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Letters to Walsh from Ronald H. Lyon, Talbot Press Limited, 89 Talbot Street, Dublin mainly concerning the publication of an edition of Sons of the Swordmaker and negotiations with Chambers for the purchase of copyright. Letter dated 8 February 1939 includes a comment that sales of 1510 copies in Ireland compares favourably with sales of 5586 in Britain. Letter dated 29 March 1940 contains a proposal that Sons of the Swordmaker be included in a ‘Library of Irish Fiction’ which Talbot is discussing with Phoenix Publishing Company. Letter dated 22 July 1941 mentions that Talbot Press have an excess of copies of the novel in stock and had recently offered some to Chambers to compensate for material lost ‘by enemy action’ but they refused. If Chambers decide to reprint it, Talbot could not agree to its sale in Ireland as they have about 700 copies of their own remaining.

Statements of royalty due from the Educational Company, Talbot Press, issued for either full or half years, and stating numbers of copies of Sons of the Swordmaker sold, the gross amount made and amount of royalties accruing.

Letter to Walsh from C. W. Stewart, Faber and Faber (publishers), 24 Russell Square, London, explaining their plan to include ‘a story that you think suitable, in their forthcoming Stories for Girls. Also see P7/1/3/1/2.

This sub-series contains a letter from SMT Magazine and Scottish Country Life.

Letter to Walsh from J. Smith, The Thomson Publications, Courier Place, Dundee, expressing interest in serialising one of his Scottish stories in The Peoples' Friend or The Sunday Post.

This sub-series contains letters from the Saturday Evening Post.

This sub-series contains a letter from The Field.

This sub-series contains Maurice Walsh’s correspondence with advertisers, broadcasting corporations and film and theatre producers.

This sub-series contains letters from Katherine Forbes-Leith Jackson, playwright.

Letter to Walsh from Katherine Forbes-Leith (Mrs. Baxter Jackson), 410 Park Avenue, New York. States that she will be finished with the script of the play based on The Road to Nowhere in three or four weeks. She believes that she and Walsh ‘should work hand and glove’ on any changes and be ‘allied against the frequent indiscretions and bad taste of producer, director and scenic designers’. She hopes that she is ‘not too sanguine’ about its prospects of ‘reaching the rehearsal stage’. She is keen to have Wash’s suggestions about the dialogue, especially that of Elizabeth (Elspeth).