• Consists of letter (1966 July 11), London (England), from Michael Horniman, A.P. Watt & Son, to Brian Moore, Hollywood (California).
• Typed letter(s) signed by the author discussing an excerpt from B. Moore's new novel, I Am Mary Dunne, and the cover of the Mayflower edition of The Emperor of Ice Cream.

• Consists of letter (1972 October 12), London (England), from Michael Horniman, A.P. Watt & Son, to Brian Moore, Malibu (California).
• Typed letter(s) signed by the author indicating six author's copies of the Cape edition of Catholics complete with new jacket have been forwarded.

• Consists of letter (1955 November 27), Westmount (Quebec), from B. Moore to Seymour Lawrence.
• Typed letter(s) lacking signature (carbon copy) discussing the dust jacket for "Judith Hearne" and appropriate blurbs.

• Consists of letter (1955 November 25), Boston (Massachusetts) from Seymour Lawrence, Director, Atlantic Monthly Press, to Brian Moore, Montreal (Quebec).
• Typed letter(s) signed by the author discussing publishing plans and jacket design for "Judith Hearne", and suggesting several blurbs.

• Consists of letter (1955 December 8), Boston (Massachusetts) from Seymour Lawrence, Director, Atlantic Monthly Press, to Brian Moore, Montreal (Quebec).
• Typed letter(s) signed by the author discussing the jacket design for "Judith Hearne" and the decision regarding the descriptive blurb.

• Consists of letter (1956 March 7), Boston (Massachusetts) from Seymour Lawrence, Director, Atlantic Monthly Press, to Brian Moore, Montreal (Quebec).
• Typed letter(s) signed by the author forwarding the dust jacket for The Lonely Passion of "Judith Hearne", originally published as "Judith Hearne."

• Consists of letter (1959 November 6), Boston (Massachusetts) from Seymour Lawrence, Director, Atlantic Monthly Press, to Brian Moore, New York (New York).
• Typed letter(s) signed by the author forwarding four possible jacket designs for The Luck of Ginger Coffey.

• Consists of letter (1962 April 12), Boston (Massachusetts) from Seymour Lawrence, Director, Atlantic Monthly Press, to Brian Moore, London (England).
• Typed letter(s) signed by the author with handwritten postscript discussing the jacket for An Answer From Limbo.

• Consists of letter (1962 June 5), Boston (Massachusetts) from Seymour Lawrence, Director, Atlantic Monthly Press, to Brian Moore, Amagansett (New York).
• Typed letter(s) signed by the author discussing flap copy, dust jacket, photographs, and advertising and promotion for An Answer From Limbo.

• Consists of letter (1962 June 11), Boston (Massachusetts) from Seymour Lawrence, Director, Atlantic Monthly Press, to Andre Deutsch, London (England).
• Typed letter(s) signed by the author (carbon copy) discussing the dust jacket for An Answer From Limbo.

• File consists of John Metcalf's drafts of flap copy for the short story collection and colour proof of jacket cover by Craig Allen of Richmond Studio, Toronto, Ontario Includes repository photocopy of letter (1986 June 2) from John Metcalf to Pat Kennedy, Macmillan of Canada, regarding the flap copy. Original letter in Correspondence series, Macmillan of Canada file.
• Handwritten; typescript (photocopy).
• Includes references to the following: Adult Entertainment; Polly Ongle; Single Gents Only; The Eastmill Reception Centre; The Nipples of Venus; Travelling Northward.

• Consists of letter (1975 February 14), New York (New York), from Aaron Asher, Farrar, Straus & Giroux, Inc., to Brian Moore, Malibu (California).
• Typed letter(s) signed by the author discussing the design for the cover of The Great Victorian Collection. Encloses a photocopy copy of Janet Halverson's successful design and a rejected dust jacket.

