At her death in 1971, Rosey Pool's papers represented five decades of correspondence and editorial work with major black writers of North America, including poet, lyricist and Harlem Renaissance leading light Langston Hughes and cultural polymath W. E. B. Du Bois. Pool also collected contemporaneous material (programmes, periodicals, exhibition catalogues) commemorating African-American movements in politics and art so the collection is rich in both primary and secondary source material. The collection is diverse in form and includes autograph, typescript and printed papers, photographs, tape recordings, letters, periodicals, scrapbooks, sheet music, gramophone records and visual art.
Pool enjoyed a lengthy correspondence with several leading black writers, most notably Owen Dodson, Langston Hughes and Chester Himes. The file of Dodson's letters contains 43 pieces of verse in different formats; Hughes's correspondence (1948-69) comes complete with 63 leaves of verse, theatre programmes and photographs relating to his 'Gospel song-play' Black Nativity.
A large typescript collection contains, among many other works, an edition of James Baldwin's The Amen Corner (c.1955) in a binder, Owen Dodson's Bayou Legend (1946), Langston Hughes's The Gospel Glory: A Passion Play (1962) and Pool's own 1969 study of W E B Du Bois, in Dutch with corrections. A large collection of verse by black American poets includes manuscripts by Du Bois, LeRoi Jones, Robert Hayden and many others.
Langston Hughes features again in the collection of printed music. His composition 'Freedom Land' (complete with autograph dedication) is included, as is 'Ask Your Mama: 12 Moods for Jazz' which comes with specially inscribed music cues. Recorded material in the archive includes a wide selection of poets reading from their works: Hughes, Gwendolyn Brooks and Robert Hayden are just three poets featured.
Pool's own archive has been augmented by five folders of miscellaneous material including tributes, letters, photographs, etc., assembled by Paul Breman for a proposed memorial volume. The volume was never produced.