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Press cuttings, 1962-2017, collected and arranged by Niall Griffiths into themes including ‘Nationalism and Identity’, ‘History and Identity’, ‘Drugs’, ‘Sexuality’, ‘Class’, ‘Politics’, ‘Writing’, ‘Religion’, ‘Spirituality’, ‘Noir’ and ‘Grenfell Tower’, with extensive related manuscript and typescript additions by him, comprising his own notes and in particular transcripts of extracts and quotations from the work of other writers and creative artists, as well as printouts of articles and emails.

Literary papers of Niall Griffiths, 1962-2018, comprising material relating to all aspects of his career as a writer, and in particular the conception, research, writing and publication of his books, short stories, poems, articles and media scripts.

The archive contains language which some readers may find offensive. While much of Niall Griffiths's work does not employ such language, its use is integral to his writing style.

Two manuscript drafts and a typescript draft of ‘Real Aberystwyth’ with manuscript and typescript annotations by Niall Griffiths and the publisher, and related letters and email correspondence between them concerning the writing and production of the book, as well as correspondence between Niall Griffiths and the predominantly literary contacts whom he consulted about the content of the book, together with other material accumulated during the writing of the book and relating to people, places, events, activities, issues and phenomena in Aberystwyth and the surrounding area as well as the ‘Real Aberystwyth’ project itself, comprising manuscript and typescript notes by Niall Griffiths, typescript copies and photocopies of poems (notably ‘One, Rheidol Place’, ‘Symbols’ and ‘River Moods’ by Herbert Williams, ‘An Aberystwyth Canto’ by Matthew Jarvis, ‘Nietzscheanism and the meaning of the superman’ and ‘Aberystwyth short fiction’ by Tiffany Atkinson, and ‘The Buoy’ by Gwyneth Lewis), typescript copies of articles (including ‘“In a very deranged state”: notes on the Iolo Morganwg Project’ by Mary-Ann Constantine, ‘The English in Wales: an Englishman’s view’ and ‘Flag waving’ by Simon Rodway, ‘Crud cenedlaetholdeb Cymreig’ [‘A cradle of Welsh nationalism’] by Rhys Jones and Carwyn Fowler, and ‘Teithio yn y nos / Nachtreise’ by Patricia Duncker), photographs taken by Niall Griffiths (in labelled envelopes which have since become jumbled), printouts from websites, press cuttings and tourist information literature. Also included, bound in a volume with a draft of ‘Real Aberystwyth’, is a manuscript draft of ‘Real Liverpool’ with manuscript notes by Niall Griffiths and an outline proposal by him for the book, together with a copy of related email correspondence between him and the publisher.

Manuscript and typescript material produced and accumulated by Niall Griffiths while studying poetry at university, comprising typescript and printed drafts, [c.1985] and 1993-1995, of chapters and articles by him including ‘“Adnabod” and the “continent … of experience”: some contemporary Welsh poetry in the English language’, ‘Communicating through concrete: Ian Hamilton Finlay, Edwin Morgan, Bob Cobbing’, ‘History is what hurts: the Celtic diaspora and contemporary Britain’, ‘The pre - post colonial poet: some contemporary Irish writing’, ‘Imagi/Nation/Multi/Nation: modern Scottish poetry’, ‘”De tongue (De first instrument)”: some Black British poetry’, ‘Wandering among the voices: Blake Morrison and some British poetry of the 1950s’ and ‘Art after Auschwitz’, with manuscript notes and typescript comments by his academic supervisor, and letters from universities regarding possible publication; also included are typescript academic papers, 2006, by others concerning his work, comprising: ‘Longing for roots: constructing Wales in Niall Griffiths’s fiction’ by Aleksander Bednarski of the John Paul II Catholic University of Lublin; ‘Wasted bodies: images of waste in Niall Griffiths’s fiction’ by Katarzyna Więckowska of [Nicolaus Copernicus University] Toruń; ‘The themes of Anglo-Welsh experience in So long Hector Bebb by Ron Berry and Grits by Niall Griffiths’ by Siobhan Taylor-Ward of [Liverpool John Moores University]; and a transcript of an interview with Niall Griffiths by Ian Peddie of Sydney University (‘Warmth and light and sky: Niall Griffiths in conversation’).

Manuscript and typescript copies, with minor annotations, of more than 500 poems by Niall Griffiths, many of them published, some unpublished and some without titles, in a variety of formats, and including a few in two or more drafts, written primarily in relation to personal experiences, feelings and thoughts while living in Cambridge and Aberystwyth; also included are rough notes produced by Niall Griffiths in the process of composing his poems and prose, a letter to him from Stand magazine concerning the potential publication of ‘Sea Otters, In Oils’, manuscript notes by him on subjects including the history of English literature and human biology, notes made by him for personal professional and domestic purposes, and a note to him from the British Council about a meeting with a journalist from the Croatian newspaper Vjesnik.

