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The Dorothy Lee Baugher Papers, 1936-2003 (bulk 1975-1981), consist of two boxes of newspaper clippings, poetry, fiction and non-fiction writings, and drawings produced by Baugher. The collection also includes miscellaneous materials including correspondence, receipts, programs, and notes.

Included in the E. P. Conkle papers are plays, poetry, short stories, and book manuscripts written by E. P. Conkle, mostly during Conkle's professorship at the University of Texas at Austin (1939-1973).

The Furious Flower Poetry Center Records, consisting of 17.6 cubic feet (43 boxes, 1 rolled storage container), document the departmental activities of the Furious Flower Poetry Center.

The Gresham Correspondence Collection consists of a variety of correspondence between William Gresham and several poets, authors, and playwrights. The majority of the correspondence is invitations, made by Gresham, to speak and read for the Poetry Society of Virginia. The collection contains two booklets, newspaper clippings, correspondence, and a poem written by Gresham entitled Dewey Beach. The majority of the collection was found within the multitude of books that Gresham owned. Many of these books, including signed and first edition copies, are housed in the Galvin Rare Book Room in Boatwright Memorial Library.

The Joanne V. Gabbin Papers, 1930-2017 [bulk 1960-2017], contain the professional, academic, and personal papers of Joanne V. Gabbin, professor of English at James Madison University and director of the Furious Flower Poetry Center.

This collection houses poetry and art pieces by Margaret W. Fisher alongside letters, correspondences and other materials from her life.

The extensive collection documents the life and work of Richmond-born photographer and educator Louis Draper (1935–2002). Manuscript and photographic materials document Draper's experience and work as an African American photographer, including his recognition of his photography as a form of "engaged resistance" that not only bore witness to leaders of the civil rights movement, but also offered a richer and more diverse perspective of African American life than provided by the mainstream media. In 1963, he was a founding member of the Kamoinge Workshop, a collective of African American photographers, and the collection includes significant materials from the early years of the Kamoinge Workshop and document his perspective on the professional challenges that he and the collective confronted in the process of finding publications that would publish photographs of African Americans made by African Americans. His photographs of significant 20th-century artists, writers, musicians, and performers reflect the wide array of personal connections that Draper made after moving to New York from Richmond, Virginia in 1957. Printed photographs and contact sheets in Draper's archive show a broad view of city life and the everyday interactions between people and also offer a unique vision of African American neighborhoods in the 1960s and 1970s.