The book Jennings published about Fernando Pessoa and his life in South Africa.

A photocopy of this book written by Jennings about the life of Fernando Pessoa during his early years in Durban, South Africa.

Final draft of Jennings's study of the life and work of Fernando Pessoa. Includes an anthology of Pessoa's poetry, much of which was translated by Jennings, although some of Pessoa's English poetry appears as well. Jennings was unable to find a publisher for this book and ultimately reworked many of his findings and published them in other books and articles. The original book project was encouraged by the promise of financial support from members of Fernando Pessoa's family, but it seems that Jennings never received any compensation. There are handwritten annotations in the text (especially in the table of contents for the anthology section) that appear to have been made by Christopher Jennings.

Photocopy containing fewer handwritten annotations than the final manuscript, possibly indicating the state in which H. D. Jennings left it.

Notes and a partial draft for a concluding chapter of The Poet with Many Faces.

A nearly complete draft of the Poet with Many Faces, not differing substantially from the final draft (Box 1, Folder 1).

Three postcards reproducing the 15th-century painting Painel do Infante (two color, one black and white; one is an enlargement showing Prince Henry the Navigator). Jennings's note on the verso remarks on the supposedly typical Portuguese features of the figures, making exception for the English-born Dona Felipa and her son, Prince Henry.

Jennings's complete translation of Fernando Pessoa's Mensagem (Message) and Pessoa's Alberto Caeiro poems. Includes transcriptions of the Caeiro poems in the original Portuguese. Jennings tried to interest publishers in the Caeiro poetry as early as 1968, but apparently nothing came of it (see Correspondence). Jennings would later publish some of his translations in other forms.

Drafts of Jennings's translations of Fernando Pessoa's Mensagem (Message) and Alberto Caeiro poems, accompanied by prefatory comments, mock-ups of title pages for books, and some draft pages from The Poet with Many Faces.

A preface to a planned collection of translations of Fernando Pessoa's poetry that was to have included all the Alberto Caeiro poems, Álvaro de Campos's "Ode Triunfal," and the orthonymic poetry of Mensagem (Message). It is not clear whether this planned collection was conceived before or after related projects like the Message and Caeiro Poems. A translation of "Ode Triunfal" accompanies the preface to the planned book. These materials were at one point stored with the contents of the folder labeled "E1" (English poetry).

A collection of Jennings's notes, transcriptions, letters and clippings relating to his primary work on Fernando Pessoa. The documents are arranged in a sequence that may correspond in some way to the organization of Jennings's book project, Fernando Pessoa: The Poet with Many Faces, or the thesis Jennings presented to the University of Cardiff and for which he was awarded a master's degree. Includes transcriptions of poetry by Pessoa that remained unpublished during Jennings's life (and possibly beyond); an inventory of papers left by Pessoa (I-53); transcriptions from the Natal Mercury relating to the Haggar incident (I-54); transcript of letter from E. A. Belcher responding to F. Pessoa's pseudonymous letter in which he inquired about his own mental health; "Two poems in English" (I-61); letter from Fernando Pessoa's sister Henriqueta Madalena Nogueira Rosa Dias ((Teca), I-71); letters from Uys Krige (I-76); letter from Maria de Encarnaçao Casquinho (I-78); letter from Armand Guibert (I-79); letter from Joaquim Montezuma de Carvalho (I-81); clippings of Jennings's articles in Estado de São Paulo (I-85); letter from F. Pessoa's brother Michael (I-88); letter from Maria Clara Farinha of Fundação Calouste Gulbenkian (I-89; evidently in response to a letter of H. D. Jennings's, of which there is a partial draft in B1 F10); letter from João Alves das Neves at Estado de São Paulo (I-90).

Collection of papers relating more or less directly to the theme of Sebastianism, a Portuguese messianic tradition that predicted the triumphant return of King Sebastian (1554-1578), and which appears in some of F. Pessoa's writings, notably the collection Mensagem (Message). Jennings seems to have planned a book project around Pessoa's "The Message of Fernando Pessoa", but he later transferred some relevant papers and translations to other folders (see, for instance, "Message and Caeiro Poems" and "File-I"). It may be that the project that took shape as The Poet with Many Faces (a study of F. Pessoa's life and work) was originally conceived as structured around Pessoa's "Message" (both in reference to his book of that name and to what Jennings termed "what he means for Portugal" and "what he means for the world").

Article by William H. Roberts, published in Hispanic Review XXXIV (1966), and inscribed to Alexandrino Severino. Roberts discusses how Fernando Pessoa put the Sebastianist myth to use in his own poetic work, particularly in Mensagem, ultimately finding that although these poems are not Pessoa's best work they nevertheless merit attention. Jennings seems to have agreed with or to have been pursuaded by this reception of Pessoa's mystical poetry in Mensagem (see The Poet with Many Faces).

Program of the second international symposium on Fernando Pessoa, held at Vanderbilt University in Nashville, Tennessee, 31 March to 2 April 1983, which was attended by many leading Pessoa scholars including H. D. Jennings.

Large collection of H. D. Jennings's translations of poetry by Fernando Pessoa's heteronym Álvaro de Campos. Includes partial or complete translations of some of the longest and most famous poems by Campos such as Ode Marítima, Ode Triunfal, Ode Marcial, and Tabacaria, as well as many other poems. Many translations appear in several forms. Also includes a short piece about the experience of translating Campos ("Myself & Álvaro de Campos"); additional notes accompanying specific translations; a translation of Mário de Sá-Carneiro's poem "Distante Melodia" that Jennings had pinned to his notes on and translation of Campos's poem "Se te queres matar".

Small group of H. D. Jennings's translations of poetry by Fernando Pessoa's heteronym Ricardo Reis. Includes translations of: "Mestre, são plácidas"; "Não consentem os deuses mais que a vida"; "A flor que és, não a que dás, eu quero"; "Já sobre a fronte vã se me acinzenta"; "Felizes, cujos corpos sob as árvores"; "Ninguém, na vasta selva virgem"; "Seguro assento na coluna firme".

Translations of Fernando Pessoa's orthonymous poetry, as well as additional materials relating to Pessoa's work and legacy. Includes a partial translation (about half) of Pessoa's static drama "O Marinheiro"; translations of "O que me dói não é", "Iniciação", "Plenilúnio" (two versions), "Leve, Breve, Suave","Tenho dó das estrelas", "Autopsicografia", "Elfos ou gnomos tocam" (under title "Canção", two versions), "A Outra", "Aqui na orla da praia", "A Múmia" (two versions), "Não venhas sentar-te à minha frente, nem a meu lado". The verso sides of some of the "Marinheiro" pages contain drafts of essays on Pessoa, poetry, and South Africa. Also includes comments on Roy Campbell's translations of Pessoa's work and comparison of translations by Campbell and Peter Rickard (attributed, apparently in error, to "Peter Rickart"). Some pages contain handwritten annotations that are not in Jennings's hand.

An assortment of notes and documents chiefly relating to Jennings's translations of Fernando Pessoa, but there are also included other materials that are more incidentally related to translation, but which Jennings seems to have kept together for some purpose. Includes a long, paginated list of "Translations from the Work of Fernando Pessoa", which may indicate that at one point Jennings considered publishing an anthology of his translations of Pessoa's work, containing a short biographical note to be followed by a selection of Pessoa's orthonymous lyrics, all of the Caeiro poems, and substantial sequences of work by Campos and Reis. Many of the translations listed in this index are found in the anthology section of The Poet with Many Faces (B1F1, B1F3) or in other forms in several folders of the Translations subseries, but the index appears to list translations that are not found in the Jennings papers. There is a partial draft of a letter to the director of the Gulbenkian Foundation (which had financed Jennings's research in Portugal in 1968-1969), in which Jennings reports that his book on Pessoa (presumably a version of the Poet with Many Faces) had been completed some time earlier and that the author was having difficulty finding a publisher willing to take it on; he asks whether the Gulbenkian Foundation would commit to acquiring some number of copies of the hypothetical publication, presumably so that wary publishers might be pursuaded to accept it; compare the letter from Maria Clara Farinha (B1F7, "File-I"), apparently in response to Jennings's request. There is a short essay in a later hand (circa 1987) titled "Marginal Notes on Translation", in which Jennings discusses the purpose of literary translation. In an apparently unfinished piece titled "Homage to Uys Krige" (circa 1987), Jennings writes of his impressions of the writer, comparing his racial attitude favorably with that of Federico García Lorca. There is a draft, in Portuguese, of a piece responding to criticism of Jennings's work by Isabel Correia and published in Persona (11/12, 1985). Newspaper clippings relating to Fernando Pessoa and Jennings's book, Os Dois Exílios.