The poems include:
A Boiled Egg Some Toast & The Chart Show Refuses To Drip The Dream Away; A Chewed Pentop Without A Pen Is Lonelier Than Shaven Bristles Lying In The Sink; A Dream; A Field In Saughall Massie; A Grief That Hasn’t Happened Yet; A Happy Memory; A Hare Stares At The Sun Through A Rainbow Caught In Cobwebs; A Hood To Hide Your Face; A Lesson In Grammar; A Little Drop Of Moisture On A Packet Of Rizlas & You Lose The Whole Fucking Lot; A Little Something To Fend Off The Hell; A Lot Less Often Now But Still They Come; A Moment To Get My Breath Back; A Note On Leaving, For Deborah; A Poem In The Park; A Present; A Spike From The Star Has Fallen To Earth & Has Gathered Green Eyes & Fur; A Summer Sunday Afternoon, Just After The Rain; Aberystwyth, 27 August, 1992; Aborted Ph.D Sickness; About Ten Past Three, Maybe; Acceptance; Advice; After A Gorgeous Dream Of Fucking Four Women; After An Eight, Maybe A Nine-Day Drinking Session; After Kafka; After Lifting Weights; After Shaving; After Sweden; After Working; Aleatory; Aleatory (Wax, May 1997); Aleatory Composition Whilst Watching Brookside; All Grown Up; All Of This, Only; Alltimes & Someways, Unlike The Sun, I Know It Will Return; Almost Imperceptible; Always Something Dirty About Theory; Amphetamine Hangover; An Out Of The Body Experience; And Only The Clouds Are To Blame; And The Story Of Us All Is An Ongoing One; Animals; Another Muggy Night; Another One; Another Poem On The Death Of Another Grandad; Answering Back; Approaching The Palace Of Wisdom On A Bus; April, End Of; Archaeology; Arse; Arsenal 1, Liverpool 2; As Always, As Rare; As Close As We May Ever Come; As Loaded With Meaning As A Weapon Now Defunct; As The Flower Faints Before The Florist, Perfume Is Manufactured In Factories All Over The World; At Dyfi Junction; At The End Of The Road Is A High Wooden Tower In Which A Man With A Big Gun Stands; At The Thought; At Thirty-Two; At Work; Awe; Ball-To-Hand; Bank Balances Beautiful Views And, Well, Anything Really; Banks Of Fog Like Big White Pillows; BBC Cheque; Because If You’re Already Horizontal, No-One Can Knock You Down; Because The World’s In Colour; Bedtime; Beluga, Bless Us Both; Big Brother; Big Moth In My Kitchen; Binge; Bird; Bird, Again; Birdsong; Bitemarks And Friction Burns; Blackened Breadcrumbs; Blinded Owls And Dystrophic Horses; Block; Blue Period; Blueprint; Bombay Insomnia; Brainscan; Breaking Through; Breathless; Bruised; Bwlch; C2H5OH; Can You Imagine How Hot It Was, To Make That Place Seem Cold?; Caption; Cell; Chain-Smoking Camels; Checkout; Cheese & Onion Pie, Damaged In Transit; Cheese & Potato Bake; Chickenbones; Chocolate Cake Three Times A Day & You End Up Hating Chocolate Cake; Christ That Guinness Has Gone Right Through Me; Christmas Card From A Shadow; Chunks Of Monday; Citazopram; Citazopram, Again; City Station; Civil War; Clash; Claxon; Closest I’ve Been In A Long, Long Time; Cocaine; Coffee; Coitus Interruptus; Cold Chicken Madras, 9 A.M.; Colm Recovering; Coming Off A Binge & Craving Sugar, The Rain Burns Skin Here & In Liverpool & In Some Parts Of Yorkshire; Coming Off You Like Steam; Coming Up To Armistice Day, 1998; Commercial Break; Conception; Couch; Creaking Sounds At Midnight; Curried Beans; Daft Mulligan; Day Of Rest; Daylight Saving; Dead Dog; Dead, Bukowski, Dead Now; December; Defrosting The Fridge; Determined; Developing, Darkroom, Dusk; Diabetes; Diazepam; Dilemma; Dim Days Of Long Yearning, Nights Soft With Loss; Directly After Watching Terry Gilliam’s Brazil; Dishwasher; Disney With A Bazooka And The Tooth Fairy Carries Pliers; Distemper, Cancer, A Horse With Two Broken Legs; Do This & You’ll Feel Better; Dog; Dog Dreams; Dominatrix; Don’t Answer The Door, Ignore The Phone; Don’t Cry For Me, Cos I’m Going Away; Don’t Even Think About It; Don’t Let Me Fall; Don’t Mark Me; Drained; Dreamlessly; Dreams Of Leaving; Dredger; Dregs; Drip, Drip, Drip; Driving Around Town; Drone; Drought; Drunk On White Wine & Anne Sexton; Drunk; Drying Out; Dunblane; During A Typing Break; E #1; Easy: Just A Name; Empty Bottle Wednesday; Envoi: In The Park; Everybody’s Moving South; Everything Dreams; Everything In Its Place; Everything Is Clean; Ex; Exponentially Accelerating The Metabolism; Extract Of Passionflower, Dermatologically Tested; Eyeballs Aflame Yet Remaining Unburnt; Eyeballs Burning Without A Flame; Facebook; Fame Academy, 2003; Farting, Halitosis, Bitten Finger-Nails (Although I Have Had A Shave); February 2006; Fertility; Finally; Finding it; First Lines For A Long Time, And Of ‘96; First Night In Aberystwyth; First Novel; First Taste Of Tequila; First Win Of The Season; Flashback; Flea-Bite; Following Through; Food; For Nobody In Particular; For Once; For Some Time, Now; For Tina, Always Aged 22; Forbidden; Fortuitousness; Four, Not Eight, Potatoes; Freakshow; Free; Freefall; Friendly Fire; Frightened Into Life Like Ice; From Me Will Come Flowers; Fuck, Yes; Games Of Grotesque Threats; Get In, Get Out, Stop Fucking About; Getting Ready To Go Out; Getting Wet; Giving Up Smoking; God, What A Night; Going To The Pub Where Paula Will Be; Good Morning, Vodka-Breath; Gorgeous; Got To Get This Out: I Can’t Concentrate On ‘A Bit Of Fry & Laurie’; Gravedigging; ‘Green Eyes’; Greenland; Gremlins; Gwen Stefani; Hackles; Haiku: Ponytail; Hair Of Auburn Water; Halloween, 1997; Hangover; Happy & Happier With Every Drop I Bleed; Hard Sky; Hay-On-Wye, 2005; Helicopter; Herbs; Here Comes A Common Cold; Here Endeth; Higher Power; Hillsborough; His Little ‘Hello’ Noises; Homewards; Hope It Snows This Christmas; Hot Tea & Strong Toast; How Can I Write Clearly The Simple Stupid Statement That I Miss You Like Fuck?; How Will I Know When I Get There?; Hung From The Rafters Stripped & Empty Like A Gutted Pig In A Butcher’s Window; Hungry; I Am Full Of Life; I Could Wear A Ski-Mask And Clothe Myself In Shadow; I Feel No Fear About Not Being Here; I Feel No Fear About Not Being Here, No Tadpoles Drift Towards Death; I First Moved Here Just After My Dog Died & I Needed To Live Somewhere Different, With No Memories; I Hope She’s In Here Somewhere; I Know I’m Odd; I Know You’re Wrong; I Live Twenty Yards From The Sea, And Didn’t Step Out Of The House Today; I Saw Him Last Six Days Ago, Prowling In The Garden; I Think I Need To Get Out More; I Think These Walls Need Painting; I Will Die In A Temple In Mongolia; I, WILL, One, Day, Forget; I’ll See You When I See You; I’ve Waited Fifteen Years For This; Icarus; Idle Bastard; If Fairies Can Be Squeezed From A Bottle; If I Heard Her Call My Name; Impaled On The Stamen Of A Marigold; In My Garden, Drinking; In Nineteen Hundred & Ninety Three (Almost Ninety Four); In No Way Like Some Paper Money Stuck To The Sole Of Your Shoe; In Tandem In Pandemonium; In The Doorway Of Barclay’s Bank; In The Place Of Peaceful Sleeping; Indelible; Insomnia: 1st November 1993, 7:38 A.M.; Insomnia; Interim; It Must Be Morning: I’m Coughing Up Phlegm; It’s Just So Much Easier This Way; It’s More Okay Than It’s Ever Been, Sometimes, Like Right Now; It’s Only Sunshine; It’s The Ordure Of Ordinariness Which Drives One To Don The Long Coat & Balaclava & Commence Carrying Blades; Jackdaw Dies In Backyard; January 3rd, 2000 AD; Jarvis Cocker Stole My Audience; Jingle Bells; Just Feel How My Heart Is Beating; Just For Starters; Just Let Me Watch The Fucking Football; Just Like I’ve Always Dreamed; Just Like The Blind Man Needs His Guide Dog, Just Like The Orchids Require The Sun; Just Not With It Today; Just Wide; Justification; Killing Things; Knives Of Nacre & Diamonds Of Steel; Knowledge; Let Me Go First; Let There Be Hedgehogs In The Hedgerows, Let There Be Lobsters Under The Sea; Leukaemic Cat; Life Always Finds A Way; Lighthouse Approaching From Far Away; Like Drowning; Like Love Is Supposed To Be; Like Some Half-Remembered Nightmare; Like The Luminous Ghosts Of