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Papers relating to Gwyneth Lewis’s D.Phil. entitled ‘Eighteenth-century literary forgeries with special reference to the work of Iolo Morganwg’ (submitted to the University of Oxford), comprising manuscript and photocopied drafts, revisions, bibliographic notes, abstracts, essays and extensive notes by her on primary and secondary sources and academic debates relating to literary figures including Edward Williams ('Iolo Morganwg'), Thomas Chatterton, William Henry Ireland, James Macpherson, Thomas Percy and others, with photocopies of related articles and bibliographies, associated press cuttings, an abstract and part of an annotated typescript draft of a Ph.D. thesis by Paul Timothy Baines entitled 'Authenticity and forgery in eighteenth-century Britain' (submitted to the University of Bristol), a letter from Gwyneth Lewis's supervisor concerning the examiners’ report on her thesis, letters from academics concerning her research, manuscript essays on related topics and a typescript dissertation on George Eliot written by Gwyneth Lewis at Cambridge for her first degree in English literature, Oxford and Cambridge University literature concerning the submission of theses, and library letters and forms concerning reading rooms and Gwyneth Lewis's book loans.

Exercise books and folders containing notes and essays by Gwyneth Lewis on a number of academic subjects including Welsh, English, Music and others, compiled for school and eisteddfod work, as well as diaries compiled by her during an eisteddfod and a trip to Paris, printed notes, and a copy of the British Ballet Organization Bulletin.

Papers relating to Gwyneth Lewis’s literary and other activities at school and university, and at eisteddfodau during the same period, including: manuscript and typescript copies of scripts for plays, addresses and recitations, with notes; manuscript poems and notes for poems by Gwyneth Lewis, and her annotated copies of poems by other children, as well as a copy of 'Coffee incognito' by Gabriel Gbadamosi; copies of school event programmes; copies of school newspapers; material relating to the national Urdd eisteddfod, including a letter of adjudication concerning a poem by Gwyneth Lewis, a certificate awarded to her for recitation, press cuttings, songs and a poem by other pupils, and a programme; a typescript copy of a play script by Emyr Edwards; press cuttings concerning literary matters, especially competitions in which Gwyneth Lewis was involved; theatre and ballet programmes; school and Brownie ephemera; primary and secondary school work by Gwyneth Lewis; copies of her examination certificates; letters to her from family, friends, colleagues and others concerning personal, student and work matters, and other subjects of interest to her; material relating to her studies at Cambridge university, including entrance examination papers, letters to her from Girton College concerning her application and acceptance to read English, letters of reference for her from Girton; student magazines, a student’s guide to Girton College, college newsletters, a copy of an academic literary article annotated by Gwyneth Lewis, and other student ephemera; and material relating to her Harkness Fellowship at Columbia University, including letters, an application form and tax forms.

School projects by Gwyneth Lewis, including a folder of her poetry in typescript, as well as a folder, photographs, press cuttings and an audio tape relating to a project on Rhydwen Williams, together with folders and scrapbooks concerning other topics relating to a variety of school subjects.

Notes on a wide range of subjects, mostly relating to Gwyneth Lewis's literary interests and studies, compiled by her while at school and as a college student.

School, Urdd and college work by Gwyneth Lewis on literary themes, including folders, exercise books and notebooks containing manuscript and typescript poems, essays, exercises, projects and notes relating to her own compositions, which were mostly produced as school work or for competitions, as well as Welsh and English literature more generally, together with eisteddfod entry forms and adjudications, press cuttings, a few notes on other school subjects, and some poetry composed by Marian Lewis.

Poetry, prose, research and other work produced by Gwyneth Lewis while at school and in the Urdd, and also during her early days at university.

Papers relating to Gwyneth Lewis’s volume of poetry in Welsh entitled Sonedau Redsa a Cherddi Eraill, including: manuscript and typescript drafts and proofs of poems for the collection (including ‘Hwiangerdd’, ‘Yr Unben’, ‘Hoff Freuddwyd yr Athro Hanes’, ‘Cofio Brwydr Corregidor’, ‘Carcharor Gwleidyddol’, ‘Angladd Aquino’, ‘Mrs Aquino’, ‘Ymladd Ceiliogod’, ‘Prynu Pleidleisiau’, ‘Trechu’r Tanciau’, ‘Gweddi am Heddwch’, ‘Cwymp Marcos’, ‘Palas Marcos, Talisay’, ‘Anrheg Redsa’, ‘Y Milwr’, ‘Dameg y Ferch Chwithig’, ‘Genedigaeth y Bardd’, ‘Cân y Plentyn Undydd’, ‘Adeste Fideles’, ‘Y Gitarydd’, ‘Wrth y Rhyd’, ‘Dyfed’ [not published in this collection], ‘Emyn y Canmlwyddiant’, ‘Iolo Morganwg’, ‘Gwneuthurwr Mapiau’ [published in Cyfrif Un ac Un yn Dri] and ‘Bro Ceridwen’); typescript drafts of some of the same poems, including variations, submitted by Gwyneth Lewis in eisteddfod competitions, with manuscript emendations; manuscript copies of English versions of some of the same poems (including ‘Lullaby’, ‘The History Teacher’s Favourite Dream’, ‘Remembering the battle of Corregidor’, ‘Political Prisoner’, ‘Buying Votes’ and ‘A Prayer for Peace’), with emendations by Gwyneth Lewis; a copy of the agreement between Gwyneth Lewis and Gwasg Gomer relating to publication of the volume, and correspondence between them concerning production and sales; letters from friends and colleagues concerning the poems and translations of them into English; a typescript report on Sonedau Redsa for the Welsh Books Council; a letter from Gwyneth Lewis to Cyhoeddiadau Barddas concerning preparations for the publication of a selection of her Welsh poems entitled Tair Mewn Un: Cerddi Detholedig (taken from her previously published volumes including Sonedau Redsa, Cyfrif Un ac Un yn Dri and Y Llofrudd Iaith), especially the cover design and foreword; and related notes and press cuttings.

