Dangos 147 canlyniad

Two cels and a background drawing, together with a folded publicity brochure, [1992], for the animated film version of 'Under Milk Wood', produced by Siriol Productions for S4C, BBC, and Onward Production (1992).

Typescript copy, [1966x1967], (6 pp.), of an article by Denys Val Baker entitled, 'Dylan Thomas in Cornwall', published in Humanist, (March, 1967), pp. 77-79, containing some autograph revisions; together with a copy of the journal.

An unsigned pencil draft, 1953, (4 pp.), by George Barker of his poem 'A swansong at Laugharne at the death of Dylan Thomas', consisting of twelve four-line verses, with revisions in his hand; written on the reverse of sheets from the manuscript of his father's autobiography.

Uncorrected galley proofs, [1965], of Constantine FitzGibbon's work, The life of Dylan Thomas (1965), containing some amendments in Ralph Maud's hand and typescript suggestions for alterations to the text; together with fourteen letters, 1963-1964, from the author to Glyn Jones, Daniel Jones and Mervyn Levy.

Typescript copies of two papers by Victor Golightly: 'Dylan Thomas and sign language', (12 pp.), presented at Gregynog, 1999, and accompanied by a covering letter from the author to Jeff Towns; and '"Writing in dreams and blood": Dylan Thomas and Marxism', (24 pp.), published in Welsh writing in English, vol. 8, (2003), pp. 67-91.

Manuscript draft, 1973-1974, in three volumes, of the autobiographical work by Pamela Hansford Johnson, Important to me (London, 1974), provisionally entitled 'What I need to say', which includes reminiscences about Dylan Thomas. Among the enclosures, 1973-2006, in the first volume is a letter, 1974, by the author. The third volume also contains book reviews by PHJ, together with fragments of her novel, The good listener (London, 1975), a summary of which is inserted at the end of the volume. In addition, the file contains three loose letters, 1958 and 1980-1981, by PHJ; a copy of The first comment treasury (London, 1937), which includes three poems by PHJ, two published under the pseudonym G. N. Oborn, and another by Dylan Thomas; and a copy of the Dylan Thomas memorial number of the journal Adam, no. 238 (1953), containing a memoir by PHJ.

Galley proofs, and bound uncorrected proofs containing manuscript amendments, both dated 1967, of the book Meetings with poets by Jack Lindsay (London, 1968). A letter, [1967], from the author in which he discusses the work, and a newspaper cutting, [1990], of an obituary to Jack Lindsay, are enclosed in the front of the volume.

Bound typescript copy, 1995, of the lecture 'Who killed Dylan Thomas?' delivered by the Dylan Thomas Fellow, Adrian Mitchell, at Tŷ Llên, Swansea, as part of the Dylan Thomas Month during the UK Year of Literature; signed by the author.

Undated typescript, [?1966], (16 pp.), with autograph amendments, entitled 'The Parton Street poets' by Rosalind Wade, which includes references to Dylan Thomas; together with three letters, 1966, two from the author to Derek [Stanford], and another from John M. Bunting to Rosalind Wade, regarding a proposed book on the poets.

Typescript copy, [1991], of '"But he's nice", a play on the theme of Dylan Thomas' by David Wilson and Mervyn Levy, including a photocopy of a letter, 1991, from Levy to Wilson, and 'Swansea 1925. A remembrance by Mervyn Levy'. A later version of this play, 'Spitting into the sky', by David Wilson, in collaboration with Anne Aylor, was performed at the Dylan Thomas Festival, Swansea, in 2005. Also included is a cutting of Mervyn Levy's recollections of Dylan Thomas entitled 'A womb with a view', published in John O'London's Weekly, November 1962.

Papers, [1966x1967], relating to The notebooks of Dylan Thomas, ed. Ralph Maud (New York, 1967), including a typescript copy of the work and galley proofs, both containing autograph corrections and amendments.

