograph letter, dated 31 December 1941, by Dylan Thomas to his parents D. J. and Florence Thomas, written in black ink on lined paper (ff. 1r-3r) and sent from Chiswick, thanking them for the Christmas presents; writing from London, he refers to the time spent in Oxford with Alan and Margaret Taylor over the Christmas holiday, the urgency to find somewhere for Caitlin and Llewelyn to stay near the capital, his recent work on short information films and a radio script, a visit from Vernon Watkins, and a poem published in Lilliput. The envelope is postmarked January 1942.

Correspondence, 1979-1981, including letters from Gwen Watkins (5), Roland Mathias and Gillian Clarke, concerning a dispute regarding copyright of material quoted in an article on Vernon Watkins published in The Anglo-Welsh Review.

Includes letters from Meurig Walters (9), J. P. Ward (3), Vernon Watkins (6), Harri Webb (9), [?] Geoffrey West (2), Laurence Whistler, Alun Llywelyn-Williams (12), Barbara Prys-Williams (2), Gareth Williams, Gwyn Williams (5), Herbert Williams (4), Huw Menai (16), John Stuart Williams (4), Kyffin Williams (2), Morris T. Williams (3), and Woodrow Wyatt (7).