Bones In An X-Ray Photograph; Lines Written After Visiting Tintern Abbey; Listing To One Side But I Can’t Tell Which; Little Bit Of A Sing-Song; Little Bits; Liverpool 5, Kosice 0; Liverpool 8, 4 A.M.; Living In Wales, Aged 26; Living; Llanberis Pass; Look At The Torturer Touching The Tortured; Losing The Moon; Love Poem; Lovely Dirty Nasty Brutal Ugly Fucked-Up Gorgeous World; Low-Rung Bliss, But Bliss All The Same; Lust; Mad Janet Rafferty; Mangled Cars In Moonlight; Mascara; Maturity; Maybe It’s Different In Sweden; Maybelline; Might As Well Call You Mabel; Might As Well, Yeh?; Millennium News; Monday, Early Afternoon; More Dog Dreams; More Than Half In Love; Morning Sunlight, Colour Of Cider; Morning; Mother’s Milk; Mould; Mountains Grow Like Cancer; Mountain-Sized Comets Tonight Hit Jupiter; Mourning; Mouth Ulcer; Moving; Mr. Seagull; Mushroom Soup & Wild Wild Horses; Music; My Beautiful War; My Friend Rat; My Jesus; My New Boots; My Sadness Once Was Terrible; Nameless; National Insurance Contributions; Necessity; Needing A Piss; Never Wear White Boxer Shorts When On A Drinking Binge; Nevertheless; New Book, New Drug, New Zit On My Face; New House 1; New House 2; New House 3; New World; Newsnight 1999; Newton’s Balls; Night Fright; Nine, Ten, Eleven O’clock; No Questions Asked; No, Leave The Light On & Take Off Your Clothes; Nothing But Time; Nothing To Worry About; November & Forever; Now I’m Free, Aren’t I?; O Such A Dirty Distance From The Complex, Constructed, Cocked-Up Self; October; Oh My Goodness, What A Performance, & Listen To That Crowd; Oh, Hello; Okay; Old Man In Search Of Discarded Pornography; On The Day Without Food; Once I Moved Like The Wind. Now I Surrender. That Is All; On The Fourth Or Fifth Day Of Knowing You; On The Seventh Day Without Food; One Foot Over The Threshold; One For The Children Who Torture Frogs To Death; One For Me, So That When I’m An Old Bastard I Can Read It & Thus Avoid Writing Some Self-Pitying Stuff Asking Where My Youth Went; One For The Road; One Question & An Answer; One Sunny Friday Afternoon I Steal Lou Reed’s ‘Between Thought & Expression’ And Sit In A Pub And Read It; Only For A Moment; Open All Hours; Open Poetry Reading Held In The Sphincter Of Venus; Origami; Oysters; Pack Up Your Troubles; Penrhyncoch Insomnia; Peru; Pilgrimage; Poem #?; Poem In Two Halves; Poems Written On Small Format Paper; Poetry; Poor; Portrait Of The Artist As A Young Drunkard; Possibility; Poverty Is Gravity; Pus; Quick ‘Un; Quiet Night In; Rain; Rain Is Poison & Sex Is Death; Rainbows: Simply Physics; Rainy Tuesday; Raising Aberystwyth; Rank Outsiders; Raspberry Ice-Cream And A Pot Of Tea; Reader Response; Recalled; Red Berries; Red Is The Rose; Rejection Slip; Remembering Rachel; Repeats; Re-Reading Pasternak, Chili In The Kitchen, The Telephone Doesn’t Ring; Response; Revelation; Ride The Tiger; Risible; Robin; Room Service; Rubbing The Lamp; Running Over A Rabbit; Sad; Saint Fuck You Of Assisi (Or: St Francis Of Assassins?); Sally Redwine; Scabies; Scene: Neil Having A Shite Time : 1:38 On A Rainy Tuesday In Aberystwyth [-] Soundtrack: ‘Alison’ By Elvis Costello; Scratching; Scratching Your Scrotum With A Sandpaper Rasp; Screaming Blue Murder; Sea Otters, In Oils; Seascape With Seagulls; September 12th, 1996; September Afternoon; Shock Upon Shock Upon Shock; Signing On, Waking, Shitting Are All In No Way Anyway Endless; Simplicity; Smudged; Snail Trails; So The Run-Over Cats Can Prowl Gracefully Into Heaven; Sodomy; Some Reasons; Something To Get Out Of Bed For; Sometimes I Get Such A Fright; Sometimes, When You Masturbate, Do You Ever Imagine That The Ghost Of A Dead Ancestor Is Watching?; Song; Song Of A Pad & Pen; Song: Searching; Song Sung By Someone Shot In The Larynx; Space & Light & Time Enough; Special Delivery; Spellbound By Foam; Spiked; Splattered; Spring Morning; Squawk; Still And Small; Still Trying, Still …; Stoned; Storm; Storm warning; Stray Cat; Strength; Strong Legs; Suburbia; Suicide Note; Summertime; Sunburn; Sunday Drunk; Sunstroke; Superglue; Surprising A Room; Surrendering; Susan & Suspension; Swaying In Time, In Sync, In Pain; Synchronicity; Tarrif [sic]; Telly Taliesin; Temazepam; Ten Years On; Terminal; Terminator Tao; Thanking You, Yours Sincerely, P.S. I’m In Hell; That Stupid Club; That’s Enough, Now; That’s Life; The Bacteria We Once Were Will Always Breed Within Us; The Beluga; The Cat Which Prowls Uninvited But Welcomed Through Our Rented Rooms; The Cobbler’s Down The Cobbled Alleyway; The Early Poems; The Final Straw Can Be Gossamer Light; The Genius; The House That Burning Built; The Joy Of Bathing; The Last Doesn’t Always Equal The First; The Laying On Of Hands; The Lizard, The Dead Rabbit, & Me; The Longevity Of Snowflakes; The Luckiest Man In The World; The Man Who Brings The Winds; The Mersey In My Veins; The Something For Nothing Society; The Technological Age; The Uncomfortable Chair; Then; There Is No Guilt Like The Guilt Of A Drunk; There’s always been a spark between us. Let’s have an affair; Thirty Septembers; This Just In; This Winter; Three Wishes; Thursday; Ticks; ‘Til Death Do Us Part; Time; Tired; To All My Fellow Prisoners; To Keep You Safe From Harm; To Myself, Again, Wherever Whenever I May Be; To Remain Forever Unread; To The People; Today She Comes Back; Tomorrow Is All About Fun; Too, Too Soon; Toothpaste; Toxic Psychosis; Training Pool For Injured Swans; Truth; Trying To Cope With After-Bingeing Boredom; Tuesday Nov 11th: Remembrance Day, 2008: 90 Years After The Armistice; Twins; Two People Kissing On A Collapsing Bridge; Two Shades Lighter Than Dijon Mustard; Unalone; Unbalanced Between This Lift, This Pit; Under Extreme Pressure Of Opinion; Unspoken Apology; Unsure; Vegetables Bubbling On The Stove, Bill Cosby On The Television – First Reading Of Elmore Leonard; Vegetarianism; Velvet Belly; Visitation; Visiting Whittington; Vista – City Street - Anywhere; Voices, Voices, To Bring It To An Ending; Waiting For Jennie To Come Back With The Milk; Waiting For The Phone, Corner Of Mill Road & Gwydir Street, 11.30PM, 15th May, 1990; Waiting for the water to boil; Wake Me Early, There’s A Lot To Do; Wanting The Words To Come; War; War In The Gulf & My Love’s Gone Away; Wastebucket; Waving A Can Of Stout Like A Black Flag Of Truce; We Could Be Outlaws, Just Like We Planned; Wednesday; Wednesday, Dinnertime; Well …; Well Thank You Andrew Barr From Keith; Wet Dream At 32; What If One In Every Thousand Bricks Was Hexagonal?; What Shape Is The Sea-Spray In?; What We Do With Tongues; When I Write My Masterpiece; When It Comes; When It Rains; When It’s Gone, It’s Gone; When Stars Hum Like Bad Reception; When The Heron Points Like Polaris From The Shores On Which We Walk; When Their Soft Bodies Pop; When You Read This; Where You Can Drink Forever; Whilst Peeling Potatoes For My Tea I Find One That Looks Not Unlike My Arse; White Days Of Cotton, Nights Of Wet Wool; White Flag; Why? Well, Listen; Winter Kills; With Tomorrow; With Your Hand Out The Window No-One Can Tell Whether You’re Seizing The Day Or Waving Goodbye; Without Fail; Wondering Who I’d Be If I Wasn’t Born Me; Working Girl; Would You Consider Going Out With An Alien?; Wrecked; Yorkshire Years; You Are An Angel: You Are Another One (Too Few Really) Sent From Heaven; You Call That A Bender?; You Don’t Always Have To Try It To Know You Won’t Like It; You Got Through It Then & You Will Do So Again; You Know When You See A Field Of Virgin Snow & You Can’t Resist Diving Into It & Messing It Up?; You Will Be Here Again; You, Marry, I, Have, Should; You’re Wishing Your Fucking Life Away, Man; Young; Your Fucking Rage; Your Story, Almost; ? [sic]; 28; 34; 3.A.M. Bath; 11:53 P.M. (Approx..); 6.28 P.M., 25th August 1990: Glory, Airstrikes, Barking Dogs; 23rd December, 1996; 11-11-99: Total Eclipse; 30th December, 2008; 911 On 26110; 21st June 2013.