Documents, photographs, poems, etc., that Jennings evidently took to the Second International Symposium on Pessoa (Vanderbilt University, 1983), as well as a list of delegates to the event with their contact information (provided to Jennings by Alexandrino Severino). There are two copies of a list of items Jennings intended to include. In the list are many items found in the Jennings papers, but there are some materials mentioned that are not known to exist (e.g. "Under the Horizon"). Includes copies of Fernando Pessoa's school reports, a photograph of Durban circa 1895, a copy of a drawing by Almada Negreiros, copies of a number of English poems, a copy of an essay by Pessoa on "O Genio e o Talento na Sociedade," copies of a letter between Pessoa and Adolfo Casais Monteiro, a copy of a telegram to Pessoa from Ofélia de Queiroz, and a copy of a draft of Pessoa's farewell letter to Ofélia. Jennings originally included with this material two rare chapbooks of Fernando Pessoa's English poetry, both published 1918: Antinous and 35 Sonnets. The copy of 35 Sonnets is inscribed and signed by Jennings: "Given to me by Francisco Caetano Dias June 1968." The copy of Antinous is inscribed and signed by Jennings: "Given to me by Francisco Caetano Dias June 1969."

Notes and transcriptions of materials relating to Jennings's research on Fernando Pessoa. Includes transcriptions of Pessoa's poetry and prose that were presumably done during Jennings's stay in Portugual in 1968-1969. Includes: poems "Happy are beasts that can have no faith", "The girl I had and lost", "Her voice comes to me in the night"; a list of documents and photographs that Jennings seems to have planned to have printed in his book; transcriptions of prose pieces on poetry, genius, and madness; notes on childhood references in Pessoa's work; citations from famous authors on the concept of genius (Buffon, Carlyle, Goethe, Edison, Dr. Johnson, James Russel Lowell (on Edgar Allen Poe), Elizabeth Browning, Walt Whitman); a note on schizophrenia citing unknown sources; a transcription of a dialogue concerning gender identity but also containing a reflection on the limits of human interpretations and theorizations of reality, possibly inspired by Kant's epistemological idealism (compare, for example, "KNOWLEDGE" and "Distinção entre o conhecimento metafísico e físico" in Pessoa's Textos Filosóficos); transcription of "Trempe tes yeux à mon silence", which differs slightly from Ferrari's transcription published in Pessoa's Poèmes français (Paris : Différence, 2014); "Ultimus Joculatorum"; notes on the origin of Alberto Caeiro; partial transcription of "Desolation"; partial transcription of a publishing agreement in Portuguese (unclear whether this is transcribed from Pessoa's papers or if it related to Jennings's own publishing projects); lyrics to folk songs, "Ceifeira que andas a calma" and others, presumably taught to Jennings by Maria (housekeeper to Jennings in Lisbon, with whom he developed a relationship), along with other notes that may not be in Jennings's own hand.

Notes and transcriptions of materials relating to Jennings's research on Fernando Pessoa. Includes transcriptions of Pessoa's poetry and prose that were presumably done during Jennings's stay in Portugual in 1968-1969. Includes: a partial list of transcribed documents, some of which do not appear in the collection; transcriptions from early writings by Fernando Pessoa that include his invention of the magazine "The Gabbler" and story "The Boys of Barrowby" (apparently based on Pessoa's own experience as a young newcomer in South Africa and which alludes to his supposedly Jewish features), which was to have been "published' in the fictional magazine, as well as pages relating to another invented magazine, "O Palrador"; lists of books the young Pessoa wanted; other notes relating to Pessoa's school notebooks on topics including cricket and riddles; draft translations of some of the Caeiro poems; a note indicating that some pages from this collection (numbered 21-28, 34,35) were sent to Professor Lawrence Keates of Leeds University; transcriptions of prose writings by Pessoa on Brazil, genius, and the state; poems including "Diologue", "Fragments of Love and Longing", "High dedication to cold and vast ends", "What's wrong with what's right with my heart is another"; transcriptions from various sources and relating to Pessoa's salary, the poetry of Walt Whitman, and the Tarot; transcription/translation (?) of Octavio Paz's writings on Pessoa and the heteronyms (possibly from Paz's Antología (México : Univ. Nacional Autónoma, 1962); transcriptions of political notes on "Laws", "The Basis of Power", "The Redeemer", "Political Conditions in Present Day Portugal", "State of Present Day Portugal"'; notes comparing Pessoa and T.S. Eliot, including some pages that may have been a draft for a book chapter or article and which discuss the significance of Pessoa's work and Portugal more broadly for South Africa.

A collection of photographic reproductions of documents relating to Jennings's research on Fernando Pessoa, accompanied by notes and transcriptions. Includes: parts of Pessoa's Mad Fiddler ("A gentle wind hath risen"); two copies of a letter with photograph from young woman wishing her godfather a happy new year (dated "1933-1934"), one copy marked in Jennings's hand "Daughter of Rebelo", which would indicate that the author was Pessoa's godchild, Signa Osório Teixeira Rebelo; copies of several of Pessoa's English poems including sonnets ("The lame of legs, for coming late or ill" and "I have wished so oft this mockery might end"), several of the Alexander Search and Mad Fiddler poems ("Rage", "Apollo unto Neptune", "The Giant's Reply", "A gentle wind hath risen", "A Temple"), as well as others ("I cannot well deceive me that there was"); a page of notes labelled "File-I" listing some documents that are mostly to be found among the Transcription series (rather than the File-I in its current state); a citation evidently from "Review of a book by Victor Goertzel - American psychologist who specialises in research on gifted children"; copies and transcriptions of telegrams and letters from Ofélia Queiroz to Fernando Pessoa; two copies, possibly an excerpt from a book, in French regarding handwriting analysis by a Mme. Simone Evin (source unknown, unclear whether the subject is Fernando Pessoa); copy of an essay by Pessoa "The German War: A Sociological Inquiry into its Origin and Purport" (the original seems to have been typed on the letterhead of "A. Xavier Pinto & Ca.", a Lisbon firm where Pessoa received mail and may have been employed [?]; copies of two letters (dated February 1934) apparently by Fernando Pessoa to his brother João Maria "John" Nogueira Rosa on the subject of gunpowder manufacture in Portugal, in which the author writes as a representative of a friend, Francisco Camello, owner of a black powder factory, who seems to have been seeking investors in England (since the copies do not show a signature, it is unclear whether these are photocopies of typewritten letters in Pessoa's archive or if they are photocopies of transcriptions made by Jennings or someone else); copy of a similar letter (dated 24 Oct 1934) apparently from Fernando Pessoa to his brother João/John, in which the author asks for help gathering information on an English firm, "British Tenders," that had engaged in some (possibly fraudulent or otherwise irregular) activities in Lisbon with the firm Gouveia & Carvalho (by whom the author was employed) and additionally for assistance in ascertaining whether a buyer might be found for a certain valuable estate in Portugal (the "Condado de Palma", belonging to one José Maria Posser de Andrade); a translation of Pessoa's "Nota Biográfica"; copy (with translation and notes by Jennings) of a short piece, "Elogio do chale", that may have been a collaboration between Fernando Pessoa and Almada Negreiros, as the accompanying illustrations are signed by Almada.

A series of Fernando Pessoa's English poems, including some that long remained unpublished after the poet's death (there are two sets of nearly identical drafts): "Trumpets afar, very far in the night"; "Here in this wilderness" (listed by some editors as "Inversion"; "I have outwatched the lesser wain"; "As to a child, I talked my heart asleep" (a sonnet); "Spirit of Love and Excellence"; "Genius is the greatest curse"; "He wrote wonderful verse"; "D. T."; "The Mad Fiddler"; "Looking at the Tagus"; "Fever-Garden"; "A Sensationist Poem"; "Her fingers toyed absently with her rings"; "Second Sight"; "Desolation." The folder in which Jennings kept these papers at one point also contained the preface to A Selection of Poems (a planned book of Jennings's translations) and a translation of Pessoa/Campos's "Ode Triunfal", which are now located in the folder titled "Preface to a Selection of Poems."

