The Robert Kohn Papers consists of correspondence, notes, source materials, print materials, drafts, galley proofs, and offprints toward his essays including: "Robin Moore's Unfinished Masterpiece," "Buddhist Duality in William Gaddis’s Carpenter’s Gothic," "The Fivesquare "Amsterdam" of Ian McEwan," “Berio's Sinfonia: From Modernism to Hypermodernism,” “Freudian Daydreams in Jeffrey Eugenides's Middlesex,” "The Issue of Antisemitism of Kate Chopin's The Awakening," "The Radiant World of John Virgo," “Abatement, Avoidance, and Nonconvexity,” “An Addendum to ‘Buddhist Duality in William Gaddis’s Carpenter’s Gothic’,” “The Ambivalence in Kotzwinkle’s Best and Bardo Ties,” “Buddhism in Virginia Woolf’s Between the Acts,” “The Corrupt Edition of The Courier’s Tragedy in Thomas Pynchon’s The Crying of Lot 49,” “Edna Pontellier Floats into the Twenty-First Century,” “A Heckscher-Ohlin-Samuelson Model of Immigration and Capital Transfers,” “Inflated Executive Salaries, Lobbying Excesses, and Exorbitant Election Campaigns,” “Losing Signified in Translation: Kotzwinkle’s The Fan Man,” “The Merging of Tantric Buddhism and L’Extase Tantrique in John Hawkes’s The Passion Artist,” “On Professor Kohn and Expected Utility: Correction and Clarification-Rejoinder,” “Parody, Heteroglossia, and Chronotope in Don DeLillo’s Great Jones Street,” “Postmodernist Manichaean Allegory in William Gaddis’s Carpenter’s Gothic,” “Pynchon’s Transition from Ethos-based Postmodernism to Late-Postmodernism Stylistics,” “Robin Moore’s Unfinished Masterpiece,” “Seven Buddhist Themes in Pynchon’s The Crying of Lot 49,” “Something Wonderful Happened!,” “Spinozan Judaism,” “Sudenick’s Out,” “A Theoretical Inefficiency in the International Marketing of Tradable Global Warming Emission Permits,” “Unwitting Witness for Postmodernism,” “William Gaddis: Musicology in Carpenter’s Gothic,” "Postmodernist Manichean Allegory in W.Gaddis' Carpenter's Gothic,” "Foer's Everything is Illuminated," “Romantic Realism's Last Charge,” “Kate Chopin's The Awakening: A Scientific Perspective,” “The Motorization of Video Art,” “Pynchon Takes the Fork in the Road,” “Erotic Daydreams in Virginia Woolf's Orlando,” The Jewess in Kate Chopin's The Awakening,” “Eros, Thanatos: Amsterdam in Contemporary Anglophone Fiction,” “A Derridean Look at the Paintings of Bessie Lowenhaupt,” and “Tibetan Buddhism in Don DeLillo's Novels: The Street, The Word, The Soul.”

The collection also includes correspondence, notes, source materials, print materials, drafts, galley proofs, and offprints toward his books including Radiance and Secrecy in Marilynne Robinson's Gilead, Psychomachia or "The Fight for Mansoul": Making Moral Sense of Neo-Republican Economics, New Close Readings of The Crying of Lot 49, A Darwinian Reading of Bill Kohn's Painting, Co-Narrators of Kate Chopin's The Awakening, and The Artist Meets the Critic by Leila Daw and Kohn.