Consists of correspondence regarding the UK print of this collection, including artwork and reviews.

Consists of a letter and an email between Tracey Herd and Neil Astley regarding changes to the publication and disks that do not hold the correct formatting. Neil mentions the decisions he's made regarding order and versions he wants.

Consists of a file labelled "co-publication with Wake Forest University Press", this is what the correspondence within refers to.

Consists of correspondence regarding the publication, editing, artwork and buyers. This is in the form of letters, postcards, typescript and photographs.These are between Neil Astley and Marion Lomax, Avigdor Arikha, Ruth Fainlight and Nicholas Dodds. The correspondence with Ruth Fainlight asks for her help with writing the description of Marion Lomax's collection.

Consists of a letter from The Society of Authors to Jackie Litherland regarding a receipt for a funding application for Barry MacSweeney, this letter is dated 10 August 1995. There are also proofs attached with notes from Jackie Litherland to Neil Astley regarding changes needed, this proof has been checked by Jackie Litherland and annotated by her in black ink.

Consists of research regarding the image for the jacket cover, which includes two photocopies of 'Morning in the Riesengeberge' as well as information on the painting itself. Also includes an article in the Independent Magazine, entitled 'A Great Pope's Forgotten Painter'. Additionally, correspondence between Astley and Gwydion Thomas regarding statements for 'Counterpoint' and the revision of the blurb.

Consists of correspondence between Christopher May and Neil Astley regarding copyright information to be included in the publication. There is also a registered/return receipt from Cooper, White & Cooper and a copy of a translation certification attached signed by Maria Ashot.

Consists of correspondence regarding the publication including contract notice, cover art and an edit of contents and five new poems.

Consists of correspondence from Glyn Maxwell to Neil Astley regarding the publications. This is accompanied by versions on the poems.

Consists of letters regarding artwork for the publication and sold copies with marketing material. Included in this is material is correspondence regrding potential literary criticism publication about John Montague.