Livingston's manuscripts include book reviews, articles written for a general audience, and works of a more scholarly tenor. Examples of Livingston's own work include book reviews of Giovanni Papini's and , Guglielmo Ferrero's , and Luigi Lucatelli's in addition to a group of essays, articles, and introductions, treating such diverse topics as the influence of contemporary Italian writers, Giovanni Papini, modern language study in the United States, Luigi Pirandello, , the rise of Fascism, various American personalities and historical events for the , Lorenzo da Ponte, Marius Pictor, Vilfredo Pareto's , European politics, Sem Benelli, and Gaetano Mosca's . There are seventeen notebooks, which contain notes documenting Livingston's research interests. Two typescript speeches--on Italian-Americans and on Machiavelli--are present, in addition to a typescript translator's note to Benedetto Croce's . These materials are arranged alphabetically by format: Book Reviews, Essays, Notes/Notebooks, Speeches, and Translator's Note.

Two folders of outgoing correspondence touch on such topics as poetry, Italian-Greek tensions over Corfu, a plan to sell foreign books in the United States at "foreign prices," advice on a student's dissertation, Lorenzo da Ponte, and Luigi Pirandello, just to name a few. The outgoing correspondence is organized chronologically. The arrangement of the bulk of the outgoing correspondence, which appears to have been organized originally with related incoming correspondence, has been maintained. Following the original organization of the collection, additional outgoing and incoming correspondence may be found in each of the other series.

The incoming correspondence, which is organized alphabetically by writer, richly documents a variety of general subjects, including methods of American academic training in the early twentieth century; the politics of academe and the political environment in U. S. universities; international politics in the early twentieth century; a variety of international conflicts; the rise of Fascism in Italy; American attitudes to Fascism and the perception of Italian national character; the cultural and political influences of Italians in the United States; modern language study in the United States; plans for the Foreign Press Service; the American Academy at Rome; Italian publishing; foreign language publishing; communism; the idea of a national university in the United States; Denton, Texas; the Council on Foreign Relations; and the betrayal of the Italian king, Vittorio III, by the Fascists, among many other subjects. The incoming correspondence also presents a detailed picture of French, Spanish, and, above all, Italian literature and thought in the early twentieth century. There are also occasional references to American, British, and other European authors and intellectuals. The incoming correspondence also illuminates early twentieth century perceptions of earlier literary epochs.

Significant correspondents include Douglas Ainslie, Chester Holmes Aldrich, Sibilla Aleramo, Luis Araquistain, Peter Bolt, Roberto Bracco, Marie-Anne Comnène, Nicola D'Aniello, Giorgio de Santillana, Ruth Draper, Theodore Dreiser, Dorothy Canfield Fisher, Erminia Hauser-Arbib, Walter Lippmann, Vittorio Racca, Robert Sommerville, Arthur Symons, Miguel de Unamuno, Margaret Widdemer, and Frances Winwar.

Just a few of the important figures discussed include Pietro Aretino, Sem Benelli, Vicente Blasco Ibáñez, Giuseppe Antonio Borgese, Santa Borghese, Giovanni Francesco Busenello, Benedetto Croce, Gabriele d'Annunzio, Dante Alighieri, Lorenzo da Ponte, Lauro de Bosis, Eleonora Duse, Umberto Giordano, Carlo Goldoni, Brunetto Latini, Wyndham Lewis, Gina Lombroso-Ferrero, Niccolò Machiavelli, Filippo Tommaso Marinetti, Gaetano Mosca, Benito Mussolini, Giovanni Papini, Vilfredo Pareto, Giovanni Pascoli, Luigi Pirandello, Giuseppe Prezzolini, Countess Irene di Robilant, Gaetano Salvemini, Carlo Sforza, Gino Speranza, Adriano Tilgher, and Giovanni Verga.

In addition, larger groups of correspondence create a more sustained portrait of Livingston's relationships with some of the authors whom he championed in the United States.

The Spanish novelist Vicente Blasco Ibáñez discusses Livingston's translations of the novels and ; the expulsion of Jews and Muslims from Spain in the fifteenth century and later as the primary reason for Spain's decline; Blasco Ibáñez's unwillingness to have his works filmed or serialized; and Isadora Duncan.

Santa Borghese, like so many other correspondents, makes observations on Luigi Pirandello; she also discusses Gabriele d'Annunzio, Lauro de Bosis, and Giuseppe Prezzolini.

