'A Winter’s Tale (The Round of Time). After William Shakespeare'. Three versions of draft for libretto, [ca. 30 leaves each], [David Malouf’s 2017 note: Commissioned by the English National Opera, 1988/9. Michael Berkeley set part of the text (Paulina) in a song-cycle. The commission fell through.] With two associated pieces of correspondence by Malouf and Berkeley

Correspondence in the form of letters, greeting cards, and postcards, from 1960 to 2016, from numerous correspondents including: Glenda Adams, Luciana Arrighi, Murray Bail, Bruce Beaver, John Bell, Bruce Beresford, Michael Berkeley, John Blight, Michael Brennan, David Brooks, Bille Brown, Felicity Bryan, Carmen Callil, Ian Callinan, Felix Calvino, Nancy Cato, Clem Christesen [writing to Judith Green, later Rodriguez], John Clanchy, Alison Clark, Dymphna Clark, Manning Clark, John Coetzee, Adele Cohen, Matthew Condon, Jim Davidson, Robyn Davidson, Bruce Dawe, Robert Dessaix, Rosemary Dobson, Espie Dods, Eve Duncan, Don Dunstan, Geoffrey Dutton, Nin Dutton, Christopher Edwards, Nick Enright, Michele Field, Helen Garner, Marea Gazzard, Clem Gorman, Lisa Gorton, Kate Grenville, Elizabeth Harrower, Kenneth J Harvey, Dennis Haskell, Ihab Hassan, Shirley Hazzard (Shirley and Francis Steegmuller), Janette Turner Hospital, Brian Howard, Barry Humphries, Ivor Indyk, Elizabeth Jolley, Gail Jones, Nicholas Jose (Nick Jose), Beate Josephi and Andrew Taylor, Nancy Keesing, Thomas Keneally, John Kinsella, Manoly Lascaris, David Leavitt, Gerard Lee, Geoffrey Lehmann, Kathy Lette, Alan Lightman, Stephen McClymont, Mark McKenna, Robert Macklin, Tony Maniaty, David Marr, Mandy Martin, Gillian Mears, Drusilla Modjeska, Frank Moorhouse, Mal Morgan, Les Murray, Philip Neilson, Cees Nooteboom, Mark O’Connor, Carlo Olivieri, Margaret Olley, Michael Ondaatje, Tony Page, Peter Porter, Pixie Pratt [Pixie O’Harris], Judith Rodriguez, David Rowbotham, Ethel Rowbotham, Lilian Roxon, John Ralston Saul, Jaya Savige, Scripsi (Michael Heyward and Peter Craven], Penelope Seidler, Tom Shapcott, Lidija Simkus-Pocius (Lidija Simkute), Ian Sinnamon, Norah Smallwood, Jeffrey Smart, Christina Stead, Lurline Stuart, John Tranter, James Tulip (Jim Tulip), UQP [Frank W Thompson, Roger McDonald, Craig Munro], Christopher Wallace-Crabbe (Chris Wallace-Crabbe), Robin Wallace-Crabbe, Jacki Weaver, Peter Weir, Gough Whitlam, Phyllis Webb, Patrick White, and many others.

Correspondence from Thomas Shapcott – 151 letters (1975 to 2011)
Comprises:
[File 1]: 1975 to 1977 - 12 letters.
[File 2]: 1982 to 1989 – 71 letters
[File 3]: undated, 1990 to 2011 – 68 letters

Correspondence from Helen Garner – 125 letters (1982 to 2014)
Comprises:
[File 1]: 1982 to 1985 – 22 letters
[File 2]: 1986 – 29 letters (including 8-page typescript of a short story titled ‘What we say’)
[File 3]: 1987 to 2000 – 61 letters
[File 4]: 2003 to 2014 – 13 letters

Correspondence from Jeffrey Smart – 26 letters (undated, 1978 to 2012)
[File 1]: 1978 to 1991; 1999; 2012. In a letter of 13 Sep 1980 Smart writes: ‘Dear David, It’s midnight. I’ve come down to the studio to look again at your portrait […] it is, I feel sure, the best picture I have ever painted.’

Correspondence from Elizabeth Riddell, Mrs Elizabeth Greatorex – 41 letters
Comprises:
[File 1]: 1974 to 1998

Correspondence from Patrick White – 7 letters
Comprises:
[File 1]: 1976 to 1990

'The year is 1827, and in a remote hut on the high plains of New South Wales, two strangers spend the night in talk. One, Carney, an illiterate Irishman, ex-convict and bushranger, is to be hanged at dawn. The other, Adair, also Irish, is an officer of the police who has been sent to supervise the hanging. As the night wears on, the two discover unexpected connections between their lives, and learn new truths. Outside the hut, Adair's troopers sit uneasily, reflecting on their own pasts and futures, waiting for the morning to come. With ironic humour and in prose of starkly evocative power, the novel moves between Australia and Ireland to explore questions of nature and justice, reason and un-reason. , the workings of fate, and the small measure of freedom a man may claim in the face of death.' Source: Publisher's blurb (Vintage reprint).
This sub-series contains handwritten and typescript drafts, with emendations.

Unpublished typescripts by David Malouf.

Voss is an opera in two acts based on the novel by Patrick White. The score is by Richard Meale and the libretto by David Malouf. This subseries includes a handwritten outline of Voss, a typescript of the libretto with many handwritten corrections, and a photocopy of the music score, inscribed by Richard Meale to David Malouf.