Manuscript letters from House of Commons headed paper, London and also from 80, Regents Road, N.W., London, from James Allanson Picton (British independent minister, author and Liberal politician) to Stephen O'Mara.

File of letters sent to Lelia Doolan on the occasion of departure as Chair of the Irish Film Board. Letters from Michael D. Higgins, T.D. Minister for Arts, Culture and the Gaeltacht; Mary Hyland, The Arts Council of Ireland; Richard Taylor, Director of Northern Ireland Film Council; Patrick Cleary, Deloitte and Touche; Patrick Keenan, Branch Secretary, SIPTU; Kevin Moriarty, Managing Director, Ardmore Studios; Siobhán O'Donoghue, Media Desk Ireland; Eibhlín Ní Mhunghaile, Media Desk Ireland; James Mitchell, Little Bird Productions; Declan [ ], Forbairt; Ann Devine, Monaghan County Museum; James [ ] the Irish Film Board; Arthur Lappin; Brian Garvin, Manager, IDA Ireland; Tommy McCabe, Audiovisual Federation, Dublin; Chris Kane, Director Corporate Affairs, Bord Fáilte; Mary Lyons, F.Á.S; L.T. Hynes Graphic Design, Galway; Clare Duignan, commissioning Editor, RTÉ; Derry O'Brien, Network Ireland Television. Other personal letters received from Michael M, and from Paddy and Frances.
File also includes a photocopy of a photograph of Lelia Doolan with Siobhán McKenna in costume and as part of a play by Bertolt Brecht, "St. Joan of the Stockyards" (1960s)

File of letters between Madeline McGahern and others including writer Claire Keegan, and editors at Faber and Faber including Neil Belton. The letters discuss in the detail the planning and suggestions of what scholars should edit The Letters of John McGahern and also as to who would write the official biography. Comment also copied in/included via email from Declan Kiberd. Letters give personal comments on those who are suggested and on those who are pitching to complete those tasks, including Denis Sampson.
Letters between Madeline McGahern and Neil Belton also discuss a disagreement concerning events at the launch of the collected essays of John McGahern ("Love of the World") edited by Stanley van der Ziel.
Also includes is a typescript of "The Art of Memory", a scholarly book on the writing of John McGahern by Dermot McCarthy and with some annotation by Madeline McGahern. A letter from McCarthy included seeks a waiver of copyright fees in order to quote from McGahern's works.

File of copy letters from various Human Rights organisations, individuals and friends and colleagues of Kevin Boyle, who express condolences to Joan Boyle and family on the passing of Kevin Boyle on 25 December 2010.

Letters from Robert Woof to John McGahern, along with copy of The Messenger newsletter of the Wordsworth Trust.

File of letters to John McGahern from various book and magazine editors and publishers, discussing agreements and terms to publish works by McGahern, royalty statements for work published, and related discussions.

Letters from Barrie and Rockliff Books, London, enclosing cheque for fee for publication of excerpt of "The End or Beginning of Love" published in 'X' Magazine (6 Mar 1961); statement of fee paid to McGahern by the Abbey Theatre Dublin for production of his play, "The Power of Darkness" (24 Jun 1991); Letter from Raleigh Trevelyan of Michael Joseph Ltd. publishers, London, returning a story as 'VOICES' has been discontinued (23 Apr 1969); Statement from Little Brown and Company, Boston, with details of advance payment on publication of "Nightlines" (Jan - June 1971); Statement from "Lloyds Bank Europe Limited for payment made [31 Jul 1971]; Letter from [ ] King, A.P. Watt, asking to meet with McGahern to discuss representation having read his story "Doorways" (19 Sep 1977); Letter from Barbara Epstein, The New York Review of Books, enclosing a copy of the paper with review of "By the Lake" by Hilary Mantel (26 Apr 2002); Letter from David Book, John Redway and Associates Ltd., London, discussing interest by Alan Gibson in directing "The Dark" (15 Feb 1984); Letter from agent at Anthony Sheil Associates, offering to represent McGahern (25 Feb 1974); Letter from Iréne Salzmann, discussing Swedish translation for radio drama of works by McGahern (6 Nov 1984); Letter from Martin Novelli, The American Poetry Review, asking of any work by McGahern was available to publish in the magazine (10 Jun 1980); Keith Connolly of The Herald, Australia seeking a written story (27 May 1975); Letter from M.H. Gill of Gill and MacMillan regarding German language rights to McGahern writing (9 Apr 1973); Letter from Pat Goodheart, Canto Review of the Arts, seeking a submission (7 May 1976); Postcard and letter from Marianne De Barde, discussing translation of radio play "Sinclair" into German (1971); Letter from Gesa Tapken Press re. German edition of McGahern books (2 Oct 1988); Letter from Hans Gunther Pflaum, enclosing German reviews of "The Pornographer" and discussing wider German editions/reception of McGahern's works; Correspondence with Steidl Press, German publisher of German translation of McGahern (1996-1997); Photocopy letter from David Evanier, The Paris Review, seeking a submission from McGahern (10 Nov 1980); Letter from Liz Calder, Publishing Director, Soho Square, asking to include McGahern's story "Monaghan Day" in an anthology (12 May 1989); Letter from Peter Carson, Editor-in-Chief, Penguin Group, discussing US publication rights of McGahern's works (31 Mar 1993). email from John Spain, Irish Independent re. publishing and payment for a series of books that would include a republished edition of a McGahern book with the newspaper (May 2005).