Annotated typescript and manuscript drafts of poems written by Gwyneth Lewis for publication in journals and in her collections published as Sparrow Tree, A Hospital Odyssey, Zero Gravity and Parables and Faxes, and also for broadcast on BBC Radio, some of them under more than one working title, including ‘A Hospital Odyssey’, ‘Aeolian Harp’, ‘Alternative Island’, ‘Amgueddfa Genedlaethol y Glannau, Abertawe’, ‘Apology to Peter Porter’, ‘Appointment’, ‘Aran’, ‘Arthur’s Talk with the Eagle’, ‘As Long as you Want / Improvisations on Sappho’, ‘Basic Knitting’, ‘Birder’, ‘Blue Tit / Titmouse / Tit’, ‘Bow Tie / Bowtie’, ‘Bricks in Bars’, ‘Broken Plates’, ‘Broken Star’, ‘Cân yn y Cywair Lleddf’, ‘Crazy Quilt’, ‘Crosses and Losses’, ‘Crosses’, ‘Diagonal Triangles’, ‘Double Wedding Ring’, ‘Elegy for Shambo’, ‘Epistle to C P Snow’, ‘Experimental Knitting / Applied Mathematics’, ‘Field Guide to Dementia’, ‘Finches / What finches say ad nauseam’, ‘Fractals’, ‘Glas’, ‘Gull’, ‘Heroine’, ‘Hike’, ‘Homecoming’, ‘Horizon with People’, ‘Hosiery’, ‘How to knit a poem’, ‘Humming Bird Project / Project Joy’, ‘Hypnosis Knitting’, ‘Imaginary Walks in Istanbul’, ‘Inheritance’, ‘Late Starter’, ‘Lattice’, ‘Log Cabin’ / ‘Barn Raising Variation (Crib quilt)’, ‘Love Poem’, ‘Lundy’, ‘Map’, ‘Memorial’, ‘Murmuration’, ‘My Wales’, ‘Nightingale / Outside Broadcast (for Mark Cocker)’, ‘Nine Patch’, ‘No design’, ‘No Sparrow Ode’, ‘No Sparrow’, ‘Nuclear Family’, ‘Ocean Waves (for AJ)’, ‘Old Maid’s Puzzle’, ‘One and a Half Square Miles’, ‘Our Body’, ‘Pattern Pornography’, ‘Philosophy’, ‘Pine Trees (Crib Quilt)’, ‘Praise birds’, ‘Prayer for Horizon’, ‘Prologue from Zero Gravity’, ‘Quantum Island’, ‘Quilting for Childless Women’, ‘Railroad Crossing’, ‘Remission Flamenco’, ‘Remission Sevillanas’, ‘Reply to the Haka’, ‘Riddle: Definition of a Harp’, ‘Roman Strip[e] Variation (Crib quilt)’, ‘Roman Stripe’, ‘Sarcophagus / Mausoleum’, ‘Sea Virus’, ‘Secret Report from the Pharmaceutical Lab’, ‘Silk Knitting’, ‘Sliver’, ‘Small Brown Job’, ‘Sol and Nemesis / Nemesis (for Tsevi Mazeh)’, ‘Some common Invaders’, ‘Spectrum’, ‘Speculation / Sparrows / Fall of a Sparrow’, ‘Splinter / Splinters / Zeal’, ‘Stonechat (for Richard Scorer, psychiatrist)’, ‘Sunken Garden at Radcliffe / Sunken Garden’, ‘Taxonomy’, ‘Tension Square’, ‘The Family Knitting Book’, ‘The Feeder (In memory of Megan Tanner / Elegy for an Aunt)’, ‘The Sparrow Tree / What Sparrows Might Mean’, ‘The Symbolism of Ancient Sweaters’, ‘Thirty-Six Patch Variation (Crib quilt)’, ‘Trees of California’, ‘Triangles’, ‘Tumbling Blocks’, ‘Unnamed Pattern (Crib quilt)’, ‘Voice / Llais’, ‘Warning’, ‘What Do Birds Say?’, ‘What the red kite saw’, ‘Y pwynt’, ‘Zebra’ and others, with related notes. Also included are: manuscript copies of an untitled poetry / drama / musical script by Gwyneth Lewis about dolphins in Cardigan Bay; notes and literary quotations collected by her for ‘A Hospital Odyssey’, and also on quilt vocabulary; a photocopy of an article by her (‘Letter to the poet I might I might have been’); copies of emails to her concerning social and literary matters, notably the possible publication of parts of ‘A Hospital Odyssey’ in the Paris Review; typescript copies of poems by members of the Girton Poetry Group; and a family postcard.