A large collection of photocopies and typed transcriptions of early poetry by Fernando Pessoa, including the Mad Fiddler and poetry of Alexander Search and Charles Robert Anon (two of Pessoa's early English-language heteronyms), much of which was unpublished at the time Jennings became interested in the poet. A note in pencil (Jennings's hand) on the first page of the Mad Fiddler poems reads: "Unpublished poems by F.P. in English sent to me by Miguel Rosa Sept 29 66."

Folder that contained photographs relating to Fernando Pessoa. Mentions Arnaldo Saraiva (founder and director of the Centro de Estudos Pessoanos at Universidade do Porto, which published Jennings's book, Os Dois Exílios) and an address. Also labelled "artifacts for 2nd symposium", which can be found in "Artifacts" (Box 1 Folder 13).

A list of photographs that Jennings apparently intended to use as illustrations in one or more of his books. Many of the items listed are found in the Photographs subseries of the Jennings papers. Some of the images were used in one or both of his books on Pessoa, Os Dois Exílios and Fernando Pessoa in Durban, but there are some items listed that do not appear in the books or in Jennings's unpublished papers.

Photograph (one print and two later reproductions) of Joaquim de Seabra Pessoa (1850-1893), father of Fernando Pessoa. Date of this print unknown, but the original studio portrait presumably dates from around the 1880s. Verso of print reads "21 Father of F.P." in Jennings's hand. Two of the images were previously affixed to paper with tape.

Photograph (three prints) of Maria Madalena Xavier Pinheiro Nogueria (1862-1925), mother of Fernando Pessoa. Date of these prints unknown, but original studio portrait presumably dates from around the 1880s. Verso of one print reads "F.P.'s mother" and another "22 Mother of F.P." in Jennings's hand. Two prints were previously affixed to paper with tape.

Photograph of Maria Madalena Xavier Pinheiro Nogueria (1862-1925) with her infant son, Fernando Pessoa. Date of this print unknown, but the original studio portrait was taken in July 1888. Previously affixed to paper with tape.

Photograph of Maria Madalena Xavier Pinheiro Nogueria (1862-1925), mother of Fernando Pessoa, dressed in mourning black, which dates the original photograph to around the time of her first husband's death in 1893. Previously affixed to paper with tape.

Negative of photograph "The Young Widow", of Fernando Pessoa's mother, Maria Madalena Xavier Pinheiro Nogueira. Contained in an envelope from a Durban lab: Precision Photo Labs, 301 Umbilo Rd.

Studio portrait of Maria Madalena Xavier Pinheiro Nogueira and João Miguel dos Santos Rosa (mother and stepfather of Fernando Pessoa). Studio mark at bottom of image: "W.B. Sherwood, Pietermaritzburg and Durban." This negative is badly water damaged, cracked, and is stuck to another negative showing the Pessoa family on the veranda of their home in Durban.

Photograph of Fernando Pessoa around the age of seven. Pessoa is wearing a sailor costume and poses in front of a seaside studio backdrop. Print previously affixed to paper with tape.

Photograph (four prints and negative) of General Joaquim António de Araújo Pessoa (1813-?), paternal grandfather of Fernando Pessoa. The subject appears wearing a kind of uniform with several medals visible. Verso inscriptions on two prints read "Grandfather of Fernando Pessoa. General Joaquim Antonio de Araújo Pessoa. 52" on the first and "General Joaquim Antonio de Araújo Pessoa. grandfather of poet" on the second, in Jennings's hand. Photos previously affixed to paper. Includes an envelope labeled "General 1 print post-card-size."

Negative of photograph of the consul Comandante João Miguel dos Santos Rosa, Fernando Pessoa's stepfather. He stands outside wearing a suit, bowler hat and leaning on a cane. The photo is published in Jennings's book, Os Dois Exílios, with the caption "O padrasto de Pessoa, Comandante Rosa, em Pretória". Pessoa's family moved from Durban to Pretoria in 1910 and Comandante Rosa died in 1919, which suggests that the photo was taken during this period.

Photograph (one print and two reproductions) of the Teatro Nacional de São Carlos in Lisbon, located opposite the house where Fernando Pessoa was born. The print includes the caption, in French: "Le théâtre San Carlos à Lisbonne face à la maison natale de Fernando PESSOA"; previously affixed to paper. Inscriptions on verso sides: (1) "27. Teatro Dom [sic] Carlos", (2) "Theatre of S. Carlos. It was on the other side of this square that Fernando Pessoa was born 52" (3) "Theatre of S. Carlos 53".

Negative showing a group of boys and young men posed for a large group portrait in front of a building. Possibly a picture of students at Durban High School at the time that Fernando Pessoa attended. This negative is badly water-damaged, cracked, and was previously stuck to another negative showing a portrait of Fernando Pessoa wearing a hat and looking down, circa 1915. The emulsion from the negative of the group of boys is adhered to the other negative.

A color transparency showing the coat of arms designed by Fernando Pessoa. Includes an envelope labeled "Negative - Pessoa coat of arms (made by F. P. himself) use as frontispiece" and a strip of 35mm color negative film with 3 images of the coat of arms.

Two photographs affixed to a typewritten page. Both show the young Fernando Pessoa with his mother, stepfather, and siblings Henriqueta Madalena Nogueira Rosa, Luís Miguel Nogueira Rosa, and João Maria Nogueira Rosa at their house in Durban, South Africa. The top photo, apparently taken from street level, shows the family on the veranda with an unidentified black child standing apart from the family to the right; the bottom photo shows the family seated on the front steps. Visible through the paper is this inscription on the verso of the top photo: "(3) House in Tenth Avenue Original bears the date Dec 1904". This would date the photo after the birth, in August 1904, of another child to the family, Maria Clara, 1904-1906, who does not appear in these photos. The date of these prints is unknown.

Negative of photo of Fernando Pessoa and family on the steps of their Durban home. A caption, in French, reads "Fernando PESSOA à Durban entre sa mère et son beau-père le consul." Enclosed in an envelope with inscriptions "Neg. The Pessoa Rosa family at house in 11th [sic] Avenue Dbn" and "The family at 11th Avenue. Negative." The negative is cracking.

Another print (evidently of the same age) of the photo of Pessoa and family on the veranda of their Durban home, taken 1904. Verso inscription: (3) 1904 Tenth Avenue Durban."

Negative bearing caption "Roman Catholic Cathedral and Convent, Grey Street. From photo belonging to Museum." Fernando Pessoa attended the convent school (1896-1899) upon arriving in South Africa and before enrolling at Durban High School in 1899. The museum mentioned in the caption may be the Durban Local History Museum.

Negative showing a photo and descriptive note, possibly from the Durban Local History Museum. The photo shows an office building known as the London Chambers where, according to a note in Jennings's list of photographs ("Illustrations" Box 1 Folder 19), "Dr. Haggar held his 'Commercial School.'" Pessoa attended the Commercial School during 1902-1903.

Negative showing a page from a book (possibly from Jennings's own DHS Story), including a photo of Durban High School headmaster W. H. Nicholas, a photo of the school, and a photo of the DHS faculty (taken in 1905 according to a note in Os Dois Exílios). This photo is reproduced in Os Dois Exílios; Jennings's book Fernando Pessoa in Durban reproduced only the image of the school. Contained in an envelope inscribed "Negative Nicholas & staff." The negative is cracking.

A Durban street scene showing a church and commercial buildings in the foreground, with what seem to be residential areas beyond, and hills in the distance. Horse-drawn carts, carriages, and trams are visible in the broad street. Handwritten inscription on photograph at the bottom center: "[FROM] THE TOWN HALL J.E.M." Inscription in Jennings's hand on the verso reads: "6. Local History Museum copyright. only the small church has survived to this day. Durban 1895. Note horse-trams". Contained in a paper folder labeled "Restored".

Drawing of Fernando Pessoa by Jorge Brandeiro using pen and watercolor. Signed by the artist. Caption reads "Jorge Brandeiro em Durban, Set[embr]o 66, á procura do Fernando Pess[oa]." The piece has suffered water damage along the bottom and is missing the upper right corner. The drawing was previously mounted on paperboard. Inscription in pen on verso " [Fern]ando Pessoa [b]y Jorge Bradeiro. H. Jennings, Fer.[missing] 8 Lambert Road, Durban." Sticker for Artframers of Witham in Essex, England was attached to the paperboard backing. Dimensions are 12 x 18 inches.

