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The series comprises twelve files of manuscript and typescript drafts of the poem 'The Fatigue' and its introduction, proofs, and scripts for a broadcast reading.
'The Fatigue' was privately printed by friends for David Jones' 70th birthday, on 1 November 1965. David Jones has dated the introduction to the poem August 18th 1965 on page 26. The BBC Third Programme (produced by Douglas Cleverdon) recorded David Jones reading this poem in March 1965. David Jones notes in these files that the poem was 'read on June 3rd 1964 for television' and 'read on Oct. 15 1964 for Brit[ish] Council for Harvard' [library of recordings]. It appears that this 'fragment' was written, or adapted from an earlier work, by David Jones following a request for material to be recorded.

The file comprises a fragment of the script of 'The Fall of Troy', a version for radio by René Hague based on book 2 of the Aeneid.

The series comprises manuscript drafts of The Dying Gaul with broadcast scripts.

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 series comprises twelve files of manuscript and typescript drafts of the poem and its introduction, proofs for Agenda 1967, and BBC scripts.

The series comprises a manuscript draft of 'The Death of Harold', which was written for The Tablet in 1966 but was unfinished and therefore unpublished.

The file comprises a manuscript copy (1 f.) of a poem entitled 'The Brenner', dated March 19th 1940, which David Jones sent to Harman Grisewood, with photocopies and typescript copies of the same poem and notes on it by René Hague.

The series comprises manuscript and typescript drafts of 'The Book of Balaam's Ass'.
Part of Balaam's Ass was printed in The Sleeping Lord. David Jones began working on 'Balaam's Ass' before In Parenthesis was ready for the press, but he abandoned the project.

'From The Book of Balaam's Ass' is a fragment of a much longer writing made in the late 1930s and early 1940s provisionally called 'The Book of Balaam's Ass' which was later abandoned by David Jones.
The series comprises three files of manuscript drafts of the poem with notes.

The file comprises a manuscript draft of 'The Arthurian Legend' which appeared in The Tablet, 25th December 1948, as a review of Arthurian Torso by Charles Williams and C. S. Lewis.

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 series comprises manuscript and typescript drafts of 'The Agent'.
David Jones writes about 'The Agent' in a letter to Harman Grisewood in 1962, stating that he is trying to 're-write a thing I did in 1940 (or thereabouts) about a conversation between Judas and Caiaphas'.

The file comprises telegrams, and birthday greetings to David Jones from friends, including a card made by Ray [Howard-Jones], and a card made by Dom Theodore Bailey.

The file comprises letters to David Jones from Sir John Rothenstein and other Tate Gallery employees, relating to his pictures, especially to 'Illustration to the Arthurian Legend: Guinevere', 'Illustrations to the Arthurian Legend: The Four queens', 'Chapel in the Park', 'Dancing bear', 'The terrace', 'Aphrodite in Aulis' and 'Vexilla Regis'.

The file comprises carbons of re-typed pages and rejected top copies of pages which were re-typed a second time. Some of the pages 7-9 have been typed on a smaller faced machine. There is slight revision in pencil on some of the carbons.

The file comprises pages of the top copy of the original typing removed from T2 because of re-typing or replacement by a carbon. All pages of T6 have revisions by David Jones in pencil or ballpoint. Folios 7-8 are dated 9th of September 1951. Pages 18n-24, 25n-27n and 29n-41n served as copy for re-typing.

The file comprises the original third carbon typing of the text and notes, without the preface, comprising pages 9, 25, 27, 28, 43, and 44 to end except for p. 49N. This was used as David Jones' main working copy for pp. 9a-[omega] and 97 to end. Apart from p. 60n the remainder is unmarked.

The file comprises the original second carbon typing of the text and notes, without the preface and wanting a few pages. This was used as David Jones' main working copy for pp. 1-9, 10-25, 26-29, 29-43 and 71-99, and includes pencil markings by him. Except for pp. 57, 57n, 60n, 68n, 114-115, the remainder is virtually unmarked. It includes revisions not made in the final typescript (T2) but made in the galleys. f. 1 is dated 1949 and is the only typescript copy of the title page that survives.

The file comprises the original first carbon typing of the preface, text and notes, wanting a few pages. This was used as David Jones' main working copy for pp. i-xxxiv, 25A-H, 44-70, and includes pencil markings by him. None of the other pages are marked except for pp. 28 and 43. It includes revisions not made in the final typescript (T2) but made in the galleys. Pages 44-70 were found intact as a bundle, whereas the other pages were assembled in NLW (see P.W. Davies' notes).

The file comprises two volumes of the final typescript copy, from which the galleys were set up. There are revisions in pencil and ink by David Jones throughout. It includes some manuscript pages such as the titles to the eight sections (f. 1), and the list of possible illustrations (f. 245). The four main stages of typing correspond to the four bundles in which T2 was originally found: Preface, pp. 1-43, 44-70 and 71-119. Although folio 111 is dated 1944, this implies the date of writing rather than the date of typing which was possibly 1949, and folio 48 is dated July 1951 when the finishing touches were made to the typescript.