Correspondence between Gwyneth Lewis, agents and friends concerning Sunbathing in the Rain: a cheerful book about depression,
including the development of the book and reactions to its publication, as well as literary, personal and social matters, together with copies of press reviews of the book and interviews about it, guest lists for the launch, publicity material, a published copy of the book and a published extract from it, and related notes.

Manuscript notes and typescript drafts with manuscript annotations compiled by Gwyneth Lewis during the composition of 'The Meat Tree', a futuristic re-telling of the fourth branch of the Mabinogi, together with related material including correspondence (with writers, academics and publishers), copies of articles, press cuttings and photographs.

Event programmes and cuttings of press reviews (some of them sent to Gwyneth Lewis) relating to The Most Beautiful Man from the Sea, an opera for which Gwyneth Lewis composed the libretto having been inspired by a short story by Gabriel García Márquez, and which was performed by Welsh National Opera and community groups at venues throughout Wales including the Millennium Centre, Cardiff.

Papers relating to Gwyneth Lewis’s work as a translator, including: manuscript notes by her for a talk on translation between Welsh and English at a conference at Jesus College, Oxford, with an associated event programme; a letter to her from Martin Orwin of the School of Oriental and African Studies, University of London, concerning the translation of poetry from Somali into English, with copies of examples; printed examples of poetry translated from English into German; and related notes, offprints and photocopies of articles.

Ephemera accumulated by Gwyneth Lewis relating to her travels in the United States, Spain, England, Ireland, the Netherlands, Estonia, Italy, Turkey and Wales, including a typescript schedule for a film shoot in Cambridge involving her, as well as maps, postcards, hotel receipts, travel tickets and bookings, entrance tickets and guidebooks for tourist attractions, a property prospectus, and related leaflets.

Press cuttings, photocopies of articles, booklets, leaflets and notes accumulated by Gwyneth Lewis during her research for Two in a Boat, all relating to nautical and maritime matters except for some material from the John F. Kennedy Space Center, and arranged by her into folders labelled 'Ports', 'Piracy', 'Cardiff', 'Boats + ships', 'Shipwrecks + difficulties' and 'Cruising'.

Typescript drafts and publisher’s proofs, with manuscript annotations by Gwyneth Lewis, of Two in a Boat, together with notes, press cuttings, leaflets, booklets and letters accumulated in the process of writing the book, mostly comprising research materials relating to sailing, navigation, sailors, seafaring in history and literature with particular reference to the Iberian peninsula, ‘Jameeleh’ and the Nicholson 35 class, the type of cancer suffered by Leighton Denver Davies, the Portuguese language, and ports in Portugal, Spain and Wales, as well as correspondence on these themes and the production of the book between Gwyneth Lewis, publishers, other writers, doctors, friends, and (with Leighton Denver Davies) yacht insurers and surveyors, and also lists of potential recipients of review copies, invitations to the book launch, and draft copies and press cuttings of reviews.

Papers relating to Gwyneth Lewis’s literary work in the United States, including: academic typescript essays and manuscript notes written by her for seminars at the New York Institute for the Humanities, as well as photocopies of articles, papers relating to a research grant proposal, and letters sent to her by colleagues; typescript drafts of material written by her for publication, including essays, reviews, an interview with R. S. Thomas, and poems, with manuscript notes, and agreements with publishers; manuscript drafts of essays by her in both English and Welsh about life in New York; a typescript copy of her curriculum vitae, with manuscript notes, together with letters of reference and examination results, copies of her examination certificates, and her application for a Harkness Fellowship; photocopies and press cuttings of published items written by her for journals in the United States, Wales and England; notes, letters, information leaflets, booklets, press cuttings, maps, photographs, postcards and ephemera relating to Danville, Illinois, and in particular to her research for an unmade BBC television programme about Mississippi and Louisiana.

Photocopied and published press reviews of Gwyneth Lewis's volume of poetry entitled Zero Gravity, with related publicity material including lists of contacts for reviews and the launch, copies of published poems by other poets, and copies and offprints of published articles about female poets and Welsh poets; correspondence between Gwyneth Lewis, publishers, agents, friends and the BBC concerning Zero Gravity (originally entitled Coconut Postcards), and in particular publication, the poems, proofs, contractual matters, publicity, distribution, royalties, reviews, broadcasts and performances, as well as other literary and personal business; together with a typescript transcript of a radio interview with Les Murray about Gwyneth Lewis’s work, and a contract and a catalogue from Bloodaxe Books; and related notes, photographs and press cuttings.