File consists of a draft manuscript of "Aggressive Transport", a poetry anthology.
Subseries consists of draft manuscripts of "Aggressive Transport", a poetry anthology, as well as a published version.
File consists of draft manuscripts of "Tristram's Book", a poetry anthology.
File consists of draft manuscripts of "Tristram's Book", a poetry anthology.
Subseries consists of draft manuscripts of "Tristram's Book", a poetry anthology.
File consists of a 1974-1977 draft manuscript of "Creatures of State", a poetry anthology.
File consists of a 1976 draft manuscript of "Creatures of State", a poetry anthology.
File consists of a published version of "Creatures of State", a poetry anthology.
Subseries consists of draft manuscripts of "Permanent Relationships", a poetry anthology, as well as a published version.
File consists of draft manuscripts of "Permanent Relationships", a poetry anthology.
File consists of a large format final draft of "Permanent Relationships", a poetry anthology.
File consists of publication entitled "Permanent Relationships", a poetry anthology.
File consists of draft manuscripts of "Five Books of a Northmanual".
Subseries consists of draft manuscripts of "Friends", a poetry anthology.
File consists of draft manuscripts of "Friends", a poetry anthology.
Subseries consists of draft manuscripts of "Five Books of a Northmanual".
File contains closed manuscript.
Fawcett began a project in 1975 when he was 31 with the premise of summarizing his understanding of sex at various ages. This file contains various draft versions of Fawcett's "Sex at 45" manuscript. These manuscripts evolved into Gender Wars.
Fawcett began a project in 1975 when he was 31 with the premise of summarizing his understanding of sex at various ages. This file contains early draft manuscripts of the poem "Sex at 45".
Fawcett began a project in 1975 when he was 31 with the premise of summarizing his understanding of sex at various ages. Manuscripts include "Sex at 31", "Sex at 34", "Sex at 38", and "Sex at 45". These manuscripts were the basis for "Gender Wars".
Fawcett began a project in 1975 when he was 31 with the premise of summarizing his understanding of sex at various ages. This file contains draft manuscripts of the poem "Sex at 38".
Fawcett began a project in 1975 when he was 31 with the premise of summarizing his understanding of sex at various ages. This file contains manuscripts and a published version of the poem "Sex at 38 (a duet)" by Brian Fawcett and Barry McKinnon.
Fawcett began a project in 1975 when he was 31 with the premise of summarizing his understanding of sex at various ages. This file contains manuscripts for the poem "Sex at 34".
Fawcett began a project in 1975 when he was 31 with the premise of summarizing his understanding of sex at various ages. This file contains manuscripts for the poem "Sex at 31".
File consists of draft manuscripts of "Creatures of State", a poetry anthology, as well as a published version.
Subseries consists of miscellaneous poetry manuscripts and publications. Includes anthologies and periodicals in which Fawcett's poetry was published, such as "The Capilano Review". Fawcett stopped publishing poetry after 1982, although he did not stop producing it. These "suppressed poems" are also included. Many poems are untitled and unidentified.
Photograph depicts two connected buildings; the building on the left is possibly the theatre, other building with sign that reads: "The Nechaco (sic?) General Stores." Boardwalk with people and unpaved street in foreground.
Totem poles (crest poles?) stand in front of remains of wood structures built along sandy shore. View from above, forest on hill in background.
Handwritten annotation on verso reads: "[? illegible] Deserted village West Coast QCIs."
Totem poles (crest poles?) stand in front of remains of wood structures, forest visible in background.
Handwritten annotation on verso reads: "A deserted Village, Q.C. Islands [...]" (various notes crossed through on verso).
Totem poles (crest poles?) stand in front of forest trees, fallen logs on beach in foreground.
Handwritten annotation on verso reads: "Indian Totems along beach on Q.C. Islands"
Totem poles (crest poles?) stand in front of wood building, hills visible in background.
Handwritten annotation on verso reads: "Poles on QC Isl."
Totem poles (crest poles?) stand in front of a line of houses. Sandy beach in foreground, forest on hill in background.
Handwritten annotation on verso reads: "Kai sun W. Coast Q.C.I."
Collection consists of 5 yellow cedar carvings by Billy Edmund. The three unpainted carvings are entitled "Raven," "Flying Hawk," and "Raven, Bear, Salmon and Beaver Totem." The final two carvings, both entitled "Salmon," are painted in red, black and teal.
