There is a diverse array of correspondents represented in this series. Murayama exchanged letters with family members, publishers, editors, businesses, professional peers, friends, acquaintances, educators, politicians, press, fans, and students. Both business and personal correspondence is present in this series, which sheds light on both Milton Murayama the author and Milton Murayama the person. And through reading these letters, one develops a strong sense of Murayama’s countenance and character in how he engaged with those around him and presented himself to the world. For example, through communication with editors at UH Press, it is clear Murayama had high expectations and liked being involved in every aspect of the publication process. In letters with younger family members, Murayama adapts a more jovial and grandfatherly persona.

Additionally, the correspondence in this series acts as missing puzzle pieces that create bridges or connections between different materials in the physical portion of this collection. These communications provide needed context in terms of identifying individuals, clarifying dates and timelines, and describing some of the materials housed herein.

The majority of content in this series can be found in the “Digital Correspondence” file, consisting of more than 350 letters Murayama typed using Microsoft Word. Many of these missives are responses he wrote to letters housed in the physical portion of this collection. When read together as a dialogue, these letters tell stories and generate further context for some of the collection materials. Due to privacy concerns, some of Murayama's letters require permission to access. However, the ones that are publicly available generally pertain to Murayama’s professional life as an author.

The materials in the physical portion of this series include correspondence with editors and publishers, correspondence with a graduate student who wrote a paper about All I Asking For Is My Body, correspondence with two childhood acquaintances, correspondence with Michael McPherson (a Hawaii author and friend of Murayama), and correspondence related to a photography project titled “Nisei in Hawaii.”