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.

These papers comprise a fair copy, for the press, of "Gale on Redeemable Annuities", 1816, as well as copies of letters to his son concerning the supplement to his "Treatise on the Nature and Principles of Redeemable Annuities", 1817. Apparently neither treatise was published.

Fonds consists of a manuscript of Mémoires de mathématique et de physique contenant un traité des épicycloïdes (published in Paris in 1674) and illustrated with mathematical diagrams.

Collection consists of one bound manuscript notebook softbound in a piece of brown leather. The notebook dates chiefly from 1841 and was produced in St. Armand by Philip Luke. The notebook contains a title page that has been lettered, illustrated, and coloured by hand: A Latin Translation / by Philip Luke. St. Armand. 1841. Commenced April 4th. The text within this first portion of the notebook is Aesop's Fables in English and Latin on facing pages. The first part of the manuscript ends with "13. Horse and Ass" (Latin is incomplete) and "32. Widow and Servants" (Latin text missing). The following leaf contains two medical recipes: "A cure for a felon or whitlow," refering to an abscess or infection of the fingertip and consisting of a paste made from egg yolk, honey, turpentine spirits, camphor, and flour, and "A reciet for the inflammatory rheumatism," involving a wine-based tonic containing three types of bark, horseradish, brandy, and tar water. Following another blank leaf, a partial letter is found dated 1839. Philip Luke's text begins again in the latter part of the manuscript with a second coloured title page: "Dialogues and Declamations." There is also one loose note laid in dated 1809, a receipt for 100$.

The collection consists of documents amassed by Roderick Mackenzie. Among the Masson manuscripts there are other series of letters; as well as journals kept by North-Westers and various business documents. Some of this material exists as originals; others are contemporary copies - the George Keith letters for example are contemporary copies on paper watermarked 1827. The collection also includes some duplicate texts - contemporary copies or later nineteenth-century copies that in some cases represent edited versions of the texts. Samuel Wilcocke's account of the death of Benjamin Frobisher exists in a draft original (or contemporary copy) and in a late nineteenth-century clean copy. Of course Benjamin Frobisher did not die in the dramatic circumstances as recorded by Wilcocke, but peacefully in Quebec City in 1821.

The collection consists of correspondence, research files, manuscripts, journals, and ephemera created and accumulated by writer and scholar Leon Edel, who was notably the editor and biographer of Henry James as well as Edmund Wilson.

The fonds documents Ken Norris’s academic, professional and personal activities and career as an English literature teacher, Canadian writer and poet. There are also materials related to his university student life in Montreal. The records contains a wide variety of personal and professional correspondence between 1972-1990 with correspondents such as Endre Farkas, Margaret Atwood, Leonard Cohen, David McFadden, Cynthia Lapp, George Bowering, and James Polk. Manuscripts and notebooks document his writing activities and include rough drafts, edited drafts, final drafts, completed manuscripts, as well as published books, articles and his academic dissertations.

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 collection consists of four early Irish manuscripts assembled by the Montreal collector Edward Murphy as part of his private library. The manuscripts include a copy of The Midnight Court (Cúirt an mheán oíche) by Brian Merriman, the Life of St. Patrick by John Chambers, Tri Biorghaoithe an Bhais (Three shafts of death) by Geoffrey Keating, and a fragment of an Irish vocabulary (Nuadhfoclóir bogcruaideach).

The fonds documents Dorothy Duncan’s personal and professional activities as an American-born Canadian writer and painter, primarily between 1930 and her death in 1957. Duncan’s career as a writer is represented by scrapbooks, clippings, and photographs related to her published works, two unpublished manuscripts, and contracts and correspondence with publishers and her literary agent in New York. Her activities as a painter are documented in clippings, lists of paintings, and contracts with art galleries. The fonds also contains personal correspondence, including letters from friends, family, fans, and a significant number of letters from her husband, Hugh MacLennan. Duncan’s notebooks and diaries also attest to her personal and professional activities. They document her early adulthood in Illinois and her later life in Montreal, and include notes, agendas, and a ledger. The fonds also contains two albums of personal photographs.