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Started in 1977, with the help of Queen's University, the National Film Theatre (NFT) was formed. The purpose of the group was to increase the number of quality films available to students in Film Studies. The Theatre was incorporated as a non-profit organization in 1980 and presented screenings in Ellis Hall on Queen's University campus for a number of years. In February of 1988, the group opened their own cinema space in the old Oddfellows Lodge at 394 Princess Street in collaboration with the Kingston Artists Association Inc. Relocating to the downtown core of Kingston was done with the hope of better fulfilling what the NFT saw as one of their key tenets, performing a community service to the general public and downtown residents, not just Queen's students and faculty.

The Princess Court Cinema, as the newly renovated space was named, run by the NFT, continued as a non-profit corporation until 1998, when, due to distribution issues, it closed its doors.

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Writer and English Professor Odell Shepard was a mentor to Abbie Huston Evans during his brief term as an instructor of English at Harvard University and Radcliffe College in 1916-1917. His more extensive faculty tenure was as Goodwin Professor of English at Trinity College, Harford, Connecticut, from 1917-1946, and was later as a guest lecturer there from 1946-1966. He was also the Lieutenant Governor of Connecticut from 1940-1943.

Shepard’s writing ranged from the academic, such as his Pulitzer Prize winning biography of Bronson Alcott, Pedlar’s Progress: The Life of Bronson Alcott (Little, Brown, 1937) to his Book-of-the-Month selected novel, Jenkins’ Ear (Macmillan, 1951). Shepard also wrote collections of poetry, textbooks, essays, a fishing guide, and several histories. One of his histories, The Lore of the Unicorn, is a topic in one of Evans’s letters.

Odell Shepard died on July 19, 1967, in New London, Connecticut.

Robert James Campbell Stead, writer, civil servant (b at Middleville, Ont 4 Sept 1880; d at Ottawa 26 June 1959). Raised in Manitoba, Stead began his writing career as a journalist and poet but he is best known for his novels. In his early poetry, such as The Empire Builders and Other Poems (1908), Stead mixed with styles of Service and Kipling to produce a virulently nationalist concept of Canada and Canadians. This strain was continued when he turned to novels in 1914, and wartime tensions seemed to exacerbate his prejudices. His postwar novels are calmer, more tolerant and less romantic than his first work, as his style shifted from Ralph CONNOR's romanticism towards F.P. GROVE's realism, this being most apparent in his seventh novel, Grain (1926). Although it retained some romantic elements, his fiction exemplified the tendency towards "prairie realism" in Canadian literature.

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Alfred Vernon Thomas was a journalist from Winnipeg, Manitoba. Born at Manchester, England on 2 November 1875, he attended Manchester Grammar School and served in Europe as a representative of a lace manufacturer. He regularly contributed to the Guardian while living abroad. Thomas embarked for Canada in 1905 as part of a round-the-world tour. He remained in the country, reaching Winnipeg around 1914. After three years with the Manitoba Free Press he lost his job because of his anti-conscription attitudes. He went to New York, returning to Winnipeg in 1923 to begin a career with the Winnipeg Tribune that ended only with his retirement in 1944. Municipal editor of the Tribune, he held strong views in favour of municipal ownership of utilities. He served as President of the Winnipeg Press Club in 1934. He died at his Winnipeg home, 213 Furby Street, on 11 September 1950 and was buried at Brookside Cemetery.

Howard l. Trueman was a research scientist with the Department of Agriculture. He served on the Editorial Advisory Committee of the Royal Canadian Geographical Society from 1940 to 1983.

Walter "Walt" Whitman (May 31, 1819 – March 26, 1892) was an American poet, essayist and journalist. A humanist, he was a part of the transition between transcendentalism and realism, incorporating both views in his works. Whitman is among the most influential poets in the American canon, often called the father of free verse.[1] His work was very controversial in its time, particularly his poetry collection Leaves of Grass, which was described as obscene for its overt sexuality.

Born on Long Island, Whitman worked as a journalist, a teacher, a government clerk, and—in addition to publishing his poetry—was a volunteer nurse during the American Civil War. Early in his career, he also produced a temperance novel, Franklin Evans (1842). Whitman's major work, Leaves of Grass, was first published in 1855 with his own money. The work was an attempt at reaching out to the common person with an American epic. He continued expanding and revising it until his death in 1892. After a stroke towards the end of his life, he moved to Camden, New Jersey, where his health further declined. He died at age 72.

Edith Joan Lyttleton was born in 1873 in Tasmania. She was a novelist and short story writer.

Lucy Maud Montgomery, writer (b at Clifton, PEI 30 Nov 1874; d at Toronto 24 Apr 1942). Lucy Maud Montgomery published her first novel, Anne Of Green Gables, in 1908. The book became an instant bestseller in Canada and the US, and has remained in print for nearly a century in English as well as in numerous translations. Although Montgomery was 34 when Anne of Green Gables appeared, she had been writing short stories and poems since her mid-teens, selling them for many years with considerable success to magazines in North America. By the time she died, Montgomery had published 22 novels and books of short stories, in addition to one book of poetry (The Watchman, and Other Poems in 1916); a brief autobiographical account (The Alpine Path: the Story of My Career in 1917); and the many and still incompletely catalogued poems, stories, and articles she wrote for magazines throughout her whole life.

Montgomery's contract with her first publisher, L.C. Page in Boston, required her to produce two sequels to Anne of Green Gables (Anne of Avonlea in 1909 and Anne of the Island in 1915). She wrote 4 more books under contract to Page (Kilmeny of the Orchard in 1910, The Story Girl in 1911, Chronicles of Avonlea in 1912, and The Golden Road in 1913). Then, following a bitter lawsuit, she shifted in 1917 to Canadian publishers McClelland and Stewart and American publishers Frederick Stokes. In 1920, although Montgomery had not renewed her contract with him, Page published a collection of short stories still in his possession (Further Chronicles of Avonlea). Another lawsuit ensued, more or less concluding Montgomery's relationship with her first publisher, who by this time held the rights to her first six books, including Anne of Green Gables.

