The fonds consist exclusively of incoming correspondence from writer George Woodcock to Campbell as co-editor of Atropos. With his letters, Woodcock also included four typescript poems and an essay on Simone Weil published in Atropos. Woodcock also sent Campbell a typescript copy of his unpublished play The Floor of the Night.

The fonds consists of 19 Giclée (pronounced zhee-KLAY) prints (65 x 60 cm) of British Columbians drawn primarily from his Order of Canada portraits.

The fonds consists of textual documents and audiovisual materials that relate to the filming and production of “Champions for Change.” The textual materials include synopsis and scripts, tape logs, shot lists, transcripts and interview transcripts. A number of the tapes (including #3, #9, #10, #16, #17, #20 and #21) are not transcribed. The audiovisual materials are 26 videotapes, including master copies of the three-part series “Champions for Change,” the master dub tape, and additional footage of interviews with key individuals. The individuals interviewed include Chantal Benoit, Jeff Adams, Chantal Petitclerc, B. MacPherson, Kristine Bacharach, Travis Engen, Dan Gangier, Eric Gagnon, and Rebecca Borneman. The tapes also include stock footage and B-roll shots.

Fonds documents several of Eva-Marie Kröller’s academic projects: her biography of British Columbia author George Bowering, Bright Circles of Colours (Talonbooks, 1992); essays on Roy Kiyooka and Emily Carr; her book Canadian Travellers in Europe, 1851-1900 (UBC Press, 1987); materials relating to her book Writing the Empire: The McIlwraiths, 1853-1948 (2021); an article entitled “Une femme bien en vue”: Adrienne Clarkson and the Media (2014); and an anthology of travel literature that she and historian Pierre Savard were planning, but which was not completed before Savard’s death in 1998 in addition to other various research materials. Also included are documents related to a workshop organized by SATE (Swiss Association of Teachers in English), and correspondence with Canadian authors. The materials consist of textual records (correspondence, notes, drafts, and readers’ reports), published materials, and a 3.5” computer floppy disk containing a digital manuscript of Bright Circles of Colours.

The fonds consists of sketches, photocopies, and paintings of costume and set designs relating to plays that MacDonald has been the principal art director or set designer, as well as, correspondence and press coverage for The Overcoat.

The fonds consists of records related to Kathryn Shoemaker's illustrative works, and includes final artwork and sketches, as well as draft texts, dummy copies, resource materials, published reviews and correspondence, including the author and publisher, relating to the production of the work.

The fonds consists of records related to Simons’ writing career, travels, and personal life. Records span a period from Simons’ early years in university to 2012 and were created predominantly in Vancouver, British Columbia. Some records were created during Simons’ travels in England, France, Japan, Hong Kong, India, and Burma. The fonds comprises the following three series: Literary Works; Professional and Personal Records; and Travel Records.

The Literary Works series features drafts of Simons’ literary works in various genres, particularly drama (stage, radio, and film) and fiction (for children and adults). Record types include publications, drafts (typed, handwritten, and hand-annotated), outlines, notes, research materials for projects, several recordings of Simons’ works, and large poster boards Simons used for plotting one of her fiction projects.

The Professional and Personal Records series contains records related to the administration and management of Simons’ literary career, particularly her attempts to submit work to various publishers and producers, mount productions of her dramatic works, and secure adequate financial resources to sustain her writerly practice. Administrative records are frequently mixed physically with Simons’ personal correspondence to family and friends. Record types include drafts of Simons’ curriculum vitae, grant applications, professional and personal correspondence, professional photographs, and contracts.

The Travel Records series aggregates records from Simons’ three major trips: Europe from 1959-1961; Japan, Hong Kong, and India from 1967-1968; and Hong Kong, Burma, India, and Japan in 1986. Simons attended many plays, conferences, and art shows while traveling and preserved programs as a source of inspiration for her creative work. Simons also maintained correspondence with friends and family during her travels. Record types include programs, personal and professional correspondence, personal photographs, and Simons’ notes on various activities.

