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The fonds contains: manuscripts; correspondence; reviews of Cohen's work; university material; book manuscripts; other manuscript material; drafts of The Spanish Doctor; and various other material. More detailed contents outline in 'System of Arrangement' below.

The fonds consists of textual records and printed material related to Colombo's research and writing.

J.L. Garvin:
The major treasure of this part is the series of letters between Garvin and Viola Woods, Oliver’s mother and Garvin’s future wife. Viola was unhappily married to the writer Maurice Woods when she first met Garvin but the death of Garvin’s first wife in 1918 seems to have spurred her to divorce – still an unfamiliar and scandalous procedure among the upper classes of early twentieth-century England. The couple’s efforts to marry were further complicated by their Roman Catholic religion, by Garvin’s influential position in British society and by the eccentric behavior of Viola’s sister, Una Troubridge, who had left her husband to become the lover of the notorious Radycliffe Hall. All these stresses are reflected in the passionate letters they wrote to one another between 1919 and their marriage in 1921.

Almost as valuable for the light which they throw upon Garvin in his final years, is the series of letters to his stepson Oliver Woods who was serving with distinction in a tank regiment during the Second World War. Perhaps significantly, apart from a single earlier example, Garvin's wartime communications with Oliver commence in March 1942, a month after he had ended his thirty-four year long editorship of The Observer. Although he soon began to write regularly for the Sunday Express it is probable that, with the burdens of editorial responsibility lifted, Garvin was able to devote more time to his correspondence and to following the fortunes of the war, and in particular to the fortunes of his beloved Oliver.

Frank Waters:
Frank Waters was not a journalist of the stature of J. L. Garvin and while the Waters material, included as Part II of this archive, lacks both the chronological and geographical scope of the Woods section, Waters was a man of intelligence, sensitivity and real literary ability. His journals, especially those which he kept during the Second World War are important and immensely readable with the kind of literary polish for which his friend Oliver Woods was only to find time in his published work. Indeed the Second World War is like a leit-motif running through the Waters material for, apart from the letters of condolence which flooded in to Joan Waters during October 1954, following Frank's untimely death, most of the correspondence and much of the literary, business and ephemeral material in this section of the archive dates from the years between 1939 and 1945.

Both Frank and Joan Waters were inveterate collectors of anecdotes and quotations and much of the material collected for a projected anthology is represented here, as is the raw material for another projected volume to comprise observations about The Times over more than 150 years. Oliver Woods was also involved in collecting material for his friends to use in the latter volume but neither was ever published.

Joan Maude, as a film and stage actress of some repute, had already established a wide circle of friends when she married Frank Waters in 1933 and many of her friendships survived into the years of her marriage to Oliver Woods. Rather than arbitrarily divide such letters to Joan between the Waters and Woods correspondence, all series of correspondence with Joan which continued after Frank's death (with the exception of letters of condolence, which are in the Waters section) have been placed in a single series in the Woods correspondence. References to such series are given in the Waters correspondence.

Oliver Woods
The material relating to Oliver Woods, scholar, soldier and man of The Times, comprises more than three quarters of the Garvin/Waters/Woods archive (114 of 132 boxes).

The Woods correspondence is a fascinating melange which accurately mirrors the many facets and encyclopedic interests of Oliver Woods. Among its most valuable contents are the letters exchanged with those who played major roles in African colonial and post-colonial history. Such British governors as Sir Andrew Cohen and Sir Evelyn Baring and newly emergent African leaders including Hastings Banda took Woods into their confidence.

Many of Britain's most influential politicians also found in Oliver Woods an intelligent, sympathetic and discreet correspondent and this section of the archive includes a litany of former prime ministers: Eden, Callaghan, Douglas-Home and Heath, as well as an intimate exchange with Hugh Gaitskell and his wife. There are lengthy series of letters between Woods and many members of the Astor family, and long exchanges with former Times editors such as William Haley.

Also Woods' many former army colleagues figure prominently here, men like Sir John ("Shan") Hackett who became close friends during the war years when Major Woods acquitted himself so bravely in the desert and who, as they rose to high positions of power, provided invaluable insights and information.

This part also includes some personal and family correspondence. While Oliver's mother Viola's letters to her husband J. L. Garvin are in the Garvin part of the archive, her letters to her son and his wife are here, as are substantial exchanges between Oliver and two of his Garvin half sisters, Viola and Katherine (Gordon).

This fonds consists correspondence with family, friends, publishers and other poets such as Al Purdy, Gabrielle Roy, Louis Dudek, Dorothy Roberts, Dorothy Livesay, John Colombo, Ray Souster and Irving Layton. There are also reviews and public performances; manuscripts; Everson family material; photographs; and three-dimensional artifacts. There are a number of cassettes in the public performance series which include readings by Everson and interviews with him.

The fonds contains: correspondence; poetry and other writing; personal material, business material; photographs; promotional material; and other material.

The collection consists of one autograph letter signed by Dr. Johnson, a copper token bearing Johnson's portrait, a typescript of a talk delivered to the Johnson Club in 1921, and offprints of articles relating to Johnson and James Boswell.