Lauro de Bosis's correspondence touches on the "poisoning and humiliating" atmosphere of Fascist Italy; his desire to translate James Branch Cabell's into Italian; his translations of and ; Santa Borghese and Prince Hercolani; Prezzolini; Elio Gianturco; the exile of Farinacci; and his tragedy .

Claude Farrére writes at length about the rights to his novels; his novels, and ; Charles Boyer's work in the film and Boyer's eagerness to obtain the film rights to ; and Douglas Fairbanks's probable plagiarism of .

Guglielmo Ferrero maps out his plan for a series of four novels, the first two to be published under the collective title (individual titles being and ), the second two under the collective title (individual titles being and ; later changed to and ); translation rights to his novels; Carlo Sforza and his ouster from Italian politics; Ferrero's inability to obtain a passport from the Fascists; his son Leo; Fascist prohibition of his novels and the suppression of those already published; and the war between Italy and Ethiopia. Also, there is a prospectus for the Italian edition of .

Leo Ferrero describes his interviews with the Romanian king Carol II and the Yugoslavian king Aleksander I, while expressing his gratitude for Livingston's castigation of the New York reviewer of and Livingston's request for equal space in which to offer a rebuttal.

The correspondence from Paul Kennaday of the Foreign Press Bureau (continuing through its incarnations as the Foreign Press Service and Kennaday and Livingston) includes requests for newspaper articles from Livingston as well as discussions of Claude Farrère; Kennaday's desire that Vicente Blasco Ibáñez return to his "former vigorous style;" Blasco Ibáñez's ; Luigi Pirandello; Giovanni Papini; Alfred Knopf; and Giuseppe Prezzolini.

Gina Lombroso-Ferrero's correspondence includes comment on the American publishing business; her books and ; continual complaints about the slowness of payments to her; the oath of allegiance, required by the Fascists of all professors in Italy; and the evils of feminism.

Alberto Moravia considers his skills as a translator of Italian; his novel ; tenders a request that American publicity for his future work not compromise his safety in Italy, as did the publicity for ; affirms his desire to keep as the title of the English translation of his novel; and discusses his story collection .

The correspondence from the Italian senator Gaetano Mosca focuses on his major work, (published in the United States as ). Mosca discusses the English translation of the ; his fear that the English translation will not be published before his death; Vilfredo Pareto's debt to the ideas of Mosca and the former's greater fame, resulting from his initial publication in French, rather than in Italian; Mosca's election experiences; Italy after World War I; and the apportionment of colonial spoils created by the Treaty of Versailles.

Giovanni Papini discusses Prezzolini; his own objections to the film of his ; his novels, and ; the belief that financial and publication considerations cannot be allowed to compromise his art, since he has the means that allows him this luxury; the American market for confessional writing; Italian suspicions surrounding his conversion to Christianity; and the Foreign Press Service.

Vilfredo Pareto's widow, Jane Régis Pareto, refuses to grant the rights to her husband's work to Livingston. Letters from various correspondents are included with Ms. Pareto's correspondence, including those from her lawyer, C. Droin, stating the conditions pertaining to Livingston's translation and publication rights; letters from Harcourt, Brace and Co., documenting their own dealings with Ms. Pareto; a letter from the United States Copyright Office, concerning the foreign copyright of Pareto's ; and a letter from H. C. Brearley to Harcourt, Brace and Co., which castigates the publisher for its advertising campaign that makes Pareto appear to be a "patent-medicine sociologist."

Brock Pemberton, theatrical producer, discusses the performance rights and the success of various plays, including Sem Benelli's and Luigi Pirandello's and . Pemberton also comments on the German film of and the indifference that American audiences have shown the play.

Giuseppe Prezzolini, the literary representative of the Foreign Press Service in Italy, touches on Gabriele d'Annunzio; Luigi Pirandello and his plays, and , as well as interjecting requests for larger royalties in Pirandello's behalf; the unhappiness of Pirandello with the royalties from ; Guido da Verona; Benedetto Croce; Giovanni Gentile; Ercole Luigi Morselli; his own imperfect English as an obstacle to a teaching position at Columbia University; Giovanni Papini's untrustworthiness; Benito Mussolini; Gina Lombroso-Ferrero as a sanguesuga, that is, "bloodsucker"; Giordano's opera and attempts to produce it in the United States; the aspersions that Santa Borghese had cast Livingston's way; the difficult negotiations with Pareto's widow; Catholicism and nationalism as social illnesses in Italy; the difficulties of earning one's livelihood in Italy, where, according to Prezzolini, one cannot even get a pedicure if he does not belong to the Fascist Party; the courses Prezzolini plans to teach at Columbia University; Renzo Rendi and his siring of twins; Lauro de Bosis; and the many people who claim to be Pirandello's literary representative outside Italy. Livingston's responses are included with Prezzolini's correspondence, which, in turn, address the low returns in the United States on Pirandello's work; Papini's contract with the British publisher Hodder, which compromises his contract with the American publisher Houghton and, ultimately, damages the reputation of the Foreign Press Service; Guido da Verona's similar ruse; Prezzolini's concern for his own interests to the detriment of the Foreign Press Service; Pirandello's visit to the U. S. (1923-1924); and a letter from the Macmillan Company, regarding Prezzolini.