Photographic reproduction of a drawing of Fernando Pessoa by Jorge Brandeiro. Signed by the artist. Caption on the original drawing: "Jorge Brandeiro em Durban, Set[embr]o 66, á procura do Fernando Pessoa." Photo was previously affixed to paper with tape.

Photographic reproduction of a drawing of Fernando Pessoa by Almada Negreiros. Note on the verso reads "5. Caricature by Almada-Negreiros". Photo was previously affixed to paper with tape.

Half-tone reproduction of a drawing of Fernando Pessoa by Almada Negreiros.

Photographic reproduction (two copies, one may be a non-proportional enlargement of the other) of Almada Negreiros's famous portrait depicting Fernando Pessoa seated in a cafe with a copy of Orpheu 2 on the table. Notes on verso read: (1) "Also by Almada-Negreiros. painted on the wall of the café, called the 'United Brothers.' My wife and I often used to sit here to drink our coffee when we were in Lisbon" (this copy also shows undecipherable notations and tape marks); (2) "Caricature by Almada Negreiros which used to be on the wall of the cafe "Irmãos Unidos" in the Rossio square. (Now taken down & sold)".

Photo (two copies) of Fernando Pessoa as a young man. A note in Jennings's hand accompanying these prints reads: "Adolescence: Photographs taken at the ages of 15 and 19". The photo also appears in Jennings's book Fernando Pessoa in Durban with the caption "Fernando Pessoa as a young man of about 19." Both prints bear tape marks on the verso, where one print also reads "F.P. 19?"

Photograph of Fernando Pessoa (two copies). Note on verso reads "F.P. about 1915". Bears tape marks on verso. This photo appears in Jennings's book Fernando Pessoa in Durban with the caption "Fernando Pessoa - studio portrait about 1915."

Photograph (one older print, two slight enlargments, and one negative) showing Fernando Pessoa in a Lisbon street, Rua do Carmo, around 1925. Notes on the versos read: (1) "20 F. P. in street. Which one? Carmo?", (2) "F.P. in the Rua do Carmos about 1925 52". Two prints bear tape marks on verso.

Photograph showing Fernando Pessoa walking in a Lisbon street. Note on verso reads "F.P. in Rua do Carmo or Rossio?" Tape marks on verso.

Photograph (one older print and two enlargements) showing Fernando Pessoa shortly before his death. One print previously affixed to paper with tape. Note on verso of one print reads: "Last portrait 1935 taken from a snap showing reunion with Michael, his wife Eve and Henriqueta in October 1935".

Photograph showing Fernando Pessoa with his brother Michael (Luís Miguel Nogueira Rosa) and sister-in-law Eve outside the Mosteiro dos Jerónimos in Belém. Caption on verso, possibly in the hand of Fernando Pessoa's sister Henriqueta (Teca), reads "Fernando - Michael + Eve 1935 August. Outside Jerónimos."

Red leather-bound appointment book published by Moore-McCormack Lines in which Jennings kept a diary in 1968, chronicling his voyage to Portugal, part of his stay in Lisbon, and a trip to Britain in the middle of the year. Jennings writes of people he met, places he stayed, his research activities, his difficulties in learning to speak Portuguese, and romantic entanglements that arose during this period. Some pages have been torn out, though it is not known by whom or when. Missing pages: pages 16-17 from front section on calendars, weights, and measures; July 22 to July 25; July 31 to August 1; August 28 to August 29; half page September 6 to September 7; September 13 to September 22; September 25 to October 10; Jennings also transcribed sections of the diary and reflected on some events of this time in his memoir "The Cracked Record", which he wrote during the last years of his life.

Photocopy of excerpts from Jennings's first book, The D.H.S. Story 1866-1966, a history of the Durban High School. Includes front matter; photo of DHS; table of contents; list of illustrations; pages 90, 96; Chapter 14, "That Long Patience which is Genius," pages 99-110 (on Fernando Pessoa, his life in Durban, and his work); Chapter 15, "Judica Me Deus," pages 111-116 (apparently a speculative and imaginative reflection on Fernando Pessoa and his DHS peers; includes the note on p. 116, "Footnote: The chapter, it need hardly be said, is not factual."); Chapter 17, "Don Roy Quixote Campbell," pages 123-127 (about the poet and translator Roy Campbell); Chapter 18, "The First Great War," pages 163-164 (about the participation and experiences of DHS affiliates during World War I, particularly in southern Africa); Chapter 21, "Masters of Prose," pages 215-216 (about literary accomplishments of DHS alumni Noel Langley, Jack Cope, Conrad Arthur Skinner, Eric V. Axelson); Chapter 23, "Brief Renaissance," pages 258-259 (about a dynamic period for the DHS community following the Second World War); acknowledgments; a page of the index (p. 320) showing references to Fernando Pessoa.

Article by Alexandrino Emílio Severino in the journal Colóquio: Revista de Artes e Letras. Lisboa : Fundação Calouste Gulbenkian, No 38, April 1966, pages 66-67. This is a review of the book "The D.H.S. Story" with information about the new information Jennings offered about the life of Fernando Pessoa in Durban, South Africa.

Short essay about Fernando Pessoa and a collection of poems translated by Jennings, published in Contrast (27, November 1971, Vol. 7, No.3), a South African literary journal. Jennings seems to have intended this publication as a means of introducing the South African public to Pessoa. Includes poems by the major heteronyms as well as some orthonymic poems, preceded by explanatory notes to help readers understand Pessoa's pluralistic poetry.

Essay on Fernando Pessoa, published in the South African literary magazine Contrast (47, June 1979, Vol. 12, No. 3), in which Jennings discusses his interest in the poet, his research in Portugal in 1968-1969, and presents his principal findings (based on his research in South Africa and Portugal). Jennings criticizes João Gaspar Simões's biography of Pessoa on the grounds that its Freudian orientation reduces artistic accomplishment to symptoms of psychological distress, but also because Jennings's own research contradicted some central claims of Simões's biographical theory, viz. that Fernando Pessoa was deeply scarred by the 'loss' of his mother (when she remarried), that Pessoa had a difficult relationship with his stepfather, and that Pessoa's life in South Africa was thoroughly uncomfortable and unpleasant.

This publication is part of the list of artifacts Jennings took with him to the Second International Symposium on Pessoa (Vanderbilt University, 1983). See Artifacts (Box 1, Folder 13). Inscription in pen handwritten by Hubert Jennings on verso of title page: "Given to me by Francisco Caetano Dias, June 1968, H. Jennings." This publication is available at the John Hay Library, Special Collections.

This publication is part of the list of artifacts Jennings took with him to the Second International Symposium on Pessoa (Vanderbilt University, 1983). See Artifacts (Box 1, Folder 13). Inscription in pen handwritten by Hubert Jennings on verso of title page: "Given to me by Francisco Caetano Dias, June 1969, H. Jennings." This publication is available at the John Hay Library, Special Collections.

Queiroz, Maria da Graça. Cartas de Amor de Fernando Pessoa. Lisboa : Edições Ática, 1978. A book that reproduces love letters written by Fernando Pessoa. Notes on the final page by Jennings.

Photocopy of a short story by William Boyd, published in Granta (34, 1990), set in Lisbon in the early 1930s. The copy is missing the last page of the story. One of the central characters in the story, Agostinho Boscán, bears some similarities to Fernando Pessoa and may have been based on the poet.

Severino, Alexandrino E. Fernando Pessoa e o mar português. Porto : Fundação Eng. António de Almeida, 1988. Ceremonies concerning the unveiling of the monument to Fernando Pessoa as well as the commemorations of Portugal's National Day, which took place in Durban, June 1986. Hubert Jennings owned a copy of this book. It had an inscription on the title page: "To Hubert with all my friendship and admiration. Cordially, Alex [Severino], Nashville, May 1, 1989." A copy of the book is available at the Brown University Library.

Quadros, António. Fernando Pessoa, a obra e o homen : nova versão. Lisboa : Arcádia, 1982. Hubert Jennings owned a copy of this book. It is available at the Brown University Library.

Severino, Alexandrino E. Fernando Pessoa na África do Sul: A Educação Inglesa e a Obra de Fernando Pessoa. Vol 2. Marília: Faculdade de Filosofia, Ciências e Letras de Marília, 1970. Second volume of Severino's thesis on Fernando Pessoa's education in South Africa. Inscribed by the author "Ao Hubert, cuja amizade foi o fruto mais fecundo e duradouro destas lides"; signed and dated "Nashville, 25 outubro, '73." There are some sparse annotations by Jennings in the text and more in the last two pages.

