The collection consists of: 2 leaves of typescript with holograph corrections of explanatory notes on the plates for "The Demon of Progress in the Arts" (1954); 10 leaves of typescript with holograph revisions of "Chapter I: The 'Do-Nothing Mode'" (about Lewis' father); 21 leaves of carbon typescript with holograph corrections of chapters 4-6 of "Painting as a Sport" ; 7 leaves of carbon typescript with holograph corrections with a note to "Mrs. Gilliat"; 3 leaves of a holograph review of Swabey's "The English Church and Usury"; 19 leaves of a typescript review with holograph corrections of Harry Slochower's "No Voice is Wholley Lost".
The fonds consists of records produced by Skelton during the course of his life and career, documenting his activities as a poet, scholar, teacher, prose fiction writer, critic, editor and white witch. Records relate to activities including his co-founding of the University of Victoria Department of Creative Writing, his editorship of "The Malahat Review", his involvement with the Lotus Press in England and the Pharos Press and Sono Nis Press in Victoria, his collaboration with Ann Saddlemyer on the "Collected Works of J. M. Synge" and "The World of W. B. Yeats", a symposium and exhibition held in 1965 honouring the centenary of Yeats' birth, and his association with such writers as Wilfred Rowland Childe and Bonamy Dobree. Skelton's correspondents include T. S. Eliot, W.H. Auden, Robert Graves, Margaret Atwood, Earle Birney, Bonamy Dobree, Paul Theroux, Kathleen Raine and many others.
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.
The collection consists of letters from A.R. Orage, 1933-1934, manuscripts by Armstrong for "Focus" 21, "The Literary Digest", etc. (1945-1970) plus a review, a note, and a mss for "The Poetry Review" by G.S. Fraser, 1950-1952. Also included in the collection are enclosures from "Ten Contemporaries" [1932 & 1933]. These enclosures consist of research material and correspondence: re the publication of the two volumes, and the writers included in them.
The collection consists of a handwritten letter and a typed, signed letter to Maurice Wollman. Both letters are concerned with Wollman's proposed poetry anthology. In the letters, Spender refuses to allow any of his poems to be included. There is also a portrait etching of Spender by Edgar Holloway. It is number eight of seventy-five signed copies (by the artist). It is in the style of Holloway's etching of T.S. Eliot.
The collection consists of a handwritten letter to J. G. Wilson (manager of Bumpus bookstore), sending him an early copy of her "Collected Poems"; and a handwritten letter to George Plank, together with its envelope, inviting him to "my very small tea party" and that she hopes "several of the other poets" will be there.