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The collection consists of: Barker's correspondence (1934-1964); news clippings (1933-1968); sketches (1963-1965); holographs and transcripts of essays (1937-1969); notebooks; holographs and typescripts of poetry (1954-1970); contracts (1933-1964); marked proofs; a heavily annotated copy of Elizabeth Smart's A Bonus (1977), and an annotated copy of Aristotle's Poetics etc., which Barker used for reviewing Ezra Pound's XXX Cantos.

The fonds consists of correspondence, published and unpublished literary works, notebooks, sketchbooks, desk diaries, financial accounts and agreements, and ephemera. Correspondents include family and friends, professional and business associates, and aspiring poets and fans. Many letters include enclosures such as pamphlets, manuscripts, drawings, reports, plans, contracts, scripts, clippings, and bills. The correspondence series include occasional replies from Betjeman. Major correspondents (more than 35 letters) include: J.R. Ackerly, John Arlott, Betjeman family, John Edward Bowle, Maurice Bowra, B.B.C., Bryan House School, Hugh Casson, Leonard Clark, William Clonmore, J.N. Comper, Patrick Cullinan, Curtis Brown, Daily Telegraph, Tom Driberg, T.S. Eliot, Frederick Etchells, Faber and Faber, Peter Fleetwood-Hesketh, The Georgian Group, Grand Opera Productions, Great Britain Department of Environment, Great Britain Ministry of Housing and Local Government, Greater London Council, Ken Griffiths, Samuel Gurney, David Higham Associates, Bevis Hillier, Historic Churches Preservation Trust, Helen Holmes, Edward James, Wilfrid Jarvis, Oliver Kenross, G.A. Kolkhurst, Osbert Lancaster, Brazley Mitchell, John Murray Publishers, National Association of Alms Houses, National Trust, Edmund and Margaret Penning-Rowsell, John and Myfanwy Piper, Percy Popkin, Alan Pryce-Jones, Ann Reed, Royal Fine Art Commission, Camilla Russell, Martyn Skinner, John Sparrow, The Spectator, Olivar Stonar, John Summerson, Geoffrey Taylor, Time and Tide, Victorian Society, Evelyn Waugh, Keith Wedmore, Weekend Telegraph, and Mary Wilson.

The fonds consists of correspondence and drafts of Alford's critical works, including his biography of George Egerton (Mrs. Mary Chavelita Bright), Alford's Ph.D. dissertation on the Rhymers' Club, drafts of works on Stephen Hudson (Sydney Schiff), George Eliot, Aldous Huxley and A. Bronson Alcott; notebooks and journals kept by Alford, with holograph notes on his works of fiction and autobiography as well as fragments of stories; drafts of Alford's novel "A Garden Enclosed", drafts of short stories; and drafts of Alford's autobiographical works "In Pursuit of Any Arse", "Time Exposure", and "Travelling Hopefully: A Simple Record of Unsentimental Journeys to the Okanagan and Thereabouts, 1977-1978", including photographs; and correspondence with Howard Gerwing (UVic SC Librarian), 1984-1990.

The fonds consists of typescripts of an unpublished novel "The Harmless Snake"; 3 unpublished books of poetry: "The Simon Poems", "Thy Harry's Company", "A Motley to the View"; typescript copies of five Egoyan screenplays (reworked by Bell) including: "Family Viewing" (1987) in 3 drafts; "Speaking Parts" (1989) in 5 drafts; The Adjuster (1991) 1 draft, "Exotica" (1995) 1 draft (not reworked by Bell) and "The Sweet Hereafter" (1997) in 3 drafts; some additional holograph notes and a notebook regarding the scripts and correspondence from Atom Egoyan to Bell 1985-1995 regarding the films. Additionally, there is correspondence from Irving Layton and others.

The fonds consists of correspondence with George Woodcock, editor of "Canadian Literature" in 1971, re his submission of a review of Robin Skelton's poetry, plus a first draft of the review; correspondence with Rampant Lions Press (Will and Sebastian Carter), 1976-1977, regarding the printing of a collection of Hutchison's broadsides, plus copies of the broadsides; manuscripts, correspondence, artwork, notebooks, research materials and miscellaneous [This large collection (1996-020) is only roughly sorted and is on loan]. Notable correspondence includes George Woodcock, Susan Musgrave, Dennis Brown and the Rampant Lion Press.

The fonds consists of records relating to Peter's teaching and research activities, including research grant applications, letters of recommendation and lists of bibliographic citations; notes, outlines, fragments, notebooks, manuscripts and galleys for "Along That Coast", "Take Hands at Winter" and "Runaway", as well as unpublished novels by Peter and correspondence with publishers regarding "Along That Coast" and "Runaway". The fonds include a small amount of material relating to Professor Peter's research and teaching activities, but primarily they document his writing activities, particularly the preparation of his novels, as well as unpublished works of fiction and essays.

The fonds consists primarily of typescript from "The Nightfishing" used for a radio broadcast; poetry worksheets for "Implements In Their Places", "Malcolm Mooney's Land", and "The Nightfishing"; correspondence with Crieff Williamson and Robin Skelton; and four notebooks, together with Robin Skelton's research notes. Also included is a typescript of "Aimed At Nobody", which was published posthumously, together with related publishing documents and correspondence. The final items are two folders of Graham's artwork and a silk screen portrait of Graham by William Featherston.