Monteiro, Adolfo Casais. Fernando Pessoa : o insincero verídico. Lisboa : Inquérito, 1954. Essay, published in book form, on Fernando Pessoa by the noted writer (and friend of the poet). Front cover bears Jennings's signature and there are notes by Jennings throughout the text and inside the back cover and a translation by Jennings of the first page of the text.

Pessoa, Fernando, and Maria Aliete Dores Galhoz. Obra Poética. [2. ed.] Rio de Janeiro: Aguitar, 1965. One-volume anthology of Fernando Pessoa's poetry. Inscribed by Jennings on fly leaf: "Hubert Jennings Nov 21, 1968". This date indicates that Jennings acquired the volume well into his stay in Portugal and, accordingly, that he must have had access to Pessoa's writings in some other form prior to this date, but Jennings's sources for his early explorations in Pessoa's poetry are not well documented in the Jennings papers. There are numerous notes and markings in the text by Jennings, as well as on the final pages of the volume, that may indicate poems of particular interest to Jennings or which he attempted to translate.

Pessoa, Fernando and Jorge de Sena. Páginas de Doutrina Estética. [2. ed.] Lisbon: Inquérito, n.d. Signed on the first page by Jennings, with the date 24-1-69. There are very few notes by Jennings in the text, except for the last two pages of the volume.

Quintanilha, F.E.G. Fernando Pessoa : Sixty Portuguese Poems. Cardiff : University of Wales Press, 1971. Translations of sixty Pessoa poems by F.E.G. Quintanilha. Notes and underlinings by Jennings in the English translation of the poem Ode Triunfal.

Pessoa, Fernando, and António Pina Coelho. Textos Filosóficos. Volume I. Lisboa: Edições Ática, 1968. Two volumes containing Fernando Pessoa's philosophical writings. There are sparse notes by Jennings in the text, with more on the last pages of each book. Volume II is inscribed on the first page: "Hubert Jennings Nov 21, 1968".

Lancastre, Maria José de. Fernando Pessoa, uma fotobiografia. Lisboa : Centro de Estudos Pessoanos, 1981. Hubert Jennings owned a copy of this book. It is available at the Brown University Library.

Article by Maria de Lurdes Belchior in the journal Colóquio: Revista de Artes e Letras. Lisboa : Fundação Calouste Gulbenkian, No 17, February 1962, pages 62-64, 71.

Monteiro, Maria da Encarnação. Incidências Inglesas Na Poesia De Fernando Pessoa. Coimbra: [Coimbra Editora], 1956. An early study on the relevance of English language literature for Fernando Pessoa. Inscribed by the author, presumably to Jennings "[As] a souvenir of your first and we hope not the last visit to our home". Signed by the author and dated "Carcavelos, 29-10-68". Some notes in the text by Jennings, particularly in the "Apêndice I - Obras em lingua Inglesa na biblioteca de Fernando Pessoa" which begins on page 81 in which Jennings marks books of interest. A sheet of paper was inserted by Jennings into this volume that he titled "Pessoa's Library in English" on which he made a list of particular books on occultism, folklore, freemasonry, genius, and psychology from Apêndice I.

Monteiro, George. The Man Who Never Was : Essays on Fernando Pessoa. Providence : Gávea-Brown, 1982. Papers presented at the first International Symposium on Fernando Pessoa, held Oct. 7-8, 1977 at Brown University and sponsored by the University's Center for Portuguese and Brazilian Studies. Hubert Jennings owned a copy of this book. It is available at the Brown University Library.

Article by Jacinto do Prado Coehlo in the journal Colóquio: Revista de Artes e Letras. Lisboa : Fundação Calouste Gulbenkian, No 31, December 1964, pages 53-57.

This volume owned by Hubert Jennings includes his handwritten notes and comments throughout the text and inside the back cover. Inscribed to Jennings by the editors: "Para o Sr. Hubert Jennings uma lembrança afectuosa [sic] do J.R. Lind 4/4/68" and "Jacinto do Prado Coelho 19-IV-68"

Persona. Centro de Estudos Pessoanos, #9, October 1983. A journal published by the Centro de Estudos Pessoanos in Porto, Portugal. Hubert Jennings owned a copy of this issue. It is available at the Brown University Library.

Article by Massaud Moises in the journal Colóquio: Revista de Artes e Letras. Lisboa : Fundação Calouste Gulbenkian, No. 20, October 1962, pages 56-58.

Envelope which contained personal as well as research-related correspondence. Marked on one side "L1 Letters Personal;" on the other, "MR + MRS H.D. JENNINGS."

Carole Buick responds, on letterhead of the London publishing house Rapp & Whiting addressed to Jennings's Lisbon address in the Rua Dona Estefânia, to Jennings's letter of 25 June 1968. Jennings had evidently tried to interest Rapp & Whiting in his translations of Fernando Pessoa's Alberto Caeiro poems. Buick informs Jennings that his translations were forwarded to Jean Franco, "who has undertaken to edit our edition of Pessoa," and that they will follow up. It does not appear that Rapp & Whiting ever published an edition of Pessoa's work and it is not known whether Jennings ever received further communication regarding the proposal.

Severino apologizes for delaying his response to Jennings's last letter, explains that he has been made a "tempting offer" of a position at Vanderbilt University, and mentions his "present disatisfaction [sic]" with his situation at UT Austin. He expresses concern about his research, saying that if he were to take the Vanderbilt post (which he did), he would have to delay some of his activities and that "with Coronel Dias' [Coronel Franciso (Chico) Caetano Dias, husband of Fernando Pessoa's sister Henriqueta Madalena] unfortunate illness, I wonder what that will mean." Severino promises to follow up on Jennings's letter concerning Pessoa, but informs Jennings that "there is a record of his [Pessoa's] enrolling at the University of Lisbon." Includes air mail envelope addressed to Jennings at his Rua D. Estefânia address in Lisbon.

Severino writes about the possibility of Jennings spending some time at Praia da Rocha in Portugual. Encloses a hand-written letter from Severino's nephew, Alexandre Ramires (1984 September 21, Praia da Rocha) which provides details about lodgings at Praia da Rocha and includes news of the family. Includes air mail envelope from a Porto address, sent to Jennings at Great Bently, Essex.

Baptista (signature nearly indecipherable), president of the Ministry of Culture commission charged with planning the events commemorating the fiftieth anniversary of Pessoa's death, invites Jennings to participate in the third international congress on Pessoa at the Gulbenkian Foundation (Lisbon) in December 1985. He asks Jennings to indicate whether he would participate, what topic he would like to speak about, and whether Jennings would be receiving funding for the trip from another party, beyond the expenses during his stay in Lisbon that the commission would pick up. The front and verso show faint marks in pencil (erased) that are apparently drafts of letters by Jennings. The draft on the verso appears to be a reply to Baptista, indicating that Jennings was planning to accept the invitation and that he would propose speaking about Pessoa's "Poemas dos Dois Exílios". The notes on the front seem to be addressed to a Dr. Alberto Pinto Gonçalves and indicate Jennings's own address (typed in the Ministry of Culture letter) as well as Jennings's wish to have the letter returned, which suggests that Jennings intended to forward the invitation, perhaps as part of a request for travel funding. Jennings evidently did not end up attending the December 1985 congress in Lisbon, although the reason is not known. Included is the air mail envelope from the Ministry of Culture to Jennings at his Great Bentley address.

Letter from Jennings's granddaughter Kate, in which she thanks him for a previous letter and expresses great regret about her past choices. She refers to her plans to marry and to attend Essex University. Includes envelope.

Aerogram in which Schroeder expresses his admiration for Jennings's writing and reminisces about mutual acquaintances associated with Durban High School.

Bill Jennings thanks his uncle Hubert for some poems and articles about lions (including at least one piece of Jennings's own) that Hubert had sent him. Bill writes about the Australian bicentennial celebrations and about demonstrations by Australian Aboriginal activists, remarking on historical and present challenges for "the most disadvantaged group in Australia," and encloses two poems by Australian Aboriginal poet and activist Kath Walker (Oodgeroo Noonuccal), "No More Boomerang" and "Then and Now." He includes family news, particularly about his daughter Leonie and congratulates Hubert "on becoming a great-grandfather twice over." Includes envelope bearing note, in Jennings's hand "Poem. Kath. Walker."