With McClelland and Stewart/Stokes, Montgomery wrote five more Anne books (Anne's House of Dreams in 1917, Rainbow Valley in 1919, Rilla of Ingleside in 1920, Anne of Windy Poplars in 1936, and Anne of Ingleside in 1939). They also published her "Emily" trilogy (Emily of New Moon in 1923, Emily Climbs in 1925, and Emily's Quest in 1927), as well as six other novels (The Blue Castle in 1926, Magic for Marigold in 1929, A Tangled Web in 1931, Pat of Silver Bush in 1933, Mistress Pat in 1935, and Jane of Lantern Hill in 1937). Montgomery's income from her writing enabled her to maintain a comfortable life for her family. She did not, however, significantly benefit from the profits accruing to her first books, particularly from Anne of Green Gables. The royalties she was assigned in her first contract with Page were small, and the profits pertaining to licensing and reprints, including the fees for the first two cinematic adaptations of the novel in 1919 and 1934, remained for the most part with the publisher.

Montgomery became an astute businesswoman, managing what was remarkable for a woman writer in the late 19th and early 20th centuries: to ensure a reasonably stable and solid income from her work. She did, however, have considerable artistic anxiety early in her career and throughout her life. She felt that her work was perceived to be less literary and less modern than the writing of many of her contemporaries, something even her extraordinary international popularity did little to assuage. She was also disappointed that her poetry, which she continued to write and publish for her whole life, was not taken as seriously as her fiction. Montgomery herself considered her poetry to be more significant than the novels she sometimes characterized as "potboilers."

If the critical response to her writing was not entirely satisfying, it is clear from her journal that it was not the only disappointment in her life. Following the early death of her mother, Clara Woolner Macneill (1853-76), Montgomery's childhood was spent with her maternal grandparents. Her father, Hugh John Montgomery (1841-1900), moved west to Prince Albert in what is now the province of Saskatchewan while Montgomery was still a child. Montgomery joined her father and his new family in 1890, but, homesick and somewhat disheartened by her relatively marginal position in her father's new home, she returned to the Macneill homestead in PEI in 1891. She began publishing her work in local newspapers, and completed the teachers' training course at Prince of Wales College in Charlottetown in 1893-94. She also studied for one year in Halifax, at the Halifax Ladies' College at Dalhousie University, but did not complete her degree.

During the 1890s, Montgomery taught in various PEI village schools. Between 1899 and 1901, she returned to Nova Scotia, working as proofreader and weekly "society" writer, "Cynthia," for the Halifax Morning Chronicle and Daily Echo. During the 1890s and past the turn of the century, she continued to write poems and stories, including many moral tales for children or "Sunday School" stories.

Montgomery returned to the McNeill homestead in 1901, and remained there until her grandmother's death in 1911. Working in the house and in the post office run by the Macneills from the homestead, she continued to write and publish stories and poems. After her grandmother's death, Montgomery married Presbyterian minister Ewan Macdonald, to whom she had been secretly engaged since late 1906. At the time of their marriage, the Macdonalds left PEI to take up residence in Leaskdale, Ontario. The Macdonalds and their two sons would remain in Ontario, living later in Norval and Toronto.

After her marriage, Montgomery's roles as mother and as minister's wife made many demands on her time, demands that were exacerbated by the increasingly frequent episodes of Ewan Macdonald's evident depression. She continually sought to find a productive equilibrium between the writing she wanted to do and her domestic responsibilities. Montgomery repeatedly demonstrated in her writing and in interviews that she believed motherhood to be the most important work for women. This sentiment indicates both her engagement with early twentieth-century ideas about a woman's maternal duty and her sense of her own unhappiness due to the early loss of her mother.

Montgomery's fiction returns again and again to representations and narratives related to questions of motherhood and maternity. Her novels and stories repeatedly focus on orphans, children abandoned by parents or separated from them, and children in the care of unloving relations, as well as absent mothers and childless women or "spinsters." Much of Montgomery's writing, from the first novel, Anne of Green Gables, to such late novels as Magic for Marigold and Jane of Lantern Hill, is underpinned by an almost didactic imperative with regard to motherhood as a crucial work for women and a primary focus in the education of girls.

Although Montgomery maintained that she wanted to preserve a clear separation between her fiction and her life, the two have come to be inextricably entwined in the construction of the various heritage and tourist sites associated with Montgomery and her work. Thousands of tourists visit PEI each year to see the "sacred sites" related to the writing of the book and to its imaginative landscape. A concomitant industry in Anne-related commodities such as souvenirs and dolls has flourished, as has the production of new televisual films (Anne of Green Gables in 1985, Anne of Green Gables: The Sequel in 1986, and Anne of Green Gables: The Continuing Story in 2000), a related series (Road to Avonlea, 1989-1996), and an animated series in 2000.

Montgomery died in Toronto in 1942, just before the first Canadian edition of Anne of Green Gables was published by Ryerson Press. Her body was transported by train to PEI, and a funeral ceremony was held at what had by then become Prince Edward Island National Park, the homestead in Cavendish that she had indicated was a model for Matthew and Marilla Cuthbert's farm in the first novel. She was interred at Cavendish. Montgomery's novels remain in print, and continue to be the focus of increasing critical and scholarly attention. The ten handwritten volumes of the journal that she kept from 1889 to 1942 have been published in selected form (edited by Mary Rubio and Elizabeth Waterston) in five volumes.