Seven autograph letters, one signed typescript letter, and a postcard, [1935]-1947, from Dylan Thomas to Charles Fisher, in which he mainly discusses personal news and his work, responds to CF's enquiry about his "theory of poetry" and explains his method of drafting and recording his work on paper (ff. 1-2), refers to the company at Blashford and his fondness for Swansea (f. 3), collaborating with CF on 'Murder of the King's Canary' [sic] (f. 4), his new poems and book, In the direction of the beginning (f. 7), the war and the 'Keidrych Rhyses' (f. 8), and a forthcoming stay in Italy with the family where he hopes to write poetry (f. 11).

A copy of Contemporary poetry and prose, no. 1, (May, 1936), including the story 'The burning baby' by Dylan Thomas, pp. 10-14; the front cover inscribed by him in ink, "This contains The Burning Baby", and the text of the story also including amendments in his hand.

Swansea Intermediate School exercise book belonging to Dylan Thomas and labelled 'D. M. Thomas IV A Physics', [1929x1930], mostly containing school notes, with doodles and a rhyme beginning 'Sewer rats as household pets...'.

Contract, 1949, between Columbia Records Inc. and Dylan Thomas, signed by both parties, regarding his contribution to the record issued in conjunction with Lloyd Frankenberg's anthology, Pleasure Dome (New York, 1949). Also included is an amendment to the original contract, 1960, signed by David Higham, together with a typescript letter, 1949, by Lloyd Frankenberg, papers relating to the recording of the album, and a copy of Pleasure Dome.

Autograph draft, [1939x1940], written in indelible pencil on brown paper, of the first stanza and three lines from the second stanza of the poem 'There was a Saviour' by Dylan Thomas; the fourth line of the second stanza has been crossed out by the author, otherwise this draft is identical to the published text. The poem was first published in Horizon (May, 1940), and subsequently in Deaths and entrances (London, 1946).

Four foolscap pages, [1939], containing typescript copies of the poems 'It is the sinners' dust-tongued bell', 'How shall my animal', 'The tombstone told when she died' and 'A saint about to fall' by Dylan Thomas; his signature is inscribed in ink beneath each poem, and the typed titles, 'Three', 'Nine', 'Ten' and 'Twelve' respectively, have been crossed out and replaced with the heading 'Poem'. These copies may have been produced in preparation for The map of love (London, 1939), and appear to have been sent by Dylan Thomas to Thomas Taig for a proposed 'dramatic presentation' of Anglo-Welsh poetry at a London theatre in September 1939. Also included is a photocopy and photograph, [1953x1990], of the first page of a letter from Dylan Thomas to Thomas Taig, 23 August 1939; together with photocopies of poems in his hand, typescript copies, and printed copies of poems, [1939x1990], intended for the production, by various authors, including Glyn Jones and Keidrych Rhys (one containing amendments by the author).

Unsigned typescript letter, 1952, addressed to Dylan Thomas from the publishers J. M. Dent & Sons Ltd, enclosing marked proofs, 1952, of the preliminary pages for the reprint of his Collected poems (London, 1952).

Holograph letter, dated 21 April [1944], by Dylan Thomas to Mechthield [sic] [Nawaisky], written in black ink (recto side only) and sent from Old Bosham, regarding Bill Brandt's photographs of Caitlin and himself; he also refers to the nightly bombing of Sussex. Inscribed 'Dylan Thomas during war in his early 30 tee's' in pencil in an unidentified hand on reverse. Also included is a page from an unknown publication, [1953x1954], containing an article about Dylan Thomas, and the black and white photograph by Bill Brandt, 'Dylan Thomas and His Wife, Caitlin, in Their Room, Manresa Road, Chelsea' (1944).

Holograph letter, dated 31 January 1941, by Dylan Thomas to his uncle Arthur [Thomas], written in black ink on lined paper (f. 1r) and sent from Chiswick, in which he thanks him for the Christmas presents and refers to the new film 'Dumbo'. The letter, which appears to date from around the same time as the one sent to his parents (F1/1/14), may have been written on 31 December 1941 or 31 January 1942.