224 bookbinding tools and presses, ranging in age from 60 years old to 100 years old, used by Dorothy Burnett, the first independent craft binder to set up shop in Vancouver.

This fonds consists of records relating to the Queer Arts Festival hosted by SUM Gallery. The records are separated by festival year, as follows:
• 2006: Joy Along the Continuum
• 2007/2008: Gender Twist
• 2009: Faerie Tales
• 2010: Queertopia
• 2011: Games People Play
• 2012: Random Acts of Queerness
• 2013: Transgression Now
• 2014: ReGenerations
• 2015: Trigger: Drawing the Line
• 2016: Stonewall was a Riot
• 2017: UnSettled
• 2018: DECADEnce
• 2019: rEvolution
• 2020: Wicked
• 2021: DISPERSED: it’s not easy being green

Records consists of newspaper articles; QAF programs, brochures, booklets, and other promotional materials; Pride booklets and promotional materials; legal documents like licenses and permits; music scores; scripts – opera libretto; press reviews and patron comments; artist statements; and internal staff documents like checklists, prep notes, price lists, job duties, conferences, board meetings, stages and staging notes.

The collection consists of 67 black and white photographs of various sizes taken by Ulli Steltzer in the 1960s and 1970s. Subjects include Northwest Coast Indigenous peoples and artists, Black, LatinX and Indigenous peoples in the USA and Guatemala, and a small number of portraits and still-life. Specifically, the collection contains seven original prints from her important book Indian Artists at Work, including the iconic cover image of Mabel Taylor of Port Alberni weaving a basket, a beautiful portrait of Dempsey Bob carving a human figure, and Haida basket maker Florence Davidson gathering spruce roots, among others. It also contains 14 original prints from her book Coast of Many Faces, including the cover image (Sam Webber and his daughter Laura from Kingcome Inlet), and photos from the Nass River, Alert Bay, Port Neville, Ahouset, Massett and other coastal places. There are eight 1967 - 1968 photographs of Black Americans in the Mississippi Delta, Georgia, and Alabama as well as images of LatinX Americans and Vietnam War widows, as well as photographs of the Maya in Guatemala.

The fonds consists of correspondence, design plans, computer output cards, and printed material generated for an exhibition entitled "The Vision Machine", planned, but never staged, for the Vancouver Museum ca. 1979. The material in the fonds suggests that the exhibit was to deal with technological changes in photography as well as early B.C. photographers.

The fonds consists of a 163-page typed manuscript entitled Burns and the Messiah (ca. 1953), correspondence, and a newspaper clipping.

Fonds consists of clippings, correspondence and manuscripts related to Weston’s personal and professional life, as well as family photographs. Fonds is arranged into series according to type of material.

The fonds consists of records spanning the period 1955-2013 that reflect Blanche Howard’s literary career, political interests, professional and volunteer work, as well as her personal and family life. Records related to Howard’s literary career include incoming and outgoing correspondence with publishers, agents, friends and family, colleagues and fellow writers, among others; literary works, including novels, short stories, essays, articles, book reviews, speeches, and plays in various editorial and publication stages; notes, outlines, and proposals; research materials; grant applications; contracts and royalty or revenue statements; biographical, publicity, and promotional materials; photographs, newspaper clippings, and ephemera; and other materials. Records related to Howard’s political interests and professional and volunteer work include correspondence with Iona Campangola, Capilano College, and members of The Writers' Union of Canada, among others; Vanier Institute of the Family correspondence and board meeting minutes; Moodyville Theatre correspondence, meeting minutes, and financial records; and other materials. Records related Howard’s personal and family life include photographs of Howard’s family, as well as photographs of Bruce Howard during his political career; personal ephemera; correspondence, including with writer and friend Carol Shields; and other materials.

The fonds consists of the unpublished manuscript for Bugnets book Tehom-La-Noire: Trois Canadiens en mission secrete.