Drafts of several prose works by Niall Griffiths, comprising: an annotated manuscript draft of ‘Between The Dogs And The Crows’; annotated manuscript and typescript drafts of ‘Rooming’, some of them fragmentary; preparatory notes by Niall Griffiths for both ‘Between The Dogs And The Crows’ and ‘Rooming’; an annotated manuscript draft of a short story entitled ‘Drought’; a manuscript copy of a short story entitled ‘Binman’; a typescript copy of a prose work entitled ‘Laughing Santas, Robins On Logs: Ninety Nine Pence Per Dozen’; and a typescript copy of [?part of] a prose work entitled ‘Little Leek Story’; also included is a programme for a play performed at Arad Goch, Aberystwyth, in [1993], containing comments by Niall Griffiths on the Holocaust and human existence.

Papers relating to work undertaken by Niall Griffiths in relation to workshops, residencies, festivals and overseas projects, comprising: typescript drafts of articles by him about St Helena for National Geographic magazine, with associated manuscript notes by him, papers concerning the project and his travel arrangements and activities on the island (including correspondence between him and the organisers), and also tourist literature and a printout of a web page about St Helena; a typescript draft of an article by Niall Griffiths about Greenland, with associated manuscript notes and photographs by him, and his correspondence concerning funding and travel arrangements, as well as leaflets, books, magazines and a printout of a web page relating to aspects of life and literature in Greenland; manuscript notes by Niall Griffiths for articles about Montenegro and the Balkans; manuscript and typescript lectures, notes, exercises for students and photographs compiled by Niall Griffiths in connection with creative writing workshops, residencies and literary festivals in Sweden (Lund University), Montenegro, Croatia, Mumbai, Finland, Liverpool (John Moores University) and Wolverhampton, together with work submitted by students and copies of pieces of creative writing by Niall Griffiths (including a typescript copy of ‘Elopteryx’ and a manuscript draft of his short story ‘Bathyspheres’), and related travel notes, administrative material and ephemera; notes and photographs by Niall Griffiths relating to trips to Ottawa, Portland (Oregon) and the west of Ireland; photographs taken by Niall Griffiths on a trip to Namibia, with related copies of published literature, maps, travel information and a printout of a web page; postcards sent to Niall Griffiths by friends; postcards collected by Niall Griffiths, mostly relating to Wales, literature, artworks and Sweden; a copy of Posjetiteljeva Knjiga: Borivoj Radaković (published by the Piece of Paper Press), including a contribution by Niall Griffiths, with an accompanying letter from the publisher; Niall Griffiths's expired passport; and notes and photographs by him relating to the Aberystwyth area.