• Consists of letter (1975 February 28), New York (New York), from Aaron Asher, Farrar, Straus & Giroux, Inc., to Brian Moore, Malibu (California).
• Typed letter(s) signed by the author discussing the photos of B. Moore, the adoption of the cover by McClelland and Stewart Limited and the use of blurbs on the jacket of The Great Victorian Collection.

• Consists of letter (1975 February 2), Malibu (California), from B. Moore to Aaron Asher.
• Typed letter(s) lacking signature (carbon copy), discussing changes in the blurb for the dust jacket of The Great Victorian Collection.

• Consists of letter (1975 April 18), New York (New York), from Sheryl Dare, Assistant to Aaron Asher, Editor-in-Chief, Farrar, Straus & Giroux, Inc., to Brian Moore, Malibu (California).
• Typed letter(s) signed by the author forwarding 3 jackets for The Great Victorian Collection. Encloses a jacket with Farrar, Straus & Giroux, Inc. imprint and flap copy; 1 jacket with Farrar, Straus & Giroux, Inc. imprint and no flap copy; 1 jacket with McClelland and Stewart Limited imprint and flap copy.

• Consists of correspondence (1977 February 27 - 1980 April 14), between various representatives of Farrar, Straus & Giroux, Inc. and B. Moore regarding The Mangan Inheritance.
• Correspondence, chiefly with Aaron Asher, about progress on the novel, the title, editorial changes, contract and copyright details, jacket design, publication details, possible sale of film rights, publicity and reviews.

• Consists of correspondence (1980 March 11 - 1982 February 1), between various representatives of Farrar, Straus & Giroux, Inc. and B. Moore regarding The Temptation of Eileen Hughes.
• Correspondence about editorial revisions, the title, dust jackets and jacket description, reviews and sales.

Consists of professional correspondence between John Metcalf and Harmon. Includes five colour prints of 'author photos' depicting book covers, locations, etc.

• Consists of correspondence (1982 July 7 - 1984 March 8), between various representatives of Holt, Rinehart and Winston and B. Moore regarding Cold Heaven.
• Correspondence about editorial suggestions and revisions, the title, jacket design, publicity interviews, reviews, complimentary copies and paperback sales.

• Consists of letter (1970 May 28), New York (New York), from Aaron Asher, Director, General Book Division, Holt, Rinehart and Winston, Inc., to Brian Moore, Malibu (California).
• Typed letter(s) signed by the author with handwritten postscript forwarding a jacket proof for Fergus. Encloses jacket proof without flap copy; photocopy of jacket with flap copy. 2 p.

• Consists of letter (1970 June 11), New York (New York), from Aaron Asher, Director, General Book Division, Holt, Rinehart and Winston, Inc., to Brian Moore, Malibu (California).
• Typed letter(s) signed by the author discussing jacket proofs, publicity and promotion for Fergus and mentioning notes from an older ground.

• Consists of letter (1971 May 20), New York (New York), from Aaron Asher, Vice President, Director, General Book Division, Holt, Rinehart and Winston, Inc., to Brian Moore, Malibu (California).
• Typed letter(s) signed by the author discussing use of subtitle for The Revolution Script and the jacket. Encloses revised note. 1 p. typescript.

• Consists of letter (1974 September 24), from B. Moore to Aaron Asher.
• Typed letter(s) lacking signature (carbon copy) discussing the production schedule for The Great Victorian Collection and ideas for the cover.

• Consists of letter (1972 July 24), from B. Moore to John Huston.
• Typed letter(s) lacking signature (carbon copy) discussing revisions in the screenplay of Catholics. Encloses jacket blurb for Jonathan Cape Limited edition of Catholics. 1 p. typescript (carbon copy); notes by B. Moore on a film version of Catholics. 3 p. typescript (carbon copy).

• Consists of letter (1971 May 17), London (England), from Tom Maschler, Jonathan Cape Limited, to Brian Moore, Malibu (California).
• Typed letter(s) signed by the author expressing a positive reaction to The Revolution Script, and discussing the jacket.