Scope and Contents Folder of correspondence from Bloodaxe (Neil Astley) includes mostly contracts and royalty statements, including a BBC/Bloodaxe/Roy Fisher agreement to make all archived work freely available, plus a catalogue from 2014, and copies of the 'House Style' guidelines for authors; copy of reviews of Bloodaxe's The Long and the Short of It: Poems 1955-2010, by Roy Woolley, from Other Poetry, July 2012, and Standard Midland, and Shearsman's An Unofficial Roy Fisher (ed. by Peter Robinson), by Peter...

Scope and Contents Correspondence from Jacky Simms, Will Sulkin, Simon Mason, mostly concerning Poems 1955-1980. Included are copies of several reviews of the collection from The Observer, TLS, New Statesman, and London Review of Books, PN Review, The Listener, and a mention in P.E.N. Broadsheet. There is also a typescript copy of Philip Crick's review/essay, 'A Strenuous Art', and an OUP 'Review List' of newspapers and magazines to which copies of Poems 1955-1897 [sic] were sent. Includes a pen and ink...

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Correspondence from Lucy Cresswell re. Roy Fisher inclusion in the publisher's Twentieth-Century Poetry collection. Includes licencing and rights agreements between the publisher, Roy Fisher, Bloodaxe, OUP, and certain sections from The Cut Pages (Fulcrum, 1971).

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Correspondence from Sarah K. Lewis turning down the collection A Debt for Tomorrow.

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Correspondence from Charles Monteith inviting Roy Fisher to submit work for Faber's New Poetry Anthology. The 2014 document is a royalties statement.

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Correspondence from Veronica Pratt and Roger Palmer re. Pieces of Hate, published in 1982, but remaindered in 1984 due to poor sales.

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Correspondence from Edith Horsley, who turns down Starting to Make a Tree in 1961, and Clare SummeRoy Fisherield enclosing proofs [not present] of Roy Fisher poems to appear in the Poetry Book Society Anthology 1989-90.

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Correspondence from Tom Maschler, ultimately turning down Roy Fisher's work.

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Correspondence from Helen Ellis asking permission to use 'The Hospital in Winter', and 'Experimenting, experimenting' in British Poetry Since the War, ed. by Edward Lucie Smith.

Scope and Contents Correspondence from Stephen Brook. Enquires about the sales figures of Roy Fisher's books published by Fulcrum and Carcanet before he commits to adding Roy Fisher to the Routledge list. The final letter regrets that OUP has taken up Roy Fisher. Includes a copy of Roy Fisher's letter to SB in which Roy Fisher explains the sales figures of The Ship's Orchestra, Collected Poems 1968, Matrix, and The Cut Pages. He explains his 'two levels of readership', and the difficulties he faces of only...

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Correspondence from James Vinson who would like to update Roy Fisher's details for the rev. ed. of Contemporary Poets of the English Language.

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Correspondence from Mary Turnbull asking for permission to use 'The Wind at Night', and 'Starting to make a Tree' in the anthology Jazz Poems, edited by Anselm Hollo.

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Correspondence from Timothy Parshall asking Roy Fisher for a photograph of himself for publication in The British Dissonance: Essays on Ten Contemporary Poets, by A. Kingsley Weatherhead.