Sans titrePhotograph of an illustration of an elderly man peering over a photograph of Prince Rupert, BC with a magnifying glass. Beaded leather tassels are affixed to the edges of the illustration. Printed annotation on recto reads: "Taken in 1911. And Today The Eyes of the World are on Prince Rupert. Craig N of Prince Rupert."
Photograph of a young girl believed to be Katy Collison seated for a formal portrait on a wheeled chair. Handwritten annotation in pen on recto reads: "With love from 'Mama'[?] 1907." Handwritten address on verso reads: "Miss West[?] Metlakatla British Columbia N.W. America." Two half penny stamps affixed on verso and partially obscured by two postmarks which read: "Folkstone 1.15 PM SP 19 07."
Photograph of a stone monument atop a small hill on a forested shoreline. Annotation on recto reads: "Alexander Mackenzie Monument, Dean Channel, Near Ocean Falls, BC."
Photograph of several floats parading down Second Avenue in Prince Rupert. A large crowd is gathered. Annotation on recto reads: "Photo by MacRae Bros Prince Rupert BC Prince Rupert B."
Photograph of a small marching band parading down Second Avenue in Prince Rupert. A large crowd is gathered. Annotation on recto reads: "Photo by MacRae Bros Prince Rupert BC 2nd Ave Prince Rupert BC."
Photograph of Centre Street in Prince Rupert on Dominion Day. The Union Bank of Canada is located on the left side of the street, and a decorative arch can be seen in the background. Annotation on recto reads: "Centre Sr. Prince Rupert Dominion Day Celebrations 1909 Allen Photo July 09."
Large crowd gathered on the street in downtown Prince Rupert around a lavishly decorated arch which reads "Come One Let 'Em All Come Come All. Welcome to Prince Rupert." Annotation on recto reads: "Arch Prince Rupert, BC. Dominion Day Celebration 1909. Allen Photo."
Large crowd gathered on the street in downtown Prince Rupert. Decorations are hung around and town, and a lavishly decorated arch in the background reads "Come One Let 'Em All Come Come All. Welcome to Prince Rupert."
Photograph of large crowd spanning the frame of the photograph. A large marching band is visible along the edges of a small clearing in the centre. Annotation on recto reads: "May 24th Prince Rupert BC."
Photograph of a large crowd in formal wear gathered on a slope. Some spectators can be seen perched atop extremely high poles. Annotation on recto reads: "The Crowd at Prince Rupert's Dominion Day Celebration 1909. Allen Photo 1-7-09."
Photograph of a marching band performing down a wooden road. Spectators can be seen in the foreground and various businesses are in the background. Annotation on recto reads: "Prince Rupert BC."
Two carved wooden figures stand side by side to mark the burial of a Haida medicine man. Each figure has one arm up with a hand under or over the chin, while the other arm is down. Carved chiefly headdresses adorn each of their heads.
Handwritten annotation in pen on verso reads: “Illustration for insertion at end of Chapt XIX no. 2. Medicine man’s tomb Queen Charlotte Islands.” Photograph has pen markings made on its recto tracing the outline of these two shapes.
Two carved wooden figures stand side by side to mark the burial of a Haida medicine man. Each figure has one arm up with a hand under or over the chin, while the other arm is down. Carved chiefly headdresses adorn each of their heads.
Handwritten annotation in pen on verso reads: “Shaman’s grave nr. --Masset QCIs.”
Two carved wooden figures stand side by side to mark the burial of a Haida medicine man. Each figure has one arm up with a hand under or over the chin, while the other arm is down. Carved chiefly headdresses adorn each of their heads.
Handwritten annotation in pen on verso reads: “Q.C. Is.”
Two carved wooden figures stand side by side to mark the burial of a Haida medicine man. Each figure has one arm up with a hand under or over the chin, while the other arm is down. Carved chiefly headdresses adorn each of their heads.
Handwritten annotation in pen on verso reads: “Shaman’s grave”.
Two carved wooden figures stand side by side with a horizontally placed wooden plank between them.
Handwritten annotation in pen on verso reads: “Chapter XIX near Skidegate, Shaman’s Grave”.
Two carved wooden figures covered in moss stand side by side with a fallen wooden plank lying between them. Wooden figures have pen marks applied to the surface of the photo.
Handwritten annotation in pen on verso reads: “Chapt. XIX No. 3. A medicine man’s tomb guarded by two figures, one of which has two heads following a tradition. They are both ie (?) the two headed figure, arranged in the headdress containing the swan’s down which is the sign of peace”.