Published periodicals and collections, 1996-2003, containing material contributed by Niall Griffiths including short stories by him, poems by him, interviews with him, articles by him, extracts from his novels, reviews by him and letters by him, together with other material relating to his work.

The short stories by him include: ‘Scenes from an Aberystwyth bedsit’ (Chasing the Dragon 1998); ‘The best death ever’ (New Writing 2000 and Flux 2002); ‘Hangover from hell’ (The Idler 2001); ‘A mountain between them’ (The Big Issue Cymru 2001); ‘Merda’ and ‘MacIntosh’s dreams’ (red poets 2002 and 2003); ‘Snowstorm’ (The Big Issue Cymru 2002); ‘… Fran and the witch and me’ (Another Magazine 2003); and ‘Welshing’ (The Big Issue Cymru 2003).

The poems by him include: ‘Open all hours’, ‘Hackles’ and ‘Scabies’ (Roundy House [1999]); ‘Like some half-remembered nightmare’, ‘When stars hum like bad reception’ and ‘Liverpool necessity’ (Over Milk Wood 2000); and ‘Animals’ (Red Poets Society 2001).

The interviews with him appear in Adhoc (2001), Golwg (2001), Pavement (2002) and Byd y nofelydd (2003).

The articles by him cover subjects including Liverpool (Limb by Limb 2000), funding for writers in Wales (A470 2001), embarrassing moments in his life (Mortification: writers’ stories of their public shame 2003) and travel and homesickness (Red Handed 2003).

The extracts from his novels include Sheepshagger (The Howard Marks book of dope stories 2001) and Stump (New Welsh Review 2002).

The reviews by him discuss: Green voices: understanding contemporary nature poetry by Terry Gifford (English 1996); Cardiff cut by Lloyd Robson (Planet 2002); The man who walks by Alan Warner, Clubland by Kevin Sampson and Chemistry by Damien Wilkins (The Big Issue in the North May, June and September 2002); Offcomer by Jo Baker (Fortnight July/August 2002); and Deadwater by Sean Burke (Planet January 2003).