Severino writes to enclose a facsimile of letter sent by Clifford Geerts to Fernando Pessoa on 4 October 1907. Early in his researches on Pessoa, Jennings learned of the letter that Pessoa had sent to his former schoolmate Geerdts (and to one of their teachers, Mr Belcher), in which Pessoa poses as a doctor treating Fernando Pessoa for mental illness. Jennings contacted Geerdts, who provided the gist of his reply, noting that though he played along he had known that the letter from the "doctor" was from Pessoa himself. Jennings later found documents in Pessoa's papers relating to this exchange, but could not locate a reply from Geerdts. The facsimile sent by Severino reproduces the letter for which Jennings had searched Pessoa's papers some twenty years earlier, but had never seen. Inlcudes mailing envelope, marked "Letter Geerdts."

Draft of a reply to Severino, acknowledging receipt of the copy of Geerdts's letter to Pessoa. Jennings also asks for news of Teca (Pessoa's sister Henriqueta Madalena Nogeira Rosa). He informs Severino that his grandson John had sent magazines containing translations of Pessoa's poetry, one of them being the The Idler (Toronto). Jennings comments on the poor quality of the translations by Jonathan Griffin.

A short piece in the form of a journal entry, introducing a transcription of the October 4, 1907 letter from Geerdts to Pessoa, of which Jennings received a facsimile from Alexandrino Severino in 1989. The transcription that follows includes most of the Geerdts letter.

A short letter written in Zulu addressed "Dear Mrs" and signed "Eileen." Marked on verso "Eileen L1."

Photocopy of part of a review of Jennings's book, Os Dois Exílios, marked "Jornal de Notícias (Porto)". Photocopy showing two newspaper articles giving notice of the publication of Jennings's book Os Dois Exílios. One, marked "Jornal de Notícias (Porto)" is signed Arsénio Mota; the other, marked "Expresso (Lisboa)" also discusses the second edition of a book by António Quadros (Fernando Pessoa: Vida, personalidade e génio. 2a ed. Lisboa: Dom Quixote, 1984) and is followed by intitials "F.B."

Photocopy of a review essay on Os Dois Exílios by João Gaspar Simões, published in Diário de Notícias. Simões attacks Jennings's work (which criticizes Simões' methods and conclusions about Pessoa's life and work) and complains that Jennings's assessment of Simões own work was out of date and incorrect.

Folder that contained correspondence from Fernando Pessoa's relatives to Jennings, labelled "L1 Pessoa Family's Letters."

A large square-ruled leaf of paper Jennings folded to contain correspondence. Labelled "Letters from Pessoa Family."

Michael (brother of Fernando Pessoa) acknowledges Jennings's letter and complements him on his translations of Fernando Pessoa's poetry. He agrees with Jennings's suggestion of an approach to a biography of Pessoa and criticizes João Gaspar Simões. He mentions that he had informed his brother John (João Maria Nogueira Rosa) of Jennings's project, who responded positively.

Michael (brother of Fernando Pessoa) acknowledges Jennings's letter and explains that the delay in responding was due to serious health problems. He says that he intended to speak with his sister (Henriqueta (Teca) Rosa Dias) and her husband (Coronel Francisco (Chico) Caetano Dias) about funding for Jennings's work, but the discussion was delayed. He asks Jennings to provide an estimate of the funds he would require, advises him not to work too hard, and concludes with praise of Jennings's translation of Pessoa's poem "Plenilunio."

Teca complements Jennings on his last letter, written in Portuguese, and explains the delay in responding. She informs him that they have not received word from the Gulbenkian Foundation regarding Jennings's proposal and offers financial support from the family in the amount of 15 contos (15,000 escudos), noting that this will not be sufficient for his needs and that additional funding would have to be sought elsewhere.

Michael acknowleges two letters from Jennings and attributes the delay in responding to health concerns. He approves of the suggestion that a letter of support for his proposal be written by the family to the Gulbenkian Foundation and explains that Chico (his brother-in-law Coronel Francisco Caetano Dias) would be speaking with someone from the foundation to find out how to proceed. Michael expresses his hopes that Jennings's proposal be accepted.

A draft of a letter from Jennings to Michael in which he comments on the state of his application for funding from the Gulbenkian Foundation and the intercession of others on his behalf including Alexandrino Severino and members of the Pessoa family. He comments on the extreme formality of the correspondence addressed to the foundation. He then writes at some length about the translation he was attempting of Fernando Pessoa's poem (written under the name Álvaro de Campos) "Maritime Ode" ("Ode Marítima").

Teca explains that delays in pursuing support for Jennings's project from the Gulbenkian Foundation were due to her husband's ill health. She encloses a letter of introduction and support sent by her husband (Coronel Franscisco Caetano Dias) on behalf of the family to the Gulbenkian Foundation, dated 20 September 1967.

Chico informs Jennings that he has returned home from the hospital and that he has received encouraging news from the Gulbenkian Foundation regarding Jennings's funding request. He writes that he expects the project to work out well and wishes Jennings a happy new year.

Teca thanks Hubert and Irene Jennings for their present of gooseberry jam and congratulates them on the birth of two grandchildren.

Michael writes that representatives of the Portuguese government had been in contact with the family regarding Fernando Pessoa's papers, informing them that the materials were considered "national heritage" and were subject to regulations prohibiting them from being removed from the country and requiring that they be catalogued. Michael also says that some papers of Fernando's that had been in the care of another familiy member had now been returned and that to his knowledge the collection was once again complete. He mentions that the family was considering seling the poet's papers to the Gulbenkian Foundation or the Ministry of Education and that he was making inquiries along those lines.

Eve thanks the Jennings for the calendar they had sent and writes of her husband's health and about the weather. She also tells them that the painting of Fernando Pessoa by Almada Negreiros that had been hanging in a cafe in the Rossio (Lisbon) was sold for around £18,000.

Collection of letters relating more or less closely to Jennings's research and publications on Fernando Pessoa, falling into three groups. Group (1) contains 20 pages of letters written during Jennings stay in Portugual during 1968-1969 from John Rosa (Fernando Pessoa's brother), Leslie Theobald, Alexandrino Severino, Manuela Cândida Martins (of the Biblioteca Nacional de Lisboa) and a letter by Jennings to his son Christopher. Group (2) contains one letter (5 pages) from Leslie Theobald in which he encloses a letter he received from Ken Pottinger, a former student, regarding Roy Campbell's family. Group (3) contains 131 pages of correspondence dating from 1985 to 1989, chiefly relating to the publication in 1986 of Jennings's book "Fernando Pessoa in Durban" and detailing a variety of challenges. The bulk of the letters are from Leslie Theobald and Douglas J. Livingstone, who were involved in the editorial process, but there are also letters from Alberto Pinto Gonçalves (Portuguese consul in Durban).

Folder which contained several of Jennings's critical writings: "The Enigma of Roy Campbell" (in Contrast 57, July 1984); "Ash Wednesday," "Campbell and Pessoa," "Valerius De Saedeleer," "The Future of English in South Africa." Inside the cover are notes by Jennings about the contents of the folder.

A critical essay on the poet Roy Campbell, discussing his work and thought. Published in Contrast 57, (July 1984).

A critical essay by Portuguese poet João Paço D'Arcos about Roy Campbell. Published in Contrast 25 (February 1971).

Drafts of a critical essay on T. S. Eliot's long poem "Ash Wednesday."

A comparative essay (possibly incomplete) about the poets Fernando Pessoa and Roy Campbell (who translated Pessoa's work).

An essay about the Belgian landscape painter Valerius de Saedeleer, whom Jennings came to know following the First World War while de Saedeleer was living in Wales. Contains a citation from Fernando Pessoa in a footnote. Bears the label in pencil "X 18."

Two versions of an essay regarding the future of the English language in South Africa, 'by "Fernley,"' along with an announcement from the The English Association (South Africa Branch, Cape Town) offering prizes for essays on this topic. Labeled in pencil "X 16."

Critical essay on Under the Horizon, the collected poetry of South African poet Charles Eglington. Published in Contrast 49 (June 1980).

A series of poems written by Jennings. "Broken Promise," "The Rondavel," "Alas," and "Victrix" are dated between 1924 and 1928, but they seem to have been retyped and updated around 1968. "On My Birthday" is dated 12 Nov 1971. A note on the page of "The Rondavel" indicates "Reduced from Midsummer and Mid-rapture in South African Anthology of Verse 1948," which suggests that a version of this poem and possibly others were previously published.

