Corrected Typescripts: 'Poems'

Scope and Content

Loose leaves, some with autograph corrections. There are multiple versions or copies of many of the poems. Some supplementary typescript and manuscript leaves have been pasted in. Original dates and places of composition have been inscribed in Maeve Gilmore's hand (these range from 1937-1960). The last leaf is a receipt from Bertram Rota Ltd for fifteen drawings and one framed drawing entitled 'Belsen', 'for inspection', 23 January 1967.


  • ‘I burgled beauty in the night’;
  • ‘When God pared his fingernails’;
  • ‘The Metal Bird’;
  • ‘Fame is my tawdry goal, and I despise’ (1939);
  • ‘Autumn’ (1940);
  • ‘Sensitive head. And mouth’;
  • ‘London Buses’ (circa 1946);
  • ‘Poem: Taller than life; deployed along the shallows,’ (1943);
  • ‘Poem: Remote, that baleful head of his,’ (1945);
  • ‘I am almost drunk with an arrogant’;
  • ‘Autumn’ [a different poem from that of the same title listed above];
  • ‘How Dangerous a Thing…’;
  • ‘This Estrangement Forms a Distance Vaster’;
  • ‘Yet Who To Love Returning’;
  • ‘Because Last Night My Child Clung To My Neck’;
  • ‘Love So Imperilled Is’;
  • ‘Lies! Lies! it is all lies and nothing else,’;
  • ‘Au Moulin Joyeux’;
  • ‘I Am For Ever With Me’;
  • ‘Than Paper and a Pen’;
  • ‘Where I got these two eyes that plunder storm’;
  • ‘I could sit here an age-long of green light’;
  • ‘Poem: As though it were not his, he throws his body’;
  • ‘Neither to captain nor be captained, I’ (circa 1960);
  • ‘Rather Than a Little Pain’;
  • ‘May 1940’;
  • ‘The Time Has Come For More Than Small Decisions’ (May 1941);
  • ‘We Are the Haunted People’;
  • poem variously entitled 'Bomb Victims’, and later ‘Victims’ (circa 1945-46);
  • ‘Poem: When I was wounded’;
  • ‘She Whose Body Was in Pain’;
  • ‘Eagle’;
  • ‘Conceit’;
  • ‘The Boy’;
  • ‘London 1941’;
  • ‘The Cocky Walkers’;
  • ‘Rhondda Valley’;
  • ‘They Move With Me, My War Ghosts’;
  • ‘Palais de Dance’;
  • ‘The Two Fraternities’;
  • ‘Two Seasons’;
  • ‘Had Each a Voice That Would His Fingers Cry’;
  • ‘The Spadesmen’;
  • ‘What Is It Muffles the Ascending Moment?’;
  • ‘The Shapes (London)’;
  • ‘The Sounds’;
  • ‘If I Could See, Not Surfaces’;
  • ‘Rather Than a Little Pain’;
  • ‘Van Gogh’;
  • ‘The Colt’;
  • ‘The Burning Boy’;
  • ‘Is There No Love Can Link Us?’;
  • ‘Poem: Body and head and arms and throat and hands’;
  • ‘Swan Arrogant’;
  • ‘Satan’;
  • ‘In crazy balance at the edge of time’;
  • ‘El Greco’;
  • ‘On Fishing Up a Marble Head’;
  • ‘Rembrandt’;
  • ‘Fort Darland’;
  • ‘Dead Rat’;
  • ‘April gone by and the next faint fable-month’ (May 1940);
  • ‘Poem: As though it were not his, he throws his body’;
  • ‘How Foreign to the Spirit’s Early Beauty ‘;
  • ‘Heads Float About Me’;
  • ‘The Flag Half-Masted is a People’s Poem’;
  • ‘Out of the Chaos of My Doubt’;
  • ‘Swallow the sky: chew up the stars’ (1960, Virginia Water);
  • ‘Poem: That lance of light that slid across the dark’;
  • ‘Poem: Now with the rain about her, I can see’;
  • ‘Great Hulk Down the Astonished Waters Drifting’;
  • ‘On Fishing Up a Marble Head’;
  • ‘An Armful of Roses’;
  • ‘Poem: Thunder the Christ of It. The field is free:’;
  • ‘A Reverie of Bone’ (with autograph revisions).

Conditions Governing Access


Not Public Record(s)

Physical Characteristics and/or Technical Requirements

Leaves conserved and bound by the Bodleian Library prior to acquisition by the British Library, inscribed 'refoliated 18 ii 2000'

Dimensions: 263mm x 205mm