The collection consists of manuscript material, consisting of a carbon typescript, corrected of "An Explanation" (being the preface to Shaw's edition of the Shaw-Ellen Terry correspondence); a manuscript of "Motives of Socialism"; and marked proofs for "Shaw Speaks on War" (a transcript of a short wave broadcast in 1937). Also included is correspondence with Elbridge Adams, Hubert Bland, William Archer, William J. Pickerell, and Harold Laski, together with correspondence from Janet Achurch to Hubert Bland. There is also a small amount of ephemera.
The collection consists a typescript copy of Hiroshima Reef (401 pp.) with holograph corrections and an editor's directions to the printer. In addition, there is a 1 page letter dated March 11  to "Geoffrey," a pre-publication reader of Hiroshima Reef regarding work needed on the book and Lambert's poor health (Lambert died April 16).
The collection consists of a handwritten letter to Laurenz M. Lamont from Martin Secker (Richards Press) re A.B. (Algernon Blackwood), plus photocopies of a handwritten letter to L.M. Lamont and a handwritten postcard to Mrs. Lamont from Blackwood.
The fonds consists primarily of typescript from "The Nightfishing" used for a radio broadcast; poetry worksheets for "Implements In Their Places", "Malcolm Mooney's Land", and "The Nightfishing"; correspondence with Crieff Williamson and Robin Skelton; and four notebooks, together with Robin Skelton's research notes. Also included is a typescript of "Aimed At Nobody", which was published posthumously, together with related publishing documents and correspondence. The final items are two folders of Graham's artwork and a silk screen portrait of Graham by William Featherston.
The collection consists of a typed, signed letter to Colin Huggett (concerning Golding's “Free Fall”) together with its envelope. Also included is a handwritten letter to Colin Huggett (about Golding's three novellas, “Envoy Extraordinary”, “The Scorpion God”, and “Clank Clank”) together with its envelope.
The collection consists of: 2 leaves of typescript with holograph corrections of explanatory notes on the plates for "The Demon of Progress in the Arts" (1954); 10 leaves of typescript with holograph revisions of "Chapter I: The 'Do-Nothing Mode'" (about Lewis' father); 21 leaves of carbon typescript with holograph corrections of chapters 4-6 of "Painting as a Sport" ; 7 leaves of carbon typescript with holograph corrections with a note to "Mrs. Gilliat"; 3 leaves of a holograph review of Swabey's "The English Church and Usury"; 19 leaves of a typescript review with holograph corrections of Harry Slochower's "No Voice is Wholley Lost".
The collection consists of a handwritten letter to Charles Lahr. In the letter, he mentions his story? "Waxworks" which he had sent him. He also mentions that he has received a letter from Jack Lindsay, who likes his story "A Bed Of Feathers", which Lindsay hopes to publish in his magazine.