The fonds consists of textual records, photographs, and audiovisual materials, spanning the period 1905-2001, related primarily to Gordon Goichi Nakayama’s career with the Anglican Church of Canada and missionary work, religious and secular research and writing projects (the latter primarily related to Japanese internment and the Japanese Canadian community), as well and his personal and family life and administrative affairs. The fonds is arranged by function and documentary form. The fonds consists of eight series: Personal and administrative records and correspondence; clippings and ephemera; photographs; writings and publications; diaries; notes and notebooks; church and missionary work records; and audio-visual materials

Records related to Nakayama’s roles with the Anglican Church in Vancouver, B.C., and Coaldale, Alta., and his global missionary work include travel documents and itineraries; incoming and outgoing correspondence; church financial records and reports; church publications and parishioner lists; licenses and certificates; conference materials; clippings and ephemera; diaries; notes and notebooks; and other materials.

Records relating to Nakayama’s religious and secular research and writing projects include manuscript and typescript drafts, as well as final published versions, of religious and biographical / autobiographical works, non-fiction works on the Japanese Canadian / Issei community, and poetry, as well as supporting materials, such as publishers’ contracts and correspondence and research materials.

Records related to Nakayama’s personal and family life and administrative affairs includes incoming and outgoing correspondence; address books and directories; maps; photographs; calligraphy and paintings on shikishi; medical records; travel documents and citizenship records; pension records; records and correspondence related to redress; legal documents; certificates, licenses, and membership cards; property and real estate records; banking and financial records; educational records; biographical information; clippings (many related to Joy Kogawa’s writing career), ephemera, and scrapbooks; notes and notebooks; and other materials.

Audio-visual materials consist of two films on three 16 mm film reels on the subject of World War II and Japanese culture.

Collection consists of Al Sens’ professional records, produced and received in the process of his career in cartoon and animation illustration. Material spans his career from the 1950s to the 2010s. The collection is arranged into two series according to record type: publications series and original illustration series.

The fonds consists of diaries, scrapbooks, and correspondence spanning the period 1910-2003 and related to the professional and personal lives of three generations of the Bamford family—William Blackley Bamford, his son William Blackley Stanley Bamford, and his grandson William Huestis Bamford—as well as to members of the Lasell and Ord families, related by marriage to William Huestis Bamford. Diaries in the fonds include concise “five year” or “line a day” diaries, as well as more detailed daily journals and many cover aspects of the Bamfords’ professional and personal life.

Scrapbooks in the fonds, which contain newspaper clippings, ephemera, correspondence, photographs, notes, and other material, primarily reflect the Bamfords’ personal interests, but also interests their chosen professions and employers, including the Canadian Pacific Railway Company and the Bank of Montreal. Beyond the incoming and outgoing personal and professional correspondence included in the scrapbooks, the Esther Adelina Lasell Bamford series contains incoming correspondence related to a branch of the Ord family living in New Zealand.

The fonds is arranged into four series by family member: William Blackley Bamford; William Blackley Stanley Bamford; William Huestis Bamford; and Esther Adelina Lasell Bamford.

The fonds reflects Philip J. Thomas’ involvement with the folk song community. This includes his research into British Columbian folk songs and his publications on the subject. The fonds also reflects his role as an art teacher, including cards he received from his students and photographs of paintings created by his students. The fonds also contains evidence of his personal life and career, both prior to and during his involvement with the folk song community, and some evidence of his role as a musician, including records related to performances and musical composition.
Material includes articles, music sheets, correspondence, photographs, and a film reel. The first three accruals of the fonds were arranged into three series: Research, Publications, and Folk Song Societies and Festivals. Upon receiving the 2020 accrual, the archivist added the following three series: Music, Art, Personal and Career.

The fonds primarily features Maxim Lieber’s personal correspondence, particularly from 1965-1985; correspondence with academics interested in aspects of his personal and professional life; and publishing contracts for his edited anthologies. Additionally, some personal correspondence belongs to Maxim Lieber’s wife, Minna Lieber. Significant individuals represented include Langston Hughes, Erskine Caldwell, Malcolm Cowley, Vladimir Solomonovich Pozner, Howard Fast, Albert Maltz (of the Hollywood Ten), and Allen Weinstein (author of Perjury: The Hiss-Chambers Case).