Letter from Diana Crawford Limited, Literary Agents, London, writing in praise of McGahern's "Nightlines" and "The Dark" and asking is he might write a lay and submit to her agency (4 Dec 1970); Letter from Bruce Hunter updating McGahern that David Higham, literary agent, has died (31 Mar 1978); Letter from Dan Franklin, publisher with Martin, Secker & Warburg, London, having read "The Moran" (an early name for "Amongst Women" and hoping to publish the book for McGahern (5 May 1989); Letter from [Janine Byng], Canon Gate, London, sending McGahern a copy of book by Maria Hyland (16 Oct 2005); Fax letter from staff member at New York Times Travel, adding comments on "Morocco Story" that McGahern has written and suggests some edits (6 June 1997); Letter from Gina MacCoby, literary agent, New York, stating that she has left Russell and Volkening and is seeking her own new clients and invites McGahern to consider (10 Dec 1986); Letter from Caroline Michel, M.S. of Harper Press writing in new role at Harper Collins Publishers (23 June 2003); earlier letter from Caroline Michel are from Vintage Random House Press, stating they are in the process of buying the rights to "Stoner" and "Augustus" by John Williams and thanking McGahern for his recommending of "Stoner" for vintage reissue and for McGahern to write an introduction to the book (8 Jan, 7 Jun 2002); Letter (torn) from Renate Nagel of Benziger Verlag, Paris, and discussing German translation plans for McGahern's books. (22 Sep 1970); contract and details with Vuokrasopimus Agency/Press for the Finnish translation rights/contract for McGahern's ["The Dark"]. Postcard from Ian [ ] saying a contract from Bloomsbury will follow (n.d.); Email from Vrinda Condillac (Random House) to John McGahern and discussing book jacket edits and layout for "That They May Face The Rising Sun". (9 Jul 2001); Letter from Samantha Holmen to McGahern with details on amount paid to him from UK Public Lending Rights based on library loans. (17 Feb 2006).

Letters from Tony Swift, friend of McGahern. Also includes manuscript letter from John McGahern to Swift, 1957. Also copy of letter from McGahern to Swift, 1994, and details of honorary conferrals at Trinity College Dublin, 1991, including an award to McGahern.

File of letters from Tim Seldes (and others) at Russell & Volkening Inc. Literary Agents, New York, regarding representation of McGahern by the agency, discussions on terms, comments on Faber and Faber and A.M. Heath., comments on McGahern's books, updates on international editions and royalties, updates on approaches re. television adaptation of The Pornographer, as well as Portuguese rights to the book, updates on reprints and rights for The Dark, and other related publishing news on and of McGahern's work.

File of letters to John McGahern from the New Yorker magazine. Includes payslips with fees paid to McGahern for stories published, "High Ground", "Around the Big Stone House", "Sierra Leone". Letters from editorial assistants include clearance of permissions for reproduction of stories "Summer at Strandhill" and "The Wine Breath" (1967, 1977). Also letters from Robert Hemenway sending apologies that "Bomb Box" was not published there (1969) and from Mary D. Kierstead (1974) rejecting an unnamed story by McGahern, commenting that " ... it is extremely difficult for a man to put himself in the shoes of a complex, introspective woman".
NOTE: See also P71/1598 for other New Yorker letters from Elizabeth Cullinane and William Maxwell. Other New Yorker material is also located within various other series of the McGahern Archive.

Letters sent to John McGahern in file labelled "B.B.C.", and from various staff members discussing radio/TV adaptations of works by John McGahern. Letters discuss the plans for projects around the story "Swallows", which didn't happen, discussions around the stereo radio play of "Sinclair" and with comments on casting of roles for the play, and also a list of comments/questions about the radio production. Also includes a letter from Peter Redgrave, Falmouth, Cornwall, to McGahern, indicating that he too had an unhappy experience at Colgate University, NY, and sends McGahern a TS of a radio piece about his experiences as a visiting professor at Colgate. Letter from [Dervan] May, headed paper "The Listener and BBC Television Review, London, with McGahern following up on payment for a story. (Mar 1970).
Includes sub-file - (P71/1588A) with letters from John Scotney, Drama Producer, B.B.C. (1971) with correspondence regarding radio drama adaptation of "The Barracks" by John McGahern, and with discussions about the adaptation and its dramatic composition.