Scope and Contents Includes a poem entitled "Homage to Malevich" in which a square is made up of the words black and block printed with a bold black typeface. This poem has been critically analyzed by Stephen Scobie (Earthquakes& Explorations, Toronto, Canada: University of Toronto Press, 1997, hard cover book, pp 182-189) as pivotal to the understanding of Finlay's work. "The letter to Garnier indicates also the extent to which Finlay's aesthetic was formed by the artistic movements of the early twentieth century; its reference points are Cubism, Fauvism, and Suprematism. The recourse to painting arose, the letter explains, at the point where verbal language in itself seemed inadequate: 'with the extraordinary (since wholly unexpected) sense that the syntax I had been using, the movement of language in me, at a physical level, was no longer there.' Painting - or, more generally, 'visual language' - provided (for Finlay, and for many other poets at the time) a way out of this impasse: not by...

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This poem deals with recycling paper to preserve the environment. -- Source of annotation: Marvin or Ruth Sackner.

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The message deals with enlisting help for Finlay's despute with the local tax collectors. -- Source of annotation: Marvin or Ruth Sackner.

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Dust jacket was designed by Mark Stewart. -- Source of annotation: Marvin or Ruth Sackner.

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Announces the closing of the Garden and the Garden Temple as a result of Little Sparta's War with the tax collectors of Strathclyde Region. The Reed-Pipe image is an air cooled machine gun. Finlay's political aphorisms printed in a caption from More Detached Sentences surrounding this picture poem include 'To change the interpretation of law, is to change the law,' and 'Democracy celebrates confusion and calls it freedom' among others. -- Source of annotation: Marvin or Ruth Sackner.

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This is one of a suite of seven prints, which are almost identical in layout, except for orientation of the abstract markings, lines which are cross-hatched or solid and colors of background. The background color of this print is orange. The symbolism of this picture poem is not clear to one who is not knowledgeable about sailing boats. -- Source of annotation: Marvin or Ruth Sackner.

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This is one of a suite of seven prints, which are almost identical in layout, except for orientation of the abstract markings, lines which are cross-hatched or solid and colors of background. The background color of this print is brownish-purple. The symbolism of this picture poem is not clear to one who is not knowledgeable about sailing boats. -- Source of annotation: Marvin or Ruth Sackner.

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Reef-points are defined as small pieces of plaited cordage or soft rope, tapering from the middle towards each end, used for the purpose of tying up the sail in the act of reefing. The intention of each reef is to reduce the sail in proportion to the increase of the wind. Each page contains a tipped in print of varying colors with short, hand drawn, horizontal lines crossed with diagonal straight or broken lines. The prints were made in collaboration with Gary Hincks. Each facing page contains the name of a type of ship. -- Source of annotation: Marvin or Ruth Sackner.

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This is one of a suite of seven prints, which are almost identical in layout, except for orientation of the abstract markings, lines which are cross-hatched or solid and colors of background. The background color of this print is greenish-gray. The symbolism of this picture poem is not clear to one who is not knowledgeable about sailing boats. -- Source of annotation: Marvin or Ruth Sackner.

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This is one of a suite of seven prints, which are almost identical in layout, except for orientation of the abstract markings, lines which are cross-hatched or solid and colors of background. The background color of this print is orange-brown. The symbolism of this picture poem is not clear to one who is not knowledgeable about sailing boats. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is one of a suite of seven prints, which are almost identical in layout, except for orientation of the abstract markings, lines which are cross-hatched or solid and colors of background. The background color of this print is gray. The symbolism of this picture poem is not clear to one who is not knowledgeable about sailing boats. -- Source of annotation: Marvin or Ruth Sackner.

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This is one of a suite of seven prints, which are almost identical in layout, except for orientation of the abstract markings, lines which are cross-hatched or solid and colors of background. The background color of this print is red-orange. The symbolism of this picture poem is not clear to one who is not knowledgeable about sailing boats. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is one of a suite of seven prints, which are almost identical in layout, except for orientation of the abstract markings, lines which are cross-hatched or solid and colors of background. The background color of this print is grayish-green. The symbolism of this picture poem is not clear to one who is not knowledgeable about sailing boats. -- Source of annotation: Marvin or Ruth Sackner.

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The poem depicts grids of slightly curved lines on three facing pages with brown, orange and red backgrounds. -- Source of annotation: Marvin or Ruth Sackner.

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The metaphor in this picture poem is fallen leaves from trees near a shoreline simulating water. -- Source of annotation: Marvin or Ruth Sackner.

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Depicts an armored camouflaged tank with questions and a check box superimposed upon it, e.g. "Thank you for your communication, You are not the only big shot around here," etc. -- Source of annotation: Marvin or Ruth Sackner.