Records are arranged in files. Documentary forms include the following: personal correspondence; signed copies of poems; a photograph of Langston Hughes from 1965; signed contracts for Lieber’s various edited anthologies; and cheque stubs.

This collection consists of ephemera that celebrates gender performance and lesbian identities. Materials span a wide time period, capturing both early and late 20th century LGBT culture.

In particular, there is a significant part of the collection dedicated to ephemera and published materials that feature early 20th century gender impersonators. Developed out of the English music hall scene of the 19th century, male impersonators in the early 20th century were primarily vaudeville acts that toured the United States. Their audiences were predominantly male with a focus on comedic delivery, something that represented a shift in the male impersonator tradition from the earlier 19th century.
Well-known male impersonators include Vesta Tilley, who was an active performer from the 1870s until the 1920s, and Hetty King, who performed from the 1890s until her passing in the 1970s. Both are featured in a number of postcards that are part of the collection.

The collection also includes several early 20th century anti-suffrage postcards that depict women in relationships with each other (as opposed to men) and include phrases that suggest they have supplanted a man’s role. Other items include a souvenir photograph and accompanying paper frame from a 1930s entertainment venue, the Howdy Club, and 6 negatives of First Lady Eleanor Roosevelt taken in 1939.

The collection also features materials from the 1980s and 1990s that belonged to Snider during that period. Highlights include several off-air recordings of episodes of the Vancouver Co-Op Radio show, ‘The Lesbian Show’ as well as t-shirts from the University of British Columbia and University of Victoria Womyn’s Centres.

The fonds reflects Bernard and Jean Webber’s functions as leading members of the Cooperative Commonwealth Federation, teachers and education administrators, and advocates for local arts, history and Indigenous cultural regeneration. The fonds is comprised of 4 series; Political Papers series, Correspondence and Biographies series, Education and Employment Records series, and Community Activities series. Materials related to Indigenous arts, education and reconciliation are found throughout the fonds. Correspondence is its own series and is also found throughout, including copies of outgoing business correspondence.

Record types include newspaper clippings, correspondence, articles, scrapbooks, speeches, notes, drafts, reports, teaching materials, subject files and other material.

Collection documents Misty Rose’s career as an exotic dancer from 1979 to 1990 primarily in the Lower Mainland and other locations in British Columbia. The collection includes both colour, and black and white studio photographs of Misty Rose in various scenes, poses, with accompanied props. Newspaper articles and clippings appear in the collection, featuring advertisements, promotional material, event information, and articles about establishments and individuals. Other textual materials includes agency business cards, newsletters, and performer engagement contracts facilitated by various agencies including International Artists, Westcoast Artists, Stripper Entertainment Agency, Choice Entertainment Ltd., The Agency, The Rose Agency and Mink Agency Talent Representatives. Stationary, contracts, memorandums and communications from hotels and establishments where Misty Rose performed also appear in the collection.

The fonds reflects Susan McCaslin’s professional career as a writer, poet and teacher as well as her personal interests and involvement in societies, community initiatives, and organizations between 1960 and 2023. Records in the fonds relate to McCaslin’s literary work and publications in various independent volumes, edited works, chapbooks, anthologies, non-fiction monographs, magazines, small press publications, newspapers, University annuals, and religious and arts quarterlies among others. Publicity materials relating to her literary work, tours, reviews, presentations, performances and instructional sessions developed by McCaslin are included in the fonds. The fonds also includes materials created and received through McCaslin’s personal collaborations with fellow artists and authors, community work relating to the environment and her involvement with religious communities and other subject areas. Record types consist of written and email correspondence, chapbooks, zines, published works, magazines, newspaper clippings, promotional and reference materials, drafts, planning documents, reviews and feedback, awards, pamphlets, catalogues, newsletters, communications, posters, bus panels, photographs and other material. The fonds is divided into three series: Publications and Finished Works, Professional, Personal and Administrative Records, and Literary Promotion and Publicity.

