The fonds contains the manuscript of his book William Osler : A Life in Medicine.

Fonds consists of papers pertaining to Gillett’s publications (with the exception of We Walked Very Warily), her addresses, the editing of the McGill Journal of Education and the functions of the Faculty of Education. Materials related to her publications include notes, drafts, galley and page proofs for A History of Education, Foundation Studies in Education, Educational Technology, The Laurel and the Poppy, and A Fair Shake: Autobiographical Essays by McGill Women (edited by Dr. Gillett and Kay Sibbold). There are also some photocopies, correspondence, and copies of photographs collected for We Walked Very Warily. Her editorship of the McGill Journal of Education is documented by copies of minutes of the Editorial Board (1966-1976), correspondence on funding (1970- 1971) and with contributors (1967-1971), and files of correspondence, manuscripts and proofs for issues from 1971, 1973 and 1974. A file of addresses together with some reviews, largely on the women's movement (1975-1976), her convocation address in 1971, and her Report on Women in the Montréal Area delivered at the National Conference on Women in the University, 1973 are also included. Finally, papers relating to her work at the Faculty of Education include correspondence, public relations and summer school materials (1963-1967), agendas, submissions and reports to the Senate of the faculty's Planning Commission (1972-1973) and files of the McGill Committee for Teaching and Research on Women, 1976.

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.

Fonds comprises research notes, bibliographies, manuscripts, edited typescripts and proofs for In Caps and Gowns.

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 consist of a variety of textual materials created by Andrew Pyper such as published and unpublished materials, early creative writing works, story-outlines, drafts, agendas and diaries. The fonds also contains personal correspondence between Pyper and his publishers, editors, friends and fans. The collection includes working scripts for television and film adaptations of his novels. The photographic material mainly consist of Pyper’s early childhood in Stratford, time at McGill University, travels to the Yukon and Brazil, and living in Toronto.

Fonds shows Herbert Frederick Moseley's relations with his editor for his book "Shoulder Lesions". It contains an original manuscript with the publisher's annotations for the 1945 edition and another complete copy.

Fonds contains the author's original manuscript of Augustus, begun in 1934 and finished in 1937.

This series consists of unpublished literary works, including typescripts for two unpublished novels written by Duncan: “Beyond & Back” (c.1933) and “Innocent Lambs” (c.1935), which was dedicated to Hugh MacLennan. Both novels were written before her marriage to MacLennan. “Beyond & Back” was written under the pen name “Judith Crimm.”

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.