There have been three accruals. There was a small second accrual of 2 letters from Patrick Lane to Fraser Sutherland. The text of one of these letters was transcribed by Fraser Sutherland in his letter to McMaster of 7 May 1976. The location of the two letters is unknown. The third accrual consits of a letter from Lane to Asher Joram (Jack), a letter from Lane to Norman Hart, and b&w print illustrations.

The collection consists of a small amount of correspondence with Glenn Sinclair, who was working on a bibliography of Layton, as well as interviews with and broadcasts by Layton which are available on audio cassettes and transcripts.

The fonds consists of poetry and prose written by Laidlaw.

There have been four accruals. The first accrual (57-1995, 30 cm) consists of manuscripts and research notes for three of his published works, Interior Landscapes: A Life of Paul Nash (1987), The Last Modern: A Life of Herbert Read (1990), and Virginia Woolf (1994); draft typescript and galley proof; and editorial and literary correspondence (including Graham Greene, Stephen Spender, Muriel Spark, and Francis Bacon).

The second accrual (26-1997, 60 cm) consists of material relating to The Life of Margaret Laurence (1997), editorial notes, photographs and correspondence (including Margaret Atwood, Timothy Findley, Al Purdy, and letters from Margaret Laurence to her editor, Alan Maclean.

The third accrual (27-1999, 68 cm) consists of three series: manuscripts and related material for Faking (1999) and Jack: A Life with Writers, The Story of Jack McClelland (1999), photographs, and literary correspondence.

The fourth accrual (16-2001, 20 cm) consists of two draft typescripts of *Farley: The Life of Farley Mowat</I> (2002) and editorial correspondence.

The fonds consists of the book, correspondence concerning the publication of the book and the contract between Markland and the publisher, Erskine Macdonald. The correspondence consists of letters to and from Markland and several of the contributors to the anthology, letters to and from Markland to various newspapers and publishers seeking permission to reprint poems, a letter from the Oxford University Press turning down the anthology, and letters to and from the publisher of the anthology, Erksine MacDonald. There is also some correspondence between Markland and others about Erksine Macdonald after the publication of the book

The collection consists of transcripts of letters written by Mansfield to her father, Harold Beauchamp, 1916 and 1922, as well as transcripts of some letters written by her father about Katherine Mansfield, 1933-1937. There is also one letter from Isabel C. Clarke to Beauchamp, 1935. The transcripts, all typescript carbons, were presumably made some time after 1937, the date of the last letter.

Fonds consists of typescripts, proofs, manuscripts, research notes, speeches, essays, publications, and correspondence relating to H.R. Percy's literary career. Also included are materials relating to Percy's early life and service in the Royal Navy and Royal Canadian Navy.

The collection consists of letters and cards. There are letters from: C. L. Dodgson (1832-1898), mathematician and author, also known as Lewis Carroll, 1873-74; Sir Francis Darwin (1848-1925), botantist and son of Charles Darwin; Sir James George Frazer (1854-1941), social anthropologist and author of The Golden Bough; Andrew Lang (1844-1912), scholar, folk-lorist, and author; Bernard Shaw (1856-1946), playwright; Arnold Bennett (1867-1931), novelist and playwright; and Sir Charles Scott Sherrington (1857-1952), neurologist and Nobel laureate. The collection also contains a letter from Arnold Bennett to Ellery Sidgwick, the editor of the Atlantic Monthly, introducing W.H.R. Rivers to him; an autograph of H. G. Wells (1866-1946), author, and other documents, including two sketches, one in pencil and one in pen and ink. There is also a typescript titled "Memories of Lewis Carroll" by Katharine Rivers, a sister of W. H. R. Rivers. The typescript was published in Library Research News, 3, no. 4 (January 1976).

The fonds is arranged into eleven series: press cuttings; a literary log; miscellanies; books (tss., mss., proofs, related material); correspondence; other manuscripts (untitled and titled mss. and lectures); societies and clubs; George Augustus Henry Sala; book collecting and other personal matters (includes correspondence of Sir Robert Peel); photographs and illustrations; and oversize material. Also acquired with the Straus fonds are the following: a collection of his published books and books from his library (for a description of these, see the master file on Straus), which have been catalogued in Research Collections; a pottery monkey, ca. 1880, formerly in the possession of Sala; an oil portrait of John Baskerville by his niece, Miss Gillespey.

The major part of the fonds consists of sales invoices. They indicate who was buying what items of Canadiana and what prices were being paid. Almost invariably correspondence initiating or relating to the sale was attached to the invoices and they have been left there. Many of the buyers are Canadian university or public libraries and academics, particularly those in the field of Canadian history. As well as the invoice series, there is a full set of catalogues, financial statements, credit notes, correspondence relating to book auctions and general correspondence.

The collection consists of four poems (two copies of one) and one photograph. There are also 22 printed copies of Scott's published poems, many signed by the author, and his funeral order of service.

The fonds consists of notebooks (35 items) in which Wilson recorded his thoughts, ideas for songs, draft lyrics, occasional drawings, photographs, and more, ca.2003-2010 (also includes 11 photographs); the Florida Razors’ vinyl recording Beat Music, 1986; 14 sound recordings on tape of the Florida Razors, Junkhouse, Blackie and the Rodeo Kings, and Wilson solo material; notes and annotated galley proofs of Beautiful Scars; and two paintings by Wilson.