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Letters written by Millay as well as manuscripts, proofs, documents, photographs, reviews and clippings relating to her books published at Harper & Brothers such as "Conversation at Midnight," "Wine from these Grapes," "Collected Sonnets," and others. The papers consist of materials from the files of the designer Arthur W. Rushmore who was in charge of production at Harper & Brothers and was the proprietor of the Golden Hind Press which printed limited editions of several of her works. Included are proofs of the above works with annotations and corrections by Millay and Rushmore and a carbon typescript of "Wine from these Grapes." There are also a number of clippings of poems published separately in periodicals. Other correspondents include Millay's husband, Eugen Boissevain, and George Dillon, with whom Millay translated Baudelaire's "Flowers of Evil" and Selected Poems." Also in the collection are the production files for the aborted Steepletop edition of "The Buck in the Snow."

Correspondence, manuscripts, and proofs of writings by and about John Berryman collected by his friend and critic, William Meredith. The collection also contains 28 volumes from Berryman's library containing his notes, inscriptions, etc. (loose notes are filed with the manuscripts) and 43 books, mostly inscribed to Berryman's mother. Correspondence of the following people are cataloged: Van Meter Ames, Saul Bellow, John Berryman, Robert Giroux, William Meredith, and William Phillips.

Manuscripts and correspondence of Masters. Two manuscripts"An Etching" and "Starved Rock in Winter" are in the author's holograph, while the remaining 29 are in typescript, most of which are signed by the author or inscribed to his friend Kimball Flaccus. With the exception of the manuscript of "An Etching" dated 24 October 1910, all of the manuscripts date from the 1940 to 1942 period of the writer's career. Eight of the manuscripts were published in the poet's last two volumes of poetry, ILLINOIS POEMS (Prarie City, 1941) and ALONG THE ILLINOIS (Prairie City, 1942), and the remaining poems are apparently unpublished or uncollected. The collection also contains four letters and several pieces of printed ephemera.

Business and editorial records of Granary Books. The collection includes the production files for these limited edition and trade titles, as well as Steve Clay's extensive correspondence with writers and printers, and other artist book press proprietors. Electronic records include almost two decades of email, editorial and production files, and the "Archaic Smile Lecture Series".

Thomas's correspondence with critics and magazine editors concerning her work; and the correspondence of her literary executors with Mark Van Doren about the publication of a posthumous volume of her poetry. Manuscripts and typescripts of her poems; the typescript of the posthumous edition of her poetry, poems rejected by the editors of this book, and their notes; and her prose manuscripts, including her M.A. thesis on the literary and psychological sources of Lawrence Durrell's "The Sonnet of Hamlet;" and the typescript of her anthology of poetry for use in secondary schools.

Correspondence, documents, photographs, tape recordings of interviews with people who knew John Berryman, and printed material gathered by John Haffenden for the authorized biography of Berryman, commissioned by Faber and Faber. Haffenden is a lecturer in English at the University of Sheffield.

This is a collection of letters, manuscripts, notes, cards, etc. removed from books in Josph Brodsky's working library. There are no letters by Brodsky. The books have been cataloged.

Correspondence, manuscripts, photographs, audio cassettes, and printed materials. Three items consisting of a nine page autograph poem entitled "The Light Touch"; a collection of short poems written in five small notebooks called "From the Sublime"; and a printed pamphlet of poetry entitled "Modern Haiku and Tanka". All items were prepared during 1971, but several pieces in "From the Sublime" date back to 1956. A sixth notebook dated 1971-1972 for "From the Sublime" is also included. Keppel writes one notebook each month and forwards them to the collection after they are completed. There are a few cataloged letters in Box 1, but the bulk of the collection consists of Keppel's poetry and essays.