Bellair's personal papers comprise scrapbooks, 1898-1939; biographical, parliamentary and miscellaneous notes, 1879-1945; and correspondence, 1889-1951. His professional life is reflected in files on naval affairs, 1894-1937, and in an extensive series of political papers including general correspondence and subject files, 1905-1946; material relating to committees, 1904-1930; and political 'forecasts', 1900-1945. Literary interests are revealed by notes on Sir John Fisher, 1915, and H.G. Wells, 1932-1934. Some books from Bellairs' library, with his annotations, are included in his papers.

The fonds documents Canadian poet and novelist Steven Heighton’s literary career through correspondence with writers and editors as well as material documenting his writing activities. The records contain his literary and professional correspondence between 1994-1995 and 2001-2010, including extensive correspndence with correspondents such as Al Purdy, John Metcalfe, David Helwig, Michael Redhill, George Elliott Clarke, and Judith Cowan . There are also notes, manuscripts, research materials, drafts, and reviews for the following works: The address book (2004), “The stages of J. Gordon Whitehead” (short story, 2002), Afterlands (2005), Patient frame (2010), Every lost country (2010), as well as chapbooks, letterpress books, and essays. There are also reviews for other literary works as well as documents relating to Heighton's writer-in-resident positions.

The fonds documents Judith Fitzgerald’s personal and professional activities as a journalist, poet, and country music enthusiast, put together by Fitzgerald herself, documenting her work from the years 1965 to 1995. The majority of the records consists of research about individuals and musical acts, as well as other work-related projects that Fitzgerald was involved in. These include notes, drafts, and published work written by Fitzgerald, as well as various publications that she collected about the subjects and projects she worked on. The fonds also notably includes Fitzgerald’s creative work, including notes, drafts, manuscripts, and copies of her published books of poetry. Other materials include correspondence between Fitzgerald and friends, publishers, and individuals and institutions that she covered in her research. In addition, the fonds includes some financial records and personal records relating to Fitzgerald’s day-to-day activities and significant events in her life. These records include her marriage certificate, scrapbooks containing collected publications on herself, and notes on her autobiography.

The fonds consists of literary works composed by Farkas, including scripts, manuscripts, poems, and plays. The records reflect Farkas’ involvement within the arts community, as well as many works relating to Canadian culture, specifically in Quebec. Farkas’ records span from 1952 until 2016. Locations that are reflected in Farkas’ works are Canada and Hungary.

No discernable order has been detected except for boxes 7 and 8 where poems are sorted alphabetically. The records have been filed into series which are detailed below. There are photographs, personal correspondence, translations of other poems and audiovisual materials (cassettes, CDs and DVDs). There are large amounts of correspondence with other artists and performers in both Canada and Europe, another reflection of his involvement within the community. The series listing is as follows: 1) Correspondence, 2) Manuscripts, 3) Poems & Poetry, 4) Reviews, 5) Scripts & Performance Pieces, 6) Translations, 7) Vehicule, 8) Works by other authors, 9) Mixed media, 10) An Evening in the Muses’ Company and 11) Photographs and visual materials.

Fonds consists of correspondence, exhibition and performance files, film and video files, lectures and writings, teaching files, drawings, designs, posters, ephemera and clippings, primarily from the 1950s to the 1980s.

This fonds contains material related to the writing career, environmental activism, and personal life of Mona Elaine Adilman. The documents cover a period between approximately 1935 and 1991. Much of the material relates to Adilman's poetry, fiction, and essay writing. In addition to manuscripts of poetry, books, and essays, there are research materials, promotional materials, grant materials, and correspondence related to writing and publishing. There are also materials related to her music writing.

Fonds consists of working files, office files, galley proofs, and other materials related to the operations of the Porcupine's Quill Press.

The fonds consists of Scobie’s personal records relating to his career as a prominent author, poet and critic in Canada between 1966 and 1989. The bulk of the records consists of his written materials; manuscripts and drafts of published and unpublished poetry, novels, short stories, critical writings, including annotated drafts of his books on bpNichol and Leonard Cohen, as well as various notes, both typed and handwritten, unproduced film scripts and a libretto. The files also include some peripheral and administrative documents relating to his publications, such as book sales receipts, royalty agreements, and reviews, as well as promotional materials relating to lectures, poetry readings and other events. Other materials include correspondence between Scobie and friends, publishers, and other organizations and individuals, as well as selected editions of White Pelican, a literary journal that Scobie edited, from 1971-1973.

The fonds consists of manuscripts and drafts of literary compositions and other working documents, as well as professional and personal correspondence.

The William Weintraub fonds documents Weintraub's career in documentary film and literature covering the period between approximately 1950 to 2000. The fonds falls into four series: (1) literary correspondence, (2) literary activities, (3) documentary filmmaking, and (4) biographical materials, personal correspondence, and career ephemera, documenting Weintraub's early life as well as theatre programs, pamphlets, and other collected material. Weintraub's career as a documentary film maker both as a freelance and with the NFB (1965-1986) with some 150 films to his credit is well documented including his work in Africa. The material includes scripts, research notes and correspondence. In some cases copies of the films are included. Material related to the NFB also includes newsletters, office files, and correspondence. The material documenting Weintraub's literary career includes drafts, proofs, correspondence and reviews for his two novels Why Rock the Boat? (1961) and The Underdogs (1979). In addition, the former was made into a film and extensive files relate to this. The latter novel was adapted for the stage and drafts, publicity and material relating to the controversy it aroused are included. Weintraub's book on Montreal in 1940s and 1950s City Unique (1996) is documented with extensive research files, drafts, reviews and correspondence. The literary correspondence with Mavis Gallant (127 letters), Brian Moore (603 letters) and Mordecai Richler (210 letters) constitutes a major source for the study of three prominent Canadian writers in the last half of the twentieth century. In addition, there are copies of 280 letters from Weintraub to Moore and 123 copies of letters from Weintraub to Richler. While the Gallant correspondence dates primarily from the 1980s with only 8 letters from 1950-1951, the Moore and Richler correspondence is continuous from the 1950s. This latter correspondence reveals the close involvement of Weintraub in the development of the work of both Moore and Richler.