Aldo Ravà discusses Casanova and a book of correspondence from certain women to Casanova; Venice; and the Venetian playwright, Carlo Goldoni.

Renzo Rendi's correspondence includes discussions of Prezzolini; Gioacchino Forzano's plays, and ; Giordano's opera ; the numerous parties vying for production rights to Pirandello's plays; the financial ignorance of Pirandello; Pirandello's infatuation with the 24-year-old leading lady of one of his plays; Fascistic suppression of the opposition press; a request for money after the birth of twins; and a letter written from the Penitenziario di San Gimignano, while he was incarcerated there.

Gaetano Salvemini writes about his lecture tour of the U. S. and potential topics for discussion; the oath of allegiance to the Fascist Party; the Italian military hero Emilio Lussa and his feats during World War I; Salvemini's desire to publish the names of those who have sworn allegiance to the Fascist Party; Benito Mussolini; Prezzolini as a Fascist spy; Fascist agents in the U. S. who attempt to thwart the efforts of men, such as Salvemini, against Fascism; Salvemini's ; Gaetano Mosca; and a plan to publish as a response to Fascist propaganda outside Italy.

Arnaldo Segarizzi reports on the printing of Livingston's volume of Busenello sonnets and the activity of the periodicals, and , while also advising Livingston of necessary cuts in the Busenello volume in order to avoid violation of Italian obscenity laws.

Gino Speranza discusses Salvemini; his own disfavor with both the Fascist government in Italy and the Italian immigrant population in the U. S.; Livingston's work on Busenello; Pirandello's tendency to create "mannikins or corpses," rather than living characters; and the difficulty of translating Pirandello's work for an American audience.

Guido da Verona discusses Giovanola's role as his intermediary with the Foreign Press Service; Prezzolini's incompetence in contract negotiations; contentious points in negotiations with the Foreign Press Service; Livingston's apparent disregard for the terms of the contract for ; the shortcomings of the translation of this work; Verona's desire to have certain works of his turned into films, especially ; and American film actresses as a separate, "miraculous" race.

These subjects provide an extensive, though by no means exhaustive, map of the highlights of the incoming correspondence.

These materials include original documents, including typescripts and holograph manuscripts, ephemera, financial statements, correspondence, contracts, receipts, printed advertisements, programs, clippings, and photographs. Much of this material arises from Livingston's responsibilities with the Foreign Press Service. Consequently, there are many manuscripts that were submitted to Livingston in his capacity as literary representative or that result from his work as a translator. An index of important manuscripts is available at the end of this inventory. The series is arranged alphabetically by writer or subject, although works of uncertain authorship are organized at the beginning of the series.

One of the most important groups of material concerns Luigi Pirandello and the publication and performance of his work outside Italy. Correspondence from Livingston, organized chronologically, includes a letter to the editor of the London , challenging a review of Livingston's translations of Pirandello plays, enclosures such as a typescript and royalty statements from 1926 and 1927, handwritten notes on Pirandello royalties, and discussions of Pirandello's representatives, Livingston's attempt to promote Pirandello's work among little theaters, and various requests to produce the plays. A folder of incoming correspondence, organized alphabetically by writer, includes an inquiry made on Pirandello's behalf as to whether Henry Ford intends to underwrite an American tour by Pirandello's company and discussion of the public demand for Pirandello translations in Great Britain and . Of particular importance is the correspondence from Pirandello to Livingston in which the playwright complains about the twenty percent fee charged by the Foreign Press Service on American advances, names Manuel Aguirre as his literary representative abroad, relieves Manuel Aguirre of his duties as literary representative, recognizes Henry Ford as his fervent admirer, names the conditions on which the American tour by his company depends, and announces that he has agreed to be represented by the Società italiana del teatro drammatico and that his contract with the Foreign Press Service will not be renewed at the conclusion of 1927. Pirandello's contracts with the Foreign Press Service from 1922 until 1928, which are arranged chronologically, are present. In addition, there are subsidiary materials, including correspondence, receipts, and a printed advertisement for from the London Play Company; and correspondence from various literary agents; Saul C. Colin, an agent for Pirandello, who is trying to sort out possible financial irregularities by Pirandello's former representative, Paolo Giordani; Kennaday & Livingston; Brock Pemberton; a number of presses and publishers, including Chatto and Windus, Faber and Gwyer, William Heinemann, and E. P. Dutton & Co.; Robert Sommerville; the Theatre Guild; and, finally, theaters requesting production rights for the plays. There is also a program from Vassar College's Experimental Theatre for its production of , as well as clippings and advertisements and an untitled essay on Pirandello by Livingston. The sole Pirandello manuscript present in the collection is a typescript of the one-act play, , which bears the stamp of Giuseppe Prezzolini.

