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The file comprises four sheets of corrections in David Jones's handwriting, page proofs corrected by him, and letter from the editor, Harman Grisewood, to David Jones about the content of the volume, dated 22 July 1958.

The file comprises Faber and Faber's contract with David Jones for In Parenthesis, 1937.

The file comprises a photocopy of the complete text of the Commentary and final corrections.

The file comprises a typescript commentary on parts I-VI of The Anathemata. The author's name is not noted. David Jones has written 'later version' as well as some other comments on the typescript.

The file comprises a short typescript commentary on Parts I and VII of The Anathemata, possibly relating to LA5/10. The author's name is not noted. David Jones has written 'early version' and other comments on the typescript.

The file comprises manuscript drafts of writings by David Jones containing references to his published works. There are drafts of introductory notes to some of the poems published in The Sleeping Lord and other fragments, but most of these drafts appear to be of letters to private correspondents. The file includes his comments on Epoch and Artist (ff. 2-10), The Sleeping Lord and other fragments (ff. 11-70), In Parenthesis (ff. 71-104), The Anathemata (ff. 105-148), and on a recording of a reading of his works (ff. 149-170).

The file includes photocopied drafts of Parts II-III of the Commentary with manuscript alterations by René Hague and showing comments by David Jones.

The file includes typescript drafts of the Commentary with manuscript alterations by René Hague, dated April and November 1976. It is mainly of Parts VII-VIII, with some pages of Part IV.

The file comprises a copy of the draft typescript of the Commentary by René Hague, which is included in the volume.

The file comprises cyclostyled typescript commentaries on The Anathemata by Jesuit students who were members of the Loyola Seminary, New York, with glossaries and maps.

The file includes some typescript addenda and corrigenda for the Commentary with manuscript alterations by René Hague. Also there are letters, 1979, to René Hague from 'Michael', W[alter Shewring] from Ampleforth, and Nancy Sandars, relating to his book.

The file comprises fifteen letters and a telegram from Clarissa Eden, Lady Avon, 1948-1966, mostly 1956-1958, with a sketch by David Jones for an inscription for her, some newspaper cuttings with photographs of her, and a draft letter to her from David Jones, 1956.

The file contains 5 Christmas cards designed by David Jones: 'We wish you a Happy Christmas', W. D. Jones, 1904; 'Greetings. May all Christmas Joys be Yours, a Blwyddyn Newydd da i chwi', Walter Jones, 1907-1908 (2 copies); 'Ye Good Olde Christmas Time. Wishing You ye Good Olde Christmas Wish', W David Jones, 1908-1909; 'Greeting. Nadolig Llawen', W. David Jones, 1918, New Barracks, Limerick, and 1961 Christmas card made for Faber and Faber of a woman playing the violin.

The file comprises Christmas cards to David Jones, including a Christmas card with a wood engraving by Eric Gill.

The file comprises a scroll with Chinese lettering, and a landscape, probably related to A3/6.

The file comprises a map of Poo-Tung presented to Mr James Jones, David Jones' father, Chinese lettering, and various pencil sketches and drawings of Chinese scenes, some made by a student of Ningpo [Missionary] College.

The file comprises approximately 1000 Barclays bank cheques signed by David Jones and 28 cheque books, 1944-1962.

The file comprises a box containing approximately 1000 cheques written by David Jones, 1938-1969, and 36 used cheque books and paying in books, 1932-1970 (mainly 1957-1970).

The file comprises manuscript drafts (paginated 2-4 and 8) of a writing by David Jones. This writing appears to centre upon a consideration of the significance of the Roman Catholic service of Tenebrae.

The file comprises a manuscript draft of a letter, in David Jones's hand, "Letter to The Tablet, June 1953, part of a correspondence headed 'Changes in the Coronation Service'". This draft is close to the published text (see Epoch and Artist, pp. 49-50).