Sub-series consists of scripts and screenplays written by Norman Klenman, alone and in collaboration with others, for feature and short films, produced and not produced, as well as related records. Additional material includes related notes, correspondence, contracts, research material, and moving images. Includes screenplays for “Beggarman’s Game,” “Dilbeck Junior,” “The Ecstasy of Rita Joe,” “A Forest of Eyes,” Ivy League Killers (a.k.a. “The Fast Ones”), “Nails,” "Now That April’s Here," “Passion” (based on The Gambler), “Riel”, and “Voices,” as well as a number of other scripts written for the National Film Board and CBC-TV. Series also includes two "Ivy League Killers" film reels.

Sub-series consists of records relating to Norman Klenman and Philip Saltzman’s development of a feature film screenplay titled “The Ultimate Victim,” which was eventually produced under the title "The Swiss Conspiracy". Records include outlines and various drafts of the screenplay, contracts, notes, correspondence, and research material.

Sub-series consists of records relating to Norman Klenman’s development of a screenplay for a feature film titled “Woodsmen of the West,” inspired by M. Allerdale Grainger’s memoir of the British Columbia coast in 1908, and plans for its production. Records include several screenplay drafts, notes and ideas, research material, contracts, and production budget and casting proposals.

Series consists of photographs taken by Susan Stewart for the “Drawing the Line” photographic series, as well as photographs taken by others at various “Drawing the Line” shows. Records include photographs, negatives, and contact sheets, as well as notes relating to contact sheets with commentary on specific photographs.

Series consists of records relating to the promotion of the “Drawing the Line” exhibition, as well as articles about and reviews of the show. Records include pamphlets, promotional postcards, magazines, and newspaper clippings. Contains photocopied reproductions of several articles and reviews.

File consists of correspondence, both incoming and outgoing, between members of the Kiss and Tell artist collective and others. Correspondence relates primarily to the “Drawing the Line” exhibition in Sidney, Australia, the publication of the book “Drawing the Line: Lesbian Sexual Politics on the Wall,” and responses to the show and book.

Sub-series consists of records relating to the writing and publishing of Flood’s first collection of short stories, "The Animals in Their Elements." Records include notes, drafts and correspondence with publishers. Sub-series also includes ten publications in which Flood’s stories are printed: "New: West Coast Fiction" (1983); "Vancouver Short Stories" (1983); "Matrix" (1981); "Queen's Quarterly" (1981); "Common Ground" (1980); "Journal of Canadian Fiction" (1980); "Fireweed" (1989); "Event" (1987); "Prism International" (1987); and "Atlantis" (1981).

Sub-series consists of records relating to the writing and publishing of Flood’s second collection of short stories, "My Father Took a Cake to France." Records include notes, drafts, correspondence with publishers and contracts. Sub-series also includes six publications in which Flood’s stories are printed: "Frictions: Stories By Women" (1989); "Descant" (1991); "Malahat" (1989); "Room Of One's Own" (1988); "Quarry" (1990); and "Books In Canada" (1990).

Sub-series consists of records relating to the writing and publishing of Flood’s third collection of short stories, "The English Stories." Records include notes, drafts, and correspondence with publishers.

Sub-series consists of records relating to the writing and publishing of Flood’s stories that appeared in individual magazines or journals. Records include drafts, correspondence with publishers, contracts and notebooks. Sub-series also includes six publications in which Flood’s stories are printed: "Wascana Review" (1968); "Quarry" (1980); "Room Of One's Own" (1981); "Makara" (1976); "Baker's Dozen" (1984); and "Makara" (1978).

Sub-series consists of records relating to Flood’s unpublished work. Records include drafts, correspondence, and handwritten manuscripts of stories, essays and poetry.

Sub-series consists of records relating to Flood’s unpublished novel, "The Woman In The Window." Records include handwritten and typed drafts as well as correspondence with various publishers.

Sub-series consists of records relating to the writing and publishing of Flood’s novel, "Making a Stone of the Heart." Records include reviews, correspondence, publicity materials, manuscripts of early versions of the novel, an excerpt published in "Grain" journal (2008) and research materials.

File consists of correspondence received by Gladys Hindmarch relating to personal and professional matters, as well as a small number of letters addressed to people other than Hindmarch. Correspondents include Robin Blaser, George Bowering, Neap Hoover, Robert Kroetsch, and Fred Wah, among others.

File consists of correspondence sent by Gladys Hindmarch relating to personal and professional matters. Correspondents include Cliff Andstein, Roy Kiyooka, Stan Persky, and Daphne Marlatt, among others.

Series consists of records relating to the writing, editing, and publication of Gladys Maria Hindmarch's 1988 book "The Watery Part of the World," based on her experiences working aboard cargo ships in the early 1960s. Hindmarch worked on the book throughout the 1960s, 70s, and 80s, and worked extensively on it from 1985 to 1986, the year she took a sabbatical from her teaching position at Capilano College. It was during this time that the manuscript was first read by Denise Bukowski, Hindmarch's literary agent at Pacific Publishing Services. Working titles for the book project have included "The Boat Stories," "The Boat Book," and "Nootka Odyssey," and these titles are reflected in the file names. Record types in this series include drafts, manuscripts, page proofs, notes, research records, and correspondence.

Sub-series consists of records relating to Gladys Maria Hindmarch's general writing and editorial activities, including those relating to her books "Sketches" (1970), "A Birth Account" (1976), "The Peter Stories" (1976), as well as to her works of short prose. Also includes records relating to her editorial work for a proposed women's magazine with the working title "Canadian Women’s Monthly." Record types in this series include drafts, notes, research records, and correspondence.

Sub-series consists of incoming correspondence to Blaser by family, friends, and colleagues. Material includes handwritten and typed correspondence as well as facsimile and email correspondence sent or forwarded to Blaser. Additional material includes enclosed contracts, poetry, and other textual material sent to Blaser.

Sub-series consists of outgoing correspondence from Blaser to family, friends, and colleagues. Material includes handwritten and typed correspondence, as well as facsimile and email correspondence.

Sub-series consists of correspondence of poet Jack Spicer who was a close friend of Blaser. Records include handwritten and typed correspondence to and from Jack Spicer.

Sub-series consists of correspondence of artist Jess Collins who was a close friend of Blaser. Records include handwritten and typed correspondence from Jess to a friend and to a publication.

Sub-series consists of correspondence of writer Stan Persky, who was a close friend of Blaser. Records include handwritten and typed correspondence.

Sub-series consists of facsimile and printed email correspondence between Blaser’s partner, David Farwell and friends.

Sub-series consists of correspondence of Blaser’s mother, Ina (née McCready) Blaser, including handwritten correspondence from family and friends in addition to sympathy cards from her husband, Robert Blaser’s, death.

Sub-series consists of correspondence of Blaser’s maternal grandmother, Sophia (née Nichols) Auer.

Sub-series consists of handwritten, typed, and photocopied poems written by Blaser.

Sub-series consists of handwritten, typed, and photocopied essays written by Blaser.

Sub-series consists of manuscripts for unpublished and published books written by Blaser.

Sub-series consists of published materials written by Blaser. Material includes The Holy Forest, chapbooks and broadsides, music lyrics, and individual poems.

Sub-series consists of the draft, revisions and final text of The Last Supper, an opera libretto written by Blaser. Material includes handwritten edits and notes on the text, which include facsimiles sent with revisions from Harrison Birtwistle, who wrote the score for The Last Supper, and representatives at Allied Artists.