Other significant works include typescripts of Vicente Blasco Ibáñez's novels, and , in addition to shorter pieces and fragments, and Lauro de Bosis defends his final act of heroism against the Italian Fascist government in the incomplete holograph photocopy, and in the typescript transcriptions of his correspondence to Eric Wood. There is also a typescript article by De Bosis, and a printed poem,

Alonso de Ercilla y Zúñiga's long poem, , was translated by Livingston as which is present here as a holograph manuscript. Guglielmo Ferrero's novel, , appears in typescript and in page proofs, while there are also typescript fragments of Ferrero articles on World War I and Francesco Crispi, a typescript essay , typescript English synopses of the third and fourth volumes of Ferrero's tetralogy, and holograph and typescript notes on the English translation of .

Alberto Moravia's novel, (published as ), is present as a corrected typescript, signed by the author. There are typescripts of Dario Niccodemi's play, , and his novel, . Giuseppe Prezzolini is represented by a typescript fragment, and the typescript essay, In addition, there is correspondence from Prezzolini's son, Giuliano, in which he rebuts the charges of pro-Fascist sympathies levelled against his father.

Typescripts of Adriano Tilgher's essays, and as well as Tilgher's notes and correspondence on contemporary Italian literature, are present. Correspondence from Charles Kenneth Scott-Moncrieff, translator of Proust's masterwork, questions whether he is a better translator than Livingston and Pirandello's dismissal of Livingston as his literary agent. Finally, there are typescripts of Count Giuseppe Volpi di Misurata's essays, and and Icilio Vanni's .

There are also manuscripts of works, often in English translation, by Gilberto Beccari, Benedetto Croce, Gabriele d'Annunzio, Leo Ferrero, Merritt Y. Hughes, J. S. Lamplough, Gina Lombroso-Ferrero, Ettore Marroni, William Pepperell Montaigne, Leo Ongley, Vilfredo Pareto, Vittorio Racca, Beniamino de Ritis, Paul Scheffer, and Carlo Leonardo Speranza.

As a result of Livingston's research on Lorenzo da Ponte, there are four folders of typescript transcriptions of Anderson Family correspondence, dating from 1823 until 1846, including a typescript poem by Louise Duncan, and a biographical notice of Da Ponte. There are also several folders of photocopies and photographic reproductions of Da Ponte manuscripts and publications, which Livingston compiled while completing his edition of Da Ponte's . Livingston's own work in this series includes correspondence related to a meeting addressing the concerns of oppressed nationalities at Carnegie Hall in 1918, the typescript notes, correspondence, and invitations to the launching ceremony of the S. S. , eleven notebooks on Lorenzo da Ponte, and Provençal poetry materials, including student papers, poems, and notes, from a graduate seminar.

The Personal Papers include financial documents, official documents, invitations, programs, correspondence, clippings, photographs, and note cards. Livingston's U. S. passport, birth certificate, Italian visa, entrance passes for libraries and museums, financial receipts, business cards, programs of cultural events and banquets, and invitations are present. There is also one folder of correspondence of a personal nature, including financial transactions and material relating to Livingston's retreat on Swan's Island in Maine, which is arranged alphabetically by writer. In addition, there are photographs of prominent Italian personalities, including Giovanni Papini, Ettore Cadorin, Benito Mussolini, Rachele Mussolini, Mussolini's children, Mussolini and Gabriele d'Annunzio, a photographed drawing of Guido de Ruggiero, Luigi Federzoni, Benedetto Croce, Francesco de Pinedo, and Giovanni Gentile, among others. The remainder of the series consists of clippings and two document boxes of note cards, containing Livingston's bibliographical citations.