Collection consists of printed items such as bookmarks, gift cards, calendars and other promotional items created by UBC Library Vault.

Fonds reflects Blondal's personal life and work as a writer, radio broadcaster, university student and researcher whose interests include religion, philosophy, psychology and criminology in the 1940s and 1950s. Records are arranged into four series, spanning from about 1929 to 1963, including documents that were added by her husband following her death in 1959.

Fonds reflects E.M. Delafield's career and interests as a writer and lecturer in the early decades of the twentieth century. Some of the items in the fonds were also made or received by persons related to E.M. Delafield. Textual records in the fonds consist of letters related to Delafield's research and writing on the British author Charlotte Yonge and unpublished manuscripts, plays, short articles, book reviews, and lectures written by Delafield pertaining to her interests in Charlotte Yonge, women, religion, the lives of the British upper class, and other subjects. The fonds also includes clippings, obituary notices, photographs, and records related to the writings of Lorna Lewis. Fonds consists of seven series: Incoming letters; Manuscripts; Lecture notes; Newspaper clippings; Personal photographs; Records related to Lorna Lewis; and Outgoing letters.

The fonds consists of records which document books and ephemera published by Rollin Milroy’s three printing presses: A Lone Press, Heavenly Monkey, and Heavenly Monkey Editions, as well as other independent and collaborative projects published by other printing presses. The records include setting copies, detailed layout schematics, dummies of final books, printing schedule sequences, proof impressions, make-ready copies, and various impression proof and waste/reject sheets, as well as printing blocks and printing plates, photographs, negatives and other documents related to the printing and publication process. The fonds also includes correspondence related to the production and publication of books, ephemera, newspaper articles and lecture notes written by Milroy on various subjects related to letterpress printing.

The fonds is arranged into the following five series: Heavenly Monkey publishing records, (1997-2010), Heavenly Monkey Editions publishing records (2002 – 2010), Other printing press publishing records (1996-2008), Correspondence (2002-2010), and Professional activity records (ca. 1980-2004).

The Alcuin Society Fonds reflects the activities of the society since its creation in 1965. The series consists predominantly of textual records, including administrative records, financial records, reports, correspondence, newsletters and promotional material. Also included are photographs, published material, brochures, and memorabilia. Correspondence is predominant throughout the fonds and in each series it is interfiled with related records.

This material was created and compiled in the course of research for the preparation, firstly, of a bibliography of Roderick Haig-Brown’s writings, and secondly, for a biography of Haig-Brown.

The fonds consists of textual records and artwork created by Ann Blades during the course of her career as an author and illustrator of Canadian children’s literature. The records date from circa 1967 to 2013, with particular concentration during the years immediately prior to the publication of Blades’ works. The fonds is especially strong in areas related to book production and sales, including, contracts, royalty reports, correspondence with publishers, literary agents and designers, layout materials, manuscripts, sketches, drawings and paintings. In addition, the creator has gathered a number of clippings and reviews which document the critical reception of her work.

The fonds is divided into 31 series. 26 of these series, the majority of the materials in the fonds, have been arranged by the creator according to book title (including both published and unpublished works) and therein according to textual records and artwork. This arrangement has been maintained by the processor with each title constituting a separate series. The remaining five series discuss Blades' personal activities, and her professional activities which were not related to a single book.

