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The phrase "Black Block" is printed in lower case letters to form five squares in the shape of a cross. Unclear as to whether this version was authorized by Finlay. This is a varient of Finlay's version which appeared in Rapel (1963). There is another lithographic print with the same title composed with Michael Harvey abd published by Wild Hawthorn Press (19745). -- Source of annotation: Marvin or Ruth Sackner.

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Depicts a sailing ship with its name "Mozart." -- Source of annotation: Marvin or Ruth Sackner.

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The image of this card is a color photograph of a toy sail boat from above simulating a bright abstract image. -- Source of annotation: Marvin or Ruth Sackner.

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This dedication to the poet, Charles Reznikoff, reads on one page, "uneven water woven," and the other has a cloth embroidered label, "woven" sewn on the page. -- Source of annotation: Marvin or Ruth Sackner.

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The poem plays off the names, Richtofen, the German World War I flying ace and Ad Reinhardt, the American abstract painter using colored black and red inks to signify blood by the former and the black minimalist paintings by the latter. -- Source of annotation: Marvin or Ruth Sackner.

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The image is a connect the numbers with the points line drawing to symbolize the pointilistic style of Seurat. -- Source of annotation: Marvin or Ruth Sackner.

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Drawing is a seascape with a sailboat with a single sale known as a ketch. The poem splits the word sketch into s & ketch. -- Source of annotation: Marvin or Ruth Sackner.

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Printed on white paper. The image on the inside back cover is a small, hand drawn, black square. -- Source of annotation: Marvin or Ruth Sackner.

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Printed on gray paper; the Sackner Archive also has a copy printed on white paper. The image on the inside back cover is a small, hand drawn, black square. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Image on the card is a map of a sea battle off the Italian coast during WWII that has the appearance of choreographed dance steps. 'Victor Sylvester's Ballroom Orchestra' was one of the leading dance band of the 1940s era. Victor Sylvester's early career was as a world champion exhibition dancer, who was also teaching ballroom dancing with his sister Gwen. In the late 1920s and early 1930s, there was a lack of good dance recordings that featured a constant tempo, something Sylvester needed for his dance studio. Most of the studios used a rather simple hand-wound phonograph to play recordings. With characteristic verve, Sylvester assembled a few musicians and made his own recording featuring songs with the pronounced beat so needed by dancers. Soon, other dance instructors were buying his records. Among his releases were "Ballroom Dancing with Victor Silvester & His Ballroom Orchestra", and "Dancing On My Heart". Interestingly, he also authored the book "Victor Sylvester's...

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The image depicts the five Olympic rings. *WEB 1998: [Email]seamus.cooney@wmich.edu: This should have Ron Costley's name added to the author line. Sackner: correction made. -- Source of annotation: Marvin or Ruth Sackner.

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This card depicts the five Olympic ring logograph but substitutes their colored lines with the names of fishing ships. -- Source of annotation: Marvin or Ruth Sackner.

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The loose sheet indicates that the original version of this poem was done in 1971 as a screen print. The name of the little drummer boy, Viala as in this poem or Bara?, who when ordered to call "Vive le Roi," called "Vive la Republique." The painting of this moment was done by Jean-Louis David (1794) but Finlay has used an image of a sailing ship with the name, Little Drummer Boy. -- Source of annotation: Marvin or Ruth Sackner.

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This copy is missing the photocopied loose sheet. -- Source of annotation: Marvin or Ruth Sackner.

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This is a card printed with a cut-out that is designed to make a paper drum with drum sticks. -- Source of annotation: Marvin or Ruth Sackner.

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The edition includes 1000 copies in paper wrappers, 200 copies numbered and signed by Finlay and 26 copies handbound in boards by Earle Gray lettered and signed by Finlay. Contains a collection of previously published concrete poems and seven sundial drawings. Stephen Bann contributes an afterword of seven pages. In it, he describes Finlay's widespread usage of metaphor and calls attention to his current work based upon Classicism and Symbolism. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The edition includes 1000 copies in paper wrappers, 200 copies numbered and signed by Finlay and 26 copies handbound in boards by Earle Gray lettered and signed by Finlay. Consists of a collection of previously published concrete poems and seven sundial drawings. Stephen Bann contributes an afterword of seven pages. In it, he describes Finlay's widespread usage of metaphor and calls attention to his current work based upon Classicism and Symbolism. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The edition includes 1000 copies in paper wrappers, 200 copies numbered and signed by Finlay and 26 copies handbound in boards by Earle Gray lettered and signed by Finlay. Consists of a collection of previously published concrete poems and seven sundial drawings. Stephen Bann contributes an afterword of seven pages. In it, he describes Finlay's widespread usage of metaphor and calls attention to his current work based upon Classicism and Symbolism. -- Source of annotation: Marvin or Ruth Sackner.