A poem by Jennings published in Contrast 50 (December 1980). Includes a pamphlet containing the index for the magazine, covering the period August 1974 to December 1979 (volumes 9 through 12, numbers 33 to 48).

Translations by Jennings of a poem by Lope de Vega. The first is a photocopy of a page from the literary magazine Upstream containing Jennings's translation. The second is a typed draft of the same poem in a slightly different form than the version published in Upstream.

Photocopy of a page from an unknown book showing two sonnets, "Soir de Bataille" and "Antoine et Cléopâtre," by José-Maria de Heredia.

Translation from Spanish of a poem by Julio E. Miranda.

Translation from Portuguese of the poem "Distante Melodia" by Mário de Sá-Carneiro.

A draft of an essay, included notes, on the fiction of Belgian author Georges Simenon, focusing on the 1964 book L'homme au Petit Chien. Includes translated passages, praise, and analysis of Simenon's work. Includes envelope labelled "T3 TRANSLATIONS unfinished work." Bears some notes, including four lines from Chaucer's Troilus and Criseyde (Book 3 Lines 1023-1026, although Jennings's note indicates "l[ines] 1020-3").

Folder that contained Jennings's "Unsorted Stories." Later marked by someone other than Jennings, "HJ's own short stories. no Pessoa interest"

List, in Christopher Jennings's hand, of contents of the S2 folder containing H.D. Jennings's short stories.

A typed, numbered list of H.D. Jennings's stories, possibly indicating the order of arrangement for the stories to be published in book form. However, this list does not correspond completely to the contents of the S2 folder: some stories listed are not found and there are numerous manuscripts in the folder that do not appear on the list. The verso shows instructions relating to word processing, perhaps printed automatically by the electronic typewriter.

A short story narrated by a school headmaster about interactions with the African "Natives" employed by the school, particularly the succession of "Williams," that is the supervisors appointed to direct the other African employees. The draft is marked "one page incomplete," "X7," and "pub. Mentor." The last note apparently indicates that this story was published in The Mentor, the magazine of the Natal Teachers' Society.

A short story in which an old man plays a sort of pipe at the bar of the Royal Hotel in Harding and captivates his audience by reproducing birdsong. Marked "X5" and "published in Mentor." The last note apparently indicates that this story was published in The Mentor, the magazine of the Natal Teachers' Society. The later draft shows some alterations in comparison with the earlier draft.

A description of a hike to the top of a hill, as the title indicates, in what was then Bechuanaland (later Botswana). It is not clear whether this page is a complete piece or if it is the beginning of a longer manuscript.

A short story about an aging and lonely schoolteacher, who takes an interest in an abondoned horse and its canine companion. The original title seems to have been "Beauty", but this is crossed out and replaced with "The Ache." The first page is also marked "X 1" and "1175."

The early draft is just the first page of a short story about Pontius Pilate in his later years. Original title seems to have been "The Guest," but this is crossed out and replaced with "Peace." The page bears some erasures and crossed out notations including "X6," "pub Mentor," and "1890." The later draft is complete of Jennings's story about a guilt-stricken Pontius Pilate in later years. Original title seems to have been "The Guest," but this is crossed out and replaced with "Peace." There is no date, but the dot matrix printing suggests it was produced in the late 1980s.

A short story in which an adolescent boy meets the nymph Galatea while swimming at the beach in Durban. The first page is marked "1st typed copy" and there are some scattered notations in the text. The last page also bears the note "Notice in the Natal Mercury: January 30th 1910. "Theatre Royal, West Street, Durban. The performance of Bernard Shaw's Pygmalion has, unfortunately, had to be cancelled. The leading lady, not used to our climate, is said to be suffering from sunburn..." (The date presumably erroneous, since Shaw's Pygmalion premiered in 1913.)

Drafts of Jennings's story narrating an encounter between Fernando Pessoa and Luís de Camões at the Brasileira cafe in Lisbon (which Pessoa is known to have frequented and which is located near the Largo de Camões), resulting in Pessoa's poem "O Mostrengo" (from Mensagem). The earliest draft of this story is undated and titled "In the Brasileira" with a note in pencil: "X11." One double-spaced, apparently final draft bears very few marks in the text and carries Jennings's signature at the end. The other three drafts show editing or proofreading marks. One (double-spaced) is marked "uncorrected copy" and is signed with the date "9.12.87;" another (single-spaced) bears the label "Best copy;" the other (single-spaced) has no label. The drafts seem to have been produced in this order: (1) In the Brasileira, (2) the "uncorrected copy" (double-spaced), (3) unlabelled draft (single-spaced), (4) the "best copy" (single-spaced), (5) unlabelled, signed draft (double-spaced). See also the published version of this story in the journal Contrast (66) December 1988, Vol 17, No. 2.

Geoff Haresnape, editor of Contrast magazine, acknowledges receiving two of Jennings's stories: "At the Brasileira" and "The Girl and the Gemsbok." Haresnape offers to publish "At the Brasileira" in Contrast. He also comments on translations of Fernando Pessoa's poetry and on the health of family members.

Two drafts of a short story about African prisoners belonging to different ethnic groups. One draft (marked "2000" possibly earlier than the other) is missing the conclusion of the story (probably just one page); the other (complete, marked X9) carries Jennings's signature and Durban address. Both show some editing marks.

Magazine story about fishing in South Africa, published in The Field. Hand-written note indicates date and venue of publication. A note in pencil: "X12." Reverse side shows advertisements

Magazine story about fishing in Basutoland, published in The Field. Hand-written note indicates date and venue of publication. A note in pencil: "X12." Reverse side shows a story by Leonard Crawley about a golf match between Oxford and Cambridge played at Royal Lytham and St. Anne's.

A short story, entirely in dialogue. The draft shows some corrections (with fluid) and editing marks. Signed.

A later, corrected draft of "Talk Between Two Dead Selves," showing some changes apart from the title. Signed

A photocopy of a story about horse training published by Jennings in The Field (note reads "Pub. Field April 14, 1951"), accompanying a clean typed copy of the piece (probably from the late 1980s). Note in pencil in Jenning's hand on reverse of photocopy: "Happy New Year to all 4 of you! Love Jinks - I may want the MS back but no hurry."

Magazine story published in The Field, about seeing lions near the Shingwedse river, in the area of Kruger National Park. Hand-written note indicates date and venue of publication. A note in pencil: "X12." Reverse side shows advertisements

List of magazines (with addresses) that publish literary work, including publications in England, New York, and South Africa. It is not clear in general to which of these magazines Jennings actually sent his work, but a note on third page: "Sent to Cornhill - Girl + Oryx. Sept 6."

Two short pieces based on Jennings's experiences in Portugal, 1968-1969. "Rua Dona Estefânea" (named for the street in which Jennings lodged) combines references to Fernando Pessoa's poetry (Álvaro de Campos's "Tabacaria") and to Jennings's relationship with his maid, Maria. "From a Lisbon Window" is a reflection on the places Jennings lived in Lisbon. These two pieces were folded into another leaf, labelled with the titles of the stories and "File X / 24".

Clipping from The Mentor of a story about teachers and students of Durban High School and the common mynas (Indian Mynahs / Acridotheres tristis) that mock them. Three photocopies included as well.

A short, dystopian story in which a character has a vision in which, after his death, he returns to Earth after the passage of one thousand years. Mr. Entwhistle finds that racial conditions have been reversed and that the dominant culture is now African, since Western Civilization has destroyed itself. However, the now-dominant African society continues to reproduce the faults of the past, "The old hates, the old subterfuges, the old answers to the unsanswerable!"

Two drafts of a short story apparently partially retelling the crucifixion of Jesus. Both drafts include marks in Jennings's hand and one also shows some annotations by Christopher Jennings. Includes a letter from Jack Cope declining to publish the story in Contrast, on the grounds that it takes serious matters too lightly. Also includes a page of prefatory comments by Jennings (dated "6.4.87"), in which he refers to the exchange with Cope and how the story could not have been published at that earlier time (though the precise date is unknown) because it alluded to a political figure (evidently the founder and leader of the infamous Bureau of State Security, General Henrik Johan van den Bergh). The drafts of the story also include a footnote addressing the origin of the story and Jack Cope's response.

Two versions of a scene dealing with race relations and apartheid from various perspectives. Each draft carries an earlier title (crossed out): "A Question of Gallbladders" and "The Voices." Both drafts bear the notation "X14." Many editing marks appear in the text. One of the drafts, possibly the earlier, includes an epigraph from Fernando Pessoa (crossed out, from the poem "Iniciação"): "Neophyte, there is no death!"

