Contains reproductions of T. Phillips' "The Heart of the Humument" and "A Humument." -- Source of annotation: Marvin or Ruth Sackner.

The poem describes building the hull of the wooden, toy ship "Bluenose" and the image on the card is a line drawing of same. -- Source of annotation: Marvin or Ruth Sackner.

The image on the inside of the card is a colored photograph of marching Nazi Brown shirts with some carrying red swastika flags. The caption to the poem reads, "or banners in the beds of Roehm's Brown shirts." -- Source of annotation: Marvin or Ruth Sackner.

The word "butterfly" is written on each card in a different style. This work consists of an Illustrated envelope with enclosures. The illustration is of a twig with buds (in green) which has a label attached to it (in brown) with the word 'Butterfly'. The illustration is entitled Butterfly Garden. The envelope contains twelve tags made of yellow card , with a hole at one end and the word 'Butterfly' in either brown or blue, and in varying styles. Twelve small string ties are also enclosed, of fine, white silky cotton (or possibly silk). -- Source of annotation: Marvin or Ruth Sackner.

One of six glass lenses designed by Finlay and interpreted by Stevens, engraved on two sides with a decorative representation of a ship, its name and inscription composed by Finlay. The inscription reads "Where the wind frets the whitecaps." There is a printed, folded brochure which describes and documents the six glass lenses. -- Source of annotation: Marvin or Ruth Sackner.

One of six glass lenses designed by Finlay and interpreted by Stevens, engraved on two sides with a decorative representation of a ship, its name and inscription composed by Finlay. The inscription reads "Where the wind frets the whitecaps." There is a printed, folded brochure which describes and documents the six glass lenses. -- Source of annotation: Marvin or Ruth Sackner.

The card depicts a grid for the 12 months in which each panel depicts an activity in Finlay's garden. -- Source of annotation: Marvin or Ruth Sackner.

The narrative of the recto side of the cards deals with Homer's Ulysses and his encounter with the fairy, Calypso. The narrative of the verso side of the cards deals with a contemporary naval incident involving the boarding of a French fishing boat, La Calypso, by the British navy. The illustrations on each page and the folder are line drawings of sea creatures. -- Source of annotation: Marvin or Ruth Sackner.

The pages have been cut horizontally into three equal portions. Each cut segment has a word or phrase printed red, purple or green that relates to sights and sounds apparent from being on or near a canal. These cut segments can be arranged by the reader by placement from different pages to form a variety of poems.Stored in portfolio box with original drawings. -- Source of annotation: Marvin or Ruth Sackner.

The pages have been cut horizontally into three equal portions. Each cut segment has a word or phrase printed in red, purple or green that relates to sights and sounds from being on or near a canal. These cut segments can be arranged by the reader by placement from different pages to form a variety of poems.Stored in portfolio box with original drawings. -- Source of annotation: Marvin or Ruth Sackner.

A single word on facing pages in different size typeface signifies distances for the object on viewing them as a landscape. -- Source of annotation: Marvin or Ruth Sackner.

The loose sheet consists of a typed poem by Peter Dent entitled "Seaspray." The book includes critical analysis of Clark's poems by John Freeman, Ian Green, and Robert Stacey. Green provides an analysis of Clark's poem "Out of the Wind" using numerical group theory to explain its structure. -- Source of annotation: Marvin or Ruth Sackner.

The image is a hat in the style worn during the French revolution placed on top of a basket decorated with flowers. Finlay captions the image with a quote from Gerd Neumann's book, "Callimachus" (1981). "Seen in this way, the lost CAPITAL, is an envoy; a parody of the now solely burlesque treatment of history in this post-modernism and, as a consequence, a double negation as well, yet without the desirable positive change in values, at least from the perspective of making history." -- Source of annotation: Marvin or Ruth Sackner.