The correspondence includes his reply to criticism of Sheepshagger by Catherine Merriman (Planet 2001) and discussion of his article about funding for writers in Wales (A470 2001/2 and 2002).

Also included are a short profile of him in Croatian (zarez 2002) and references to him in an interview with Irvine Welsh (Fortnight June 2002) and in an article on Welsh writers by Tony Bianchi (Planet July 2003).

Papers relating to the production of ‘Grits’ as a novel, and the initial stages of a film proposal, including: manuscript drafts of the book by Niall Griffiths, with related notes and a typescript synopsis and justification of the work; publisher’s proofs with manuscript annotations and amendments, cover proofs and mock-ups; correspondence between Niall Griffiths and the publishers about the editing and publication of the book as well as design and publicity material and a proposed film adaptation of the work; typescript notes by a film company concerning the potential for making the book into a film; typescript copies, cuttings, offprints and photocopies of press reviews of the book, as well as articles about Niall Griffiths, interviews with him, radio listings of programmes on which he appeared, and reviews of works by other writers in similar genres (one of which is printed on the back of a copy of an email between two friends of Niall Griffiths organising a night out drinking in Aberystwyth), including a photocopy of a signed review of ‘Grits’ by Irvine Welsh; a letter to Niall Griffiths from publishers concerning an entry about him in a directory of contemporary authors, with a typescript draft copy of the entry; and publicity material for literary events in Wales, England, Scotland and Poland in which Niall Griffiths took part at the time during which ‘Grits’ was receiving widespread attention, with letters to him from festival organisers concerning his appearances, and associated festival ephemera.

A manuscript draft by Niall Griffiths and two publisher’s proofs of ‘Sheepshagger’, with manuscript annotations, together with letters and emails to Niall Griffiths from publishers relating to the publication of ‘Sheepshagger’ and related matters including the book’s translation and publication in Croatia and France, publicity, interviews, awards and magazine contributions; also included are typescript copies, cuttings, offprints and photocopies of press reviews of the book, articles about Niall Griffiths and interviews with him, radio listings and advertisements, as well as publicity material from related literary festivals and workshops in Britain and Croatia in which Niall Griffiths took part, the itinerary of a visit by him to Paris, a French book catalogue, ‘Sheepshagger’ publicity leaflets, and a typescript copy of student notes on the book by Terence Ogmore Batt.

Manuscript and typescript drafts, many of them with manuscript annotations, of scripts and treatments of plays for radio and film by Niall Griffiths, together with associated notes by him, correspondence between him and producers, and guidelines for writers, relating to: ‘My bull Snowball’ (a BBC radio play by Niall Griffiths written as a prequel to ‘Runt’); ‘Stwffio/Stuffed’ (a screenplay by Niall Griffiths for a proposed film); ‘Driving home for Christmas’ (a BBC radio play for which Niall Griffiths wrote Episode 5; typescript copies of the scripts of Episodes 1-4 by other writers are also included); and ‘Siôn y Gof’ (a screenplay by Niall Griffiths for a proposed film based on his ‘Between The Dogs And The Crows’). Also included are research materials for ‘Siôn y Gof’, comprising typescript accounts of experts on the mines, history and communities of the Dylife area and the history of John Jones (‘Siôn y Gof’) with manuscript annotations by Niall Griffiths, transcripts of extracts from court records, printouts from websites and a press cutting about successful screenwriting.

Printed catalogues, 2000-2009, produced by publishing houses - notably Jonathan Cape, who published every novel by Niall Griffiths until 2007 - and the Books Council of Wales, containing promotional material for work by him, together with a letter to him from his publisher, 2001, and a few related manuscript notes by him.

Articles, prose work, poems, reviews, interviews, presentations and notes by Niall Griffiths, with related correspondence and press cuttings.

The articles comprise: manuscript and typescript drafts by Niall Griffiths, with manuscript and typescript notes by him, and also proof copies, relating to articles intended for publication on subjects including his own work, his graduation, his most embarrassing moment, life as a writer, writing and rebellion, drugs, Aberystwyth, the Swansea ‘Art across the city’ festival, Dylan Thomas, contemporary British fiction, British politics and society, football, tattoos, Liverpool, Pembrokeshire, the expense of living in poverty, seaside towns, Welshness, places to visit in Wales, the Cambrian mountains, Cardiff, emerging from winter, encounters with big cats and a snake, meeting an army sniper, visiting a rehab centre, photography and memory, racism in a Devon pub, spring, Europe, birds of prey, finding old friends on the internet, Anthony Gormley, artists, an interview with Leanne Wood, queuing at Birmingham airport, holiday accommodation in Wales, raves, the relationship between Wales and England, a visit to Scotland, the set of Hinterland, an interview with John Cale, a conversation with a homeless man, remnants of the British empire, Bohemianism, hippies, Llandrindod Wells repair café, ‘Noir’ writing, albums to get drunk alone to, ageing, Bardsey, Laugharne, Llandudno, Folly Farm (Somerset), London, St Helena, Greenland, Namibia, Ireland, Australia, Croatia, Cumbria, Morocco, Poland, Transylvania, Split, Berlin and Egypt, with associated correspondence, press cuttings, publicity literature and ephemera; press cuttings relating to his appearances in Croatia; and posters, event programmes and other ephemera relating to his readings in Wales, Liverpool, Germany, Croatia, Romania and America.