Two drafts: one complete early draft and one incomplete later version. Older draft originally carried the title "The Girl and the Gemsbok" and the notation (erased) "X2." The story may at some earlier point have been titled "The Girl and the Oryx" (see List of Magazines). Both drafts show editing and correction marks. The older draft bears Jennings's signature and Colchester address label.

Short story set in Granada, possibly written after Jennings's trip to Spain in 1959. The original titled was apparently "The Street of the Worn Virgin." Notes in pencil read: "1082" and "X3," and there are some editing marks in the text. The last page bears Jennings's signature and Lambert Road address.

A travel chronicle about a trip in what was then Bechuanaland (later Botswana), concluding "There is no point or object of moral in this little story -- except, perhaps, that life over sixty is not necessarily the dull and static business that some would imagine it to be." There are some editing marks in the text. Notes on the first page: "From H. Jennings, Hotel Astia, Russell Street, Durban" and "X20." There is also a leaf that seems to be the second page of an earlier draft of this piece.

Jennings's story, in Contrast 66 (December 1988, Vol. 17, No. 2), narrating an encounter between Fernando Pessoa and Luís de Camões at the Brasileira cafe in Lisbon (which Pessoa is known to have frequented and which is located near the Largo de Camões), resulting in Pessoa's poem "O Mostrengo" (from Mensagem). Drafts of this story appear among Jennings's other stories in the S2 collection (Box 3 Folder 2)

The first volume of memoirs written by Jennings in the last years of his life. The narration begins around the time of Jennings's birth in 1896 and continues until about 1920, touching on Jennings's early years and his experiences in World War I, as well as a variety of personal matters, along the way. There is a photograph (at some point attached to the second bound page) showing Jennings as a boy with his family, opposite notes identifying the subjects. A letter from Jennings to his mother (dated 1944) was pinned to the page hand-numbered 64. Two typed poems (three pages of uncertain date, but one of the poems is dated 1915) were tucked into the cover of this volume: "Leafy Lanes" and "The Hospital Train." The pagination and some notes in pencil throughout the volume may have been added by Christopher Jennings. A family tree showing the descendents of William Raymond Jennings (brother of Hubert Jennings) and Daisy Cox titled "The start of the 'Australian Line' ." This was originally inserted into the Cracked Record, Volume I next to the photograph of the Jennings family on page 2.

Three typed pages transcribed the early part of Cracked Record Volume I, which deals with Jennings early life.

The second volume of memoirs written by Jennings in the last years of his life. This volume covers the period from the early 1920s into the 1930s or, as the note inside the cover indicates, the period beginning with the time of his relationship with a woman named Claire (introduced in Volume I of the Cracked Record) and extending into the early years of his marriage to Irene to the time of the birth of the couple's son Christopher in 1934. Jennings compares his correspondence in 1920 with Claire to that of Fernando Pessoa and Ofélia Queiroz around the same time, writes of his undergraduate studies at University College Wales, Aberystwyth (later Aberystwyth University), his early experiences as a teacher, his move to South Africa, his experience teaching at Durban High School, his introduction to his wife-to-be Irene Kennedy at Umkomaas in 1932, the abandonment of the gold standard in South Africa in 1932, the Jennings's honeymoon in Europe, and other personal relationships and adventures during the period. Some poems are attached: "Nocturne" (dated 1922) is attached opposite page numbered 53; "Astronauts" (dated 1923) is attached opposite page numbered 59; "The Watcher" is attached opposite page numbered 136. Tucked into pages number 159-160 is a small leaf title " 20.IX.55 TERRY 1.VII.66" that appears to contain part of a eulogy, written in an unknown hand and labeled by Jennings "Rol when Terry died."

The third volume of the memoirs written by Jennings in the last years of his life. This volume covers the period from 1934 (the birth of Christopher Jennings) to around 1959. Jennings discusses his teaching appointments following Durban High School (Stanger, Greytown, Dundee), a variety of personal matters, time spent in Cape Town in the late 1950s, his retirement from teaching in 1956, social and racial relations in South Africa, a trip to England, Belgium, and Spain in 1959, his relationship with Ingemarie, reflections on family matters. Some items attached or tucked into the text: a photo of cranes inside the front cover, a typed table of contents attached to page numbered 1; two page typescript labelled "Fragment on a fishing trip with Christopher aged 14 or so" at page numbered 54; three photos of Bridget at page numbered 99; two photos at or near Cape Town at page numbered 100; at page numbered 102, two photos of the Cape Town Period, one showing Christopher Jennings with several black South Africans (two of whom named Patrick and Rex) and several dogs, the other showing a demonstration in Cape Town protesting "against end of Coloured vote;" a poem titled "Picnic" at page numbered 115; a letter from Bridget ("Biddy") to Jennings dated "10.6.1958" at page numbered 117; two letters from Irene to Jennings at page numbered 121; a photo showing "Flamingos. Port Elizabeth (North End)" at page numbered 128; two typed pages at page numbered 181, one dealing about a voyage (apparently Jennings's return voyage after his trip to Europe in 1959) and the other about the curiosity about Fernando Pessoa that grew out of Jennings's book on Durban High School.

The fourth (final notebook) of the memoirs written by Jennings in the last years of his life. This volume does not follow as clear a chronology as the preceding ones, but deals with some very significant moments in Jennings's life including his trip to Portugal in 1968-1969, his affair with Maria (his maid in Lisbon), his wife's illness and death in 1988, the life of Jody (his caregiver and housekeeper in the late 1980s) and their relationship, and includes as well some reflections on Fernando Pessoa. Some items attached or tucked into the text: in the front cover a sonnet with the label "Written while at the Resdência [sic] Lisbonense, Lisbon, May 1968.)," beginning "I do not know where they come..." and a transcription of some lines from Fernando Pessoa's (Álvaro de Campos) "Passagem das horas;" at page numbered 8, a note from Irene to Jennings dated 1 July 1988 labelled in Jennings's hand "Written when Irene went to hospital on a previous occassion -- after the fall she had;" at page numbered 18, a note from Doll (?) to Jennings dated 15 November 1988 expressing condolences on the loss of his wife; at page numbered 32, a letter from Christopher to Jennings dated 9 November 1987, wishing his father a happy 91st birthday; at page 37, a letter from Jennings's grandson Marc dated 26 January 1989 expressing condolences on the death of Irene and a page titled "Winter" (possibly a fictional rendering of day to day events in Hubert and Irene Jennings's later years);

Typed pages titled "Cracked Record V The D.H.S Story," consisting of two pages reminiscenses followed by transcribed portions of the diary Jennings kept during his trip to Portugal in 1968-1969 (the Red Diary). There is one apparently complete draft (21 pages) and another incomplete copy and contains an extra page 7.

Notebook in which Jennings kept notes on a variety of subjects, including: homosexuality and comparative morality; his own fiction and drafts of a preface and table of contents for a planned collection of stories titled "A Thread of Gold and Other Stories;" a draft of a letter to the editor of Contrast in reference to Jennings's second book, Fernando Pessoa in Durban; drafts of a piece titled "One Last Word," making reference to Jennings's long collaboration with Contrast magazine; a draft of Jennings's story "At the Brasileira;" some notes on translation; notes on religion; notes on dreams; notes and translation of poetry by Fernando Pessoa (Álvaro de Campos: "Saudação a Walt Whitman" and other work); draft of letter to the Telegraph concerning education; a "Report on Medical Visitation;" drafts of letters to and journal entries concerning a woman names Frances; draft of a part of Jennings's story "The Girl and the Gemsbok;" reflections on the difficulty of publishing his fiction and the refuge he took in Fernando Pessoa; a story or essay titled "The Little Dancers;" notes on Fernando Pessoa and Ofélia Queiroz; notes on Hobbes; transcription of two poems in Afrikaans (one or both possibly by Sydney Clouts); notes on Jody (caregiver and housekeeper to Jennings in the late 1980s); some notes on the wedding of Jennings's granddaughter Kate; draft of a letter to Jennings's daughter Bridget. Pages have been cut or torn from the book at various places.

Photograph of a young woman, inscribed "Frances Lilian" and "myself about 23," presumably the same Frances discussed in Jennings's Notes / Notas Inconjuntas notebook, with whom he had a relationship around late 1989.