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File contains five pieces of typed correspondence written by Morris Kominsky, of Elsinore, CA, between March and July of 1972, and sent to Kenneth Leslie. File contains Kominsky's discussions about the inclusion of his essay "The anatomy of Fascism" in a forthcoming issue of Leslie's publication "New Man" as well as Kominsky's request for dozens of copies; his desire to extend the readership of Kominsky's recent book "The Hoaxers"; and his efforts to expose an extremist plot against targets in Haiphong harbor, Vietnam.

File also contains facsimiles of correspondence sent to Kominsky, including two from sitting members of Congress: Jerome R. Waldie (14th, California) and Victor V. Veysey (38th, California) regarding threats to blow up a dredge in Haiphong harbor "that keeps [it] navigable [during the War]", as instigated in the October 1971 issue of Off-the-Cuff, written and distributed by "avowed member of the John Birch Society", ideologue Nord Davis, Jr. (fragments of which are included).

File contains seven letters (three typed and four hand-written), written between 1972 and 1973, by David B. Lord (from Jacksonville, FL). Five of the letters are addressed to Kenneth Leslie, while one is addressed to his wife, Nora, and another addressed to Kurt Anderson (New York, NY), with Kenneth Leslie and George Bilankian carbon-copied.

The first letter, dated March 25, 1972, addresses Lord's appreciation of Leslie's poetry, discusses the passing of Lord's acquaintance Harold Cohn and a misdeed the Cohn had done to Lord, as well as a request for more copies of the previous issue of New Man.

The following two letters are dated June 12, 1972. The first, addressed to Nora, expresses his closeness to her despite Lord's not having met her, having heard good things from a mutual friend in California. The other letter, addressed to Kenneth but undated (same stationery and ink), expresses Lord's regret at taking so long to answer the previous message. Lord expresses his disgust with "the shame of Vietnam" and of "Tricky Dick [...] claiming to be a Quaker, with Billy Graham as his co-pilot" as being a "good example of religion at its lowest", but expressing admiration of the "young, protesting with their bodies, but [that] the sadistic pigs are having their field day."

The fourth letter, dated December 10, 1972 and addressed to Kurt Anderson, responds to Anderson's article "From life to money to body counts" which appeared in the October 1972 issue of The Churchman. It includes excerpts from Kenneth Leslie's and George Bilankian's responses to the same article.

The fifth is a postcard sent from France, dated January 12, 1973, expressing the view that "America has failed the world."

The sixth is a handwritten four-page letter of the same date, from Foix, Languedoc, draws comparisons between the present destruction of Vietnam with the past "attempted destruction" of the "Albigensian civilization", addressing how one should address to the "hopeless disaster" while living in a country that now seems "resigned to its fate". Lord also is reminded of an article he wrote for The Protestant "more than thirty years ago" entitled 'The spirit of crucified Spain'.

In the final letter, dated March 10, 1973, Lord expresses his pleasure at having returned from France to an awaiting copy of 'O'Malley to the Reds', recounts his visit with George Bilankian in London, and remarks on the "history of dissent" found while following his family trail through genealogical work. He mentions being "indebted to Rev. James B. Leslie, M.A. Rector of Kilsaran" for directing Lord's research efforts in the right direction.

File consists of records related to a poetry reading by John Ditsky, a professor in the Department of English at the University of Windsor, held at Dalhousie Art Gallery on October 6, 1975.

Records consist mainly of correspondence between Bruce W. Ferguson (Director, Dalhousie Art Gallery) and John Ditsky. Many letters are handwritten. File also includes invoices and purchase orders, interdepartmental memos, an invitation card, and a blank form of a report to The Canada Council on the Public Reading.

Fonds includes Alan Creighton's diaries, which cover many of the years from 1920 to 2000. Writings from the period 1920 to 1954 (many undated) are mainly short stories and poems. These writings include handwritten and typed, complete and incomplete, and published and unpublished works. There is also some correspondence throughout as well as copies of his two books of poetry. The fonds includes writings with titles such as "About Poetry," "Poetry Courses," "Thoughts," "Music & Art," and "Bedford Basin." His notebooks include evidence of a variety of courses taken, including French and Greek, music, poetry, and art (both practice and history, including Chinese art). There is also a record of his art sales from 1964 to 1999. Personal and family documents are included in the fonds.

Alan Creighton's artwork is extensive and primarily in the form of sketches and watercolours, with a few oil paintings. Many of his sketches are in albums, many of which are used exclusively for one particular aspect of his studies. For example, album labels include "People," "Trees," "Skies," "Rock Formations," "Buildings," "Railway Sketches" (scenes from train journeys), and "Outdoors." Others identify a place and time and include such labels as "At the Zoo," "Nova Scotian Sketches 1951," "South Shore 1982," and "Toronto 1996." Still others contain a mixture of styles and themes. There are also numerous loose sketches and watercolours which have been loosely arranged into similar groupings such as "Clouds," "Boats," "Flowers," and so forth. Photograph albums include photos of family and of scenes taken by Alan as a reference for future paintings.

Included with Alan Creighton’s personal items are papers, writings, art, and memorabilia belonging to his friend and roommate Christine Eyles, who died without heirs. Some relate to her employment as a violinist in England and in Toronto, Ontario and some contain her poetry, plays, and artwork (in sketchbooks and on loose paper). Published and handwritten music scores, mostly for the violin, are also included. A photograph album contains many formal portraits of family and friends taken in England in the early 20th century. Records also include papers by and about her father, Charles Eyles, a famous violin-maker. Such materials include advertisements, brochures, and letters attesting to the high quality of his craftsmanship.

File consists of records related to a poetry reading by Leona Gom, held at Dalhousie Art Gallery on October 27, 1975.

Records consist mainly of correspondence between Bruce W. Ferguson (Director, Dalhousie Art Gallery) and Leona Gom. File also includes interdepartmental memos, invitation cards, and a copy of a report to The Canada Council on the Public Reading.