Book series include:
“Seasons,” Board Books - Production and Reviews (1986-1998),
<i>A Boy of Tache</i> - Reviews (1973-1977),
<i>A Candle for Christmas</i> - Production and Reviews (1982-2001),
<i>A Dog Came, Too</i> - Production, Reviews and Publicity (1989-2001, predominant 1989-1993),
<i>A Ride for Martha</i> - Production (1992-2001),
<i>A Salmon for Simon</i> - Production, Reviews and Awards (1978-1997),
<i>Adolph</i> - Production (1976?-1978),
<i>Anna’s Pet</i> - Production and Reviews (197?-1982),
<i>Anna’s Pet/Six Darn Cows</i> - Materials (1978-2006),
<i>Back to the Cabin</i> - Production, Reviews and Publicity (1993?-1999),
<i>By the Sea: An Alphabet Book</i> - Production, Publication, and Reviews (198-?-1994),
<i>Canadian Books for Children</i> - Production and Publication (1987-1988),
<i>Fowlini</i> - Production ([1971]-1978),
<i>Ida and the Wool Smugglers</i> - Production, Reviews and Publicity (1986-2001),
<i>Jacques the Woodcutter</i> - Production, Reviews and Materials (197?-1981),
<i>Mary of Mile 18</i> - Production, Reviews, Film (1971-2012),
<i>Mile 18 Summer Book</i> - Production (1970),
<i>Mother Goose: A Canadian Sampler</i> - Production and Publication (1992-1994),
<i>Pettranella</i> - Production and Reviews (1978-1994),
<i>Pond Seasons</i> - Production and Reviews (1994-2001),
<i>Six Darn Cows</i> - Production and Reviews (197?-1986),
<i>The Cottage at Crescent Beach</i> - Production, Reviews and Publicity (1974-1988, 2001),
<i>The Singing Basket</i> - Production, Reviews and Materials (1976, 1988-2004),
<i>Too Small</i> - Production and Reviews (1999-2001),
<i>Willemina's Christmas</i> - Production (1977-1982),
and <i>Wolf and the Seven Little Kids</i> - Production and Reviews (1998-1999).

General series include:
General Financial Materials (1981-2013), General Publicity Materials (1974-2004), Personal Materials (1967-2000), Presentations, Exhibitions, and Conferences (1975-2005), and Professional Correspondence (1970-2013).

The 2002, 2006, 2008, 2011, and 2014 accruals also included copies of Blades’ published works. All printed materials have been integrated with the library collections and are searchable via the UBC catalogue.

Since at least 2006, the creator has for many files left annotations or descriptions, which have been kept with the records. The 2011 accrual was well-organized and carefully labelled by Blades before it was officially gifted to the University of British Columbia in 2011. As a result, all file names are based upon the titles devised by the creator. Within each file, Blades grouped related materials and indicated the subject of the grouping with a labelled paper wrapper which she folded around a collection of documents. These paper wrappers have been preserved. File contents have been retained in their original order.

The collection consists of research material for Betty Keller's book, "Pauline: The Life of Pauline Johnson". It includes photocopies of letters to, from, and about Pauline Johnson, copies of printed material, as well as two articles about Johnson. Johnson, also known by her Mohawk stage name Tekahionwake, was a Canadian poet, author and performer who was popular in the late 19th and early 20th centuries. Her father was a hereditary Mohawk chief of mixed ancestry and her mother was an English immigrant.

The fonds consists of correspondence, photographs, sound recordings, and notes produced by McAlpine (formerly known as Mary McAlpine Dodds) and related authors, friends, and family. Correspondents include Ethel Wilson, Wallace Wilson, Margaret Laurence, Beverly Mitchell, Nan Cheney, Dorothy Livesay, and others.

The fonds consists of correspondence and drafts relating to the publication of the Canadian Fiction Magazine, #5 - #17 between 1972 and 1974.

The fonds consists of correspondence, manuscripts, clippings, photographs, printed material, memorabilia, and other documents related to Hood's personal life and interests, his writing, and his career in real estate and financial management. Also included are documents related to Hood's involvement in the Canadian Authors Association, the St. Andrew's and Caledonian Society, the Scottish Dramatic Society, and the Central Presbyterian Church in Vancouver. The fonds also contains a subfonds consisting of Hood Brothers' correspondence and financial records.

The collection consists of correspondence, warrants, commissions, printed ordinances, a deed, a financial statement, literary works, other documentary forms, and a seal pertaining to various figures and events in Canadian history. MacMillan assembled the material from various sources. Also included is a photograph of a logging scene in Vancouver (ca. 1900) and of East Indigenous workers at Canadian Western Lumber Company, ca. 1900-1910.