The typewritten progression of the manuscript is revealed in five manuscript drafts (boxes 1-5); box 6 contains final proofs.

These four boxes contain correspondence and press cuttings used in, or relating to, preparation of the manuscript for the book. With the exception of Louis Adamic, John Cage, Robert Hellman, Kenneth Noland, and John Rice, there are files for the ninety contributors represented in .

Most of the folders include correspondence with Mervin Lane regarding their contribution to the book, and autobiographical sketch prepared by each writer, some of them commenting upon their special experience at Black Mountain College, and later professional achievements. The final addition to each folder is the edited contribution of each author.

There is a substantial amount of information regarding life at Black Mountain in these correspondence files. Many of the contributors comment upon the influence that BMC has had upon their lives, the emotionally challenging and demanding aspects of their student life, and the sexually unrestricted aspects of the communal atmosphere.

Numerous comments are made about the teaching style and classes of art instructor Josef Albers, especially in the files of Peggy Bailey, F. A. Foster and John Urbain; dancer Merce Cunningham and his involvement with BMC is discussed by June Christensen and Elizabeth Jennerjahn; sexual freedom and communal life are discussed by Doughton Cramer, Anne Mangold, Bill McGee, and Ike Nakata; the musical concerts are discussed by Judith Davidoff; Charles Olson as a major influence upon students is related by Mary Fiore, Mildred Harding, and Helen Hellman; John Rice, founder of BMC, is discussed by F. A. Foster, Ike Nakata, William C. Price, Frank Price, and Marian Teeter; the accidental drowning of BMC student Frank Nacke is recalled by Ike Nakata, Morton Steinau and Nacke's sister, Marian Teeter; the artistic life of the College is described by Elizabeth Jennerjahn, Howard Rondthaler and Patsy Wood; John Reiss examines the austere lifestyle of the students and the visits of personalities such as Eleanor Roosevelt and Agnes de Mille; Anne Mangold's refutation of former works on Black Mountain are told from the perspective of a faculty wife during the turbulent years of BMC founder John Rice; former faculty member Theodore Dreier comments upon his life after BMC, and details the accidental deaths of both of his sons; artist Leo Krikorian's file includes an article on his ownership of the famous San Francisco bar, The Place, which helped to found the beatnik generation in the 1950s; Judd Woldin writes about the death of music instructor Heinrich Jalowetz; the material from May Sarton is reprinted from one of her published works, and her note comments upon the lasting influence of Black Mountain upon her writing; Albert Einstein's possible affiliation with Black Mountain College is discussed by John Reiss and Phyllis Thomas.

Because numerous BMC students went on to acheive success as professional artists, these boxes of correspondence include numerous brochures and exhibition guides for artists Fannie Hillsmith, Leo Krikorian, Margaret Kennard Johnson, Elizabeth and Pete Jennerjahn, John Urbain, and Mary and Joe Fiore. Author Eric Bentley includes a brochure of his published writing, and F. A. Foster includes a copy of his work,

Photographs of several contributors are included, and they are located in the individual files of Janet Aley, Lorrie Goulet, Hannelore Hahn, M. C. Richards, Phyllis Thomas, Jim Tite and John Urbain.

Although declining to offer a written contribution to , numerous individuals comment upon their experiences while attending Black Mountain College. The correspondence files for non-contributors are arranged in three chronological files, one file containing undated correspondence, and one file from unidentified correspondents.

D. Jacques Way comments upon the sexual freedom of the College, and in particular upon John Rice's controversial relationship with a female student, and the resulting conflict with faculty members; Harry Seidler's letter of May 3, 1988 includes an exhibition catalogue of his architecture and his letter of July 5, 1988 includes notes on Design and Color which he took in Josef Albers' art class during the summer of 1946; Marianne Preger-Simon's correspondence of February 12, 1988 includes photocopies of sketches she made of Paul Taylor and Remy Charlip while a student at Black Mountain College.