The prose work comprises: manuscript drafts, proofs and printouts of short stories by Niall Griffiths written for publication or broadcast, some in two or more drafts, including ‘A break in the journey’, ‘A mountain between them’, ‘A wee word’, ‘Bingo master’s break out’, ‘Birthday card from Ward B-4’, ‘Britain’s little lion’, ‘Car’, ‘Coming of age’, ‘Fran and the witch and me’, ‘Fresher’s week’, ‘Further education’, ‘It was obviously a phrase of which he was fond’, ‘Like there’s no tomorrow’, ‘Mackintosh’s dreams’, ‘Never die’, ‘Prescription’, ‘Psycho-therapy’, ‘Puck’s tale’, ‘Redder Ridge’, ‘Rupert, I can’t stop thinking about you’, ‘Scenes from an Aberystwyth bedsit’, ‘Skewered’, ‘Snowstorm’, ‘Stigmata’, ‘The best death ever’, ‘The character’, ‘Turd burglars’, ‘Welshing’, ‘While the fire still smoulders’ and untitled work, together with copies of published stories; a manuscript draft by Niall Griffiths of a drama script set in Liverpool; typescript and manuscript drafts by Niall Griffiths of his contributions to published editions of work by Ron Berry, Charles Bukowski, Jörg Fauser, Rosamond Lehman, Oliver Onions, Kevin Sinnott, Caradog Prichard and others, with associated correspondence, notes and ephemera; drafts of presentations given by Niall Griffiths at literary events (including a typescript of a presentation on ‘Sheepshagger’); and a typescript draft of an adjudication by Niall Griffiths and Stevie Davies in the Rhys Davies Short Story Competition for Welsh writers.

The poems comprise: manuscript drafts and printouts of poems by Niall Griffiths including ‘Like some half-remembered nightmare’, ‘Liverpool necessity’, ‘To the Mabinogion’, ‘When stars hum like bad reception’, and ‘You don’t always have to try it to know you won’t like it’, with associated correspondence; and a manuscript draft by Niall Griffiths of the introduction to ‘Red roar’, together with the editor’s comments on the poems, annotated by Niall Griffiths.

The reviews comprise: typescript and manuscript drafts and printouts of reviews, responses and publicity material composed by Niall Griffiths relating to the work of Eduardo Blanco Amor, Philip Ball, Ron Berry, Seán Burke, Gordon Burn, Augusten Burroughs, Merlin Coverley, Toni Davidson, Robert Frost, William Gay, Ken Grant, Jay Griffiths, John Harrison, Tony Harrison, Denis Johnson, Cynan Jones, Karl Ove Knausgård, Bernard MacLaverty, Gautam Malkani, Cormac McCarthy, Matthew McIntosh, Robert Minhinnick, Tiffany Murray, Sean O’Reilly, Mark Ryan, Ben Okri, Max Page, Ferdinand Pessoa, Youssef Rakha, Dan Rhodes, Paul Seawright, William T. Vollman, Alan Warner and others, with related letters to Niall Griffiths from Jay Griffiths, William T. Vollman and the Daily Telegraph, as well as related notes by Niall Griffiths and others, press cuttings of these and other reviews by Niall Griffiths, and related ephemera; manuscript notes by Niall Griffiths for reviews of restaurants, intended for publication; and copies of published and draft reviews of Niall Griffiths’s work. Also included is a typescript draft of an article that refers to ‘Grits’ in passing.

The interviews comprise: manuscript and typescript drafts, press cuttings and printouts of interviews with Niall Griffiths and articles about or relating to him, as well as his responses to a questionnaire relating to a University of London project on narrative and nature, with related notes by Niall Griffiths, correspondence and ephemera.

The notes by Niall Griffiths (manuscript, and often fragmentary and disordered) comprise: notes made during research for ‘Real Aberystwyth’ and ‘Real Liverpool’; notes made for a sequel to ‘Sheepshagger’; notes made in order to record useful information and observations on a wide variety of subjects, activities, experiences and issues, and containing ideas for use in his writing as well as other aspects of his personal, professional and domestic life; and notes on a viva voce examination in Lund, Sweden; together with press articles and publicity material collected by Niall Griffiths during the course of his research on a wide variety of subjects.

The correspondence relates almost exclusively to Niall Griffiths’s work, including details of projects, travel arrangements, contracts, funding, ideas for new projects, and letters to him from readers; notable subjects include his work on articles and other pieces for publication, ‘The dreams of Max and Ronnie’, the film of ‘Kelly + Victor’, the stage version of ‘Grits’, and a typescript response by Niall Griffiths to the editor’s comments regarding ‘Ten Pound Pom’. Also included are a draft of a personal letter by Niall Griffiths to friends, and a cutting of an anonymous letter [by Niall Griffiths] published in the New Statesman.

Papers relating to the production of ‘Stump’ as a novel, and Niall Griffiths’s activities around the time of publication, comprising: a manuscript draft of the book with manuscript annotations by Niall Griffiths; manuscript notes by him on the text of the novel and on related subjects including drug and alcohol addiction, the brain, cognitive dissonance, the properties of light and the relationship between light and sight; copies of full and partial typescript drafts of ‘Stump’ with publisher’s annotations; a typescript synopsis; the author’s page proofs with an accompanying letter to him from the publisher; a cover proof; publicity material for the book and for related literary events in Wales, England and Canada in which Niall Griffiths took part, including the shortlist for the Academi Book Of The Year; an email to Niall Griffiths from the proofreader giving his reaction to the book; typescript proofs, press cuttings, offprints, photocopies and emails containing reviews of the book and associated interviews with Niall Griffiths, articles about his success in winning the Book Of The Year prize in 2004 and his visit to Greenland in 2003, and press listings for the broadcast of a radio play by him; and associated literary and festival ephemera.

