The collection consists of at least one manuscript for each of Cabrera Infante's published works and screenplays from 1964 through 1982, including the novels La Habana para un Infante Difunto (1979) and Tres tristes tigres (1967); the essay collections Arcadia todas las noches (1978), Exorcismos del esti(l)o (1976), and O (1975); the vignette collection Vista del amanecer en el trópico (1974); and the screenplays Under the Volcano (1972), Vanishing Point (1970), and Wonderwall (1968). Also included is a manuscript of Three Trapped Tigers (1971), the English translation of Tres tristes tigres. The manuscripts for Cabrera Infante's early works, Así en la paz como en la guerra (1960) and Un oficio del siglo veinte (1963), are not included in the collection since they were not retained by the author.

There is also extensive correspondence between Cabrera Infante and literary agents, publishers, film producers, Latin American writers, and others. The letters consist of a variety of correspondents and cover a wide scope of topics. The Nestor Almendros correspondence includes frequent mention of progress in the Cuban cinematographer's various creative projects. One of the two Reinaldo Arenas letters is in regard to the unauthorized use of Arenas' and Cabrera Infante's respective works in an anthology of Cuban literature written after the revolution. The large amount of Julio Cortázar correspondence includes discussion about a screenplay Cabrera Infante wrote based on Cortázar's short story "La autopista del sur." These letters mostly concentrate on troubles in the film's production and the interest of others in adapting the story. The letters of Calvert Casey contain some written to Cabrera Infante, as well as letters by and to others. Joseph Losey's correspondence covers his direction of Cabrera Infante's film adaptation of the Malcolm Lowry novel Under the Volcano. The letters of both Virgilio Piñera and Manuel Puig with Cabrera Infante are predominately personal in nature. The correspondence of Emir Rodríguez Monegal is extensive and primarily personal; however it also contains letters relating to politics in literature and some discussion of the literary journal Mundo Nuevo from the period when Rodríguez Monegal was its editor. Manuel Scorza's letters are also mostly personal, but they occasionally address literary issues. Also among the open material are Cabrera Infante's letters (1976-1981) to Cuban poet and writer Juana Rosa Pita.