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The group comprises material collected by René Hague while editing Dai Greatcoat : a self-portrait of David Jones in his letters, (London : Faber and Faber, 1980), a collection of letters to H. S. (Jim) Ede, Harman Grisewood, T. F. (Tom) Burns, and René Hague. There are copies of letters from David Jones to them and others, and also biographical material, setting copies, and other material relating to the publication. They have been arranged into two groups and listed by Harman Grisewood.

The group comprises draft letters from David Jones to friends and acquaintances, and draft letters to editors of The Tablet, The Times and other newspapers relating to art, literature, history and religion.

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

The group contains early manuscript drafts Parts I-VII, final manuscript drafts Parts I-VII, typescripts No. 1-7, Page proofs no. 1-12, broadcast scripts and related material. There are some manuscript drafts to be found among the typescripts (LP3) and some typescripts to be found among the final manuscript drafts (LP2). The final manuscript draft from which the full typescript must have been made, and galley proofs, do not exist.

In Parenthesis: seinnyessit e gledyf ym penn mameu (1937) is an epic war poem which deals with the experiences of a soldier in the First World War . It is based on the period David Jones spent in France between December 1915 and July 1916. He began writing in 1927 and it was virtually complete in 1933 when he suffered a breakdown. It was published in 1937 by Faber, and was regarded by T. S. Eliot as 'a work of genius'. He was awarded the Hawthornden prize for it in 1938. The first radio production of In Parenthesis was transmitted in 1942. In 1961 a limited edition of In Parenthesis, with an introduction by T. S. Eliot, was published by Faber.

See Daniel Huws' introduction to the proposed catalogue of In Parenthesis (NLW ex 2393) for explanation of development of text, pagination and arrangement. See also a note by Harman Grisewood in the same folder on how the manuscript drafts were originally in two boxes.

The group comprises letters from friends, acquaintances, publishers, editors and art galleries, institutions etc.
Letters from David Jones have previously been arranged in different groups by Harman Grisewood and Tom Goldpaugh. Some are arranged into files from individual people and institutions, some are arranged alphabetically by group, and others chronologically.

The group contains manuscript and typescript drafts of other writings by David Jones, including writing on the subject of 'Wales and Religion', research notes kept by David Jones, and material relating to literature by David Jones.

The group contains manuscript and typescript drafts and galley proofs of each of the poems, and in some cases broadcast scripts, or galley proofs of earlier publication in magazines. LS10 contains material relating to all of the poems.

The group contains manuscript drafts, typescript drafts, proofs, broadcasts and commentaries, reviews and correspondence.
David Jones, The Anathemata: Fragments of An Attempted Writing (Faber and Faber, 1952) is a long prose poem with illustrations, which Jones began writing in 1937 or 1938, and was first typed in 1949. David Jones suffered another breakdown in 1947. In 1953 it won the Russel Loines award for poetry from the Institute of Art and Letters, New York.
The manuscripts came to the Library via Harman Grisewood who sorted the manuscripts before they came to the Library, marking the pages on the bottom left. The worksheets which have survived are incomplete and possibly less than half of the manuscripts survive. The Anathemata grew in the middle as it developed, the first complete text being 7 pages only, the second 75 pages and the third 166 pages. Early drafts are in pencil and later drafts are in ink, with exceptions. The division into eight sections did not occur until the typescript, although implicit in earlier stages. Pre-typing David Jones had three sequences of numbers, referred to as the first, second and third foliation.
A detailed explanation of the arrangement process, of the foliations, and of the watermarks, was prepared by Daniel Huws and P.W. Davies for the proposed NLW printed catalogue of David Jones' manuscripts in [1981] which was never published. The notes are crucial to understanding the complexity of the development of the text and are available as NLW ex 2393. Some of these notes have been incorporated into the descriptions where possible.

The Dying Gaul and other writings was published by Faber and Faber in 1978, edited with an introduction by Harman Grisewood. It is a sequel to the earlier collection Epoch and Artist also edited by him. It contains fifteen prose pieces dating from the 1930s and early 1940s as well as the 1970s, including a number of pieces which appeared in magazines or newspapers or had been given as radio talks.
The group contains manuscript and typescript drafts of ten of the prose pieces, with drafts of the introduction by Harman Grisewood, and proofs and setting copies. The group does not contain drafts of 'On the difficulties of one writer of Welsh affinity whose language is English', 'Notes of the 1930s', 'An aspect of the art of England', 'The Roland epic and ourselves' or 'A Christmas message'. The material is mostly from Group C.

The group contains manuscript and typescript drafts of most of the poems which appear in the volume with also some material which was unused.
The Roman Quarry and other sequences was edited by Harman Grisewood and René Hague, and first published by Agenda Editions in 1981. (See the foreword and introduction for information on how the material was selected from the archive for publication in this volume.) The volume is made up of some unpublished poetry, but also poetry which may have been part of The Anathemata (1952), The Sleeping Lord (1974), The Kensington Mass (1975) or The Narrows (1981). Most of the papers are from Group B.