Manuscript notes for ‘Real Liverpool’ by Niall Griffiths, together with professional and personal correspondence between him and the predominantly literary contacts whom he consulted about the content of the book and in particular Liverpool’s role as the European Capital of Culture in 2008, as well as other material accumulated during the writing of the book and relating to people, places, events, activities, issues and phenomena in Liverpool and the surrounding area, including typescript copies of articles and other prose (notably ‘Elysian fields, ropewalks and capitalist vultures: life in Liverpool 1’, ‘John 7:14’ and ‘Where it all began’ by Kenn Taylor, ‘Another brief history of time’ by Ade Jackson, ‘Nerve magazine’ by Deborah Mulhearn, ‘Waiting for Brando’ by Tony Wailey, ‘Five short strolls, or one long hike, through Malcolm Lowry’s Wirral’ by Michael Wherly [under the pseudonym Michael Carson], ‘Sweet F.A. about Big Sugar and a key Presidential State’, ‘Bitter sweet pensioner stories’, ‘Florida sugar: a toxic ingredient in American democracy’, ‘Mr Cube and the re-branding of Mr Tate’s sugar lumps’ and ‘The secret in the stone’ by Ron Noon, and ‘And in the end …’ by Joe Shooman with an extract from his autobiography), typescript copies of poems (including ‘Trick or Treat’, ‘Cwm bie yer’, ‘Booklaunch’, ‘Song to Belong’, ‘It Only Takes One Dickhead’, ‘The tempest’, and ‘I’m Explaining a Few Things’ by Nathan Jones, ‘A Kali-Yuga Journal’ and ‘Scimitar H’ by Ade Jackson, ‘Dice Dancers’ and ‘A luxury I’ve learned to live without’ by Joe Shooman, and ‘Quiz Bomb’ and ‘Top Deck’ by Ross Sutherland), typescript copies of notes for lectures and talks (including ‘A Merseyside writer responds to Malcolm Lowry’ by Michael Wherly and ‘Staying pure in Liverpool: the Welsh community in the late nineteenth century’ by Mike Benbough-Jackson), photographs taken by Niall Griffiths, press cuttings, photocopies of published articles, educational materials, printouts from websites and promotional and tourist information literature.

Printed programmes, 2001-2003 and 2014, of literary and arts festivals attended by Niall Griffiths, mostly as a contributor, in Wales, Liverpool, Edinburgh, Belfast and Croatia, together with related letters to him.

An annotated manuscript draft of ‘Ten Pound Pom’ by Niall Griffiths, together with an incomplete initial manuscript draft and a typescript draft annotated by him and the publisher, as well as manuscript notes by him relating to the drafts and to his visit to Australia in 2007, correspondence between him and the publisher concerning the drafts, a first draft of the book cover, a publicity flyer for the book, a typescript copy of a press review of the book, a letter to Niall Griffiths from an academic in Australia asking for an interview, photographs taken by him and by his family in Australia in 2007 and in the 1970s, and other material accumulated by him in the course of researching the book, including local history booklets, press cuttings, maps and tourist information literature relating to travelling, people, places, events, activities, issues and phenomena in Australia; also included are: manuscript drafts of ‘Ronnie’s Dream’ and ‘Dream Of The Emperor Max’ by Niall Griffiths, with manuscript notes by him and a published copy of a press review of The Dreams Of Max And Ronnie; and a manuscript draft of ‘Puckeridge’s Tale’ by Niall Griffiths, with a letter and an email to him from the publisher concerning the brief for a contribution by Griffiths to a collection of fiction by Welsh writers based on some of the darker themes of folktale and fairytale under the working title ‘Persephone And Other Stories From The Underworld’.

Journals of Niall Griffiths, 2001-2018, comprising five notebooks containing his extensive and candid personal, creative, professional, social, political and philosophical observations on the events, thoughts, feelings and news that he experienced on particular days (not every day has an entry), reflecting the same concerns that appear in his published work, together with related press cuttings.

Annotated manuscript and typescript drafts of ‘Kelly + Victor’ by Niall Griffiths, together with a typescript synopsis by him, publisher’s proofs, a cover proof and a script copy of the published volume with manuscript annotations and amendments by Niall Griffiths.

Papers relating to the publication of ‘Kelly + Victor’ as a novel and also its production as a film, including: publicity material for the book and for related literary events in Wales, England and Croatia in which Niall Griffiths took part; letters and emails to Niall Griffiths from friends, colleagues and festival organisers about reactions to the book, a possible French translation of it, his appearance at the Writing On The Wall Festival and the Hay Festival and his concern about the Nestlé Smarties Book Prize, with related manuscript notes by him; an email to him from Hot Property Films about adapting the book for film; the screenwriter’s reports on the opportunities and challenges of a film adaptation; typescript drafts of the film script and screenplay, with manuscript notes by Niall Griffiths; typescript notes from script meetings, with manuscript notes by Niall Griffiths; email correspondence between the author and the production team relating to the process of developing draft scripts for the film, and also the film’s release, with related notes by Niall Griffiths and others as well as copies of notes on similar works; typescript notes on the drafts by the screenwriter, with manuscript notes by Niall Griffiths; typescript and printed copies of the film’s step outline and visual references, and notes by the production team; correspondence discussing the outline; the director’s notes on the film and notes on them by Niall Griffiths; a letter from Niall Griffiths’s agent concerning the film contract, including a copy of the contract; a letter of reference for him written in connection with his application for a teaching post; publicity material for the film; typescript copies, cuttings, offprints and photocopies of press and internet reviews of the book and the film, of articles about Niall Griffiths and interviews with him, of reports on the film winning a BAFTA award, and of articles about other writers and books; and publicity material for work by other writers containing quotations from Niall Griffiths.