Scope and Contents

The image is a sail boat, seemingly from a newspaper illustration because of the BenDay dots. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Consists of a collection of critical essays previously published in academic periodicals. Her chapter, "Edging and Hedging" analyzes concrete poems by Lora-Totino (Spazio), Ulrichs (Eros), Gomringer (Silenzio), and Finlay ( The Wartime Garden). Caws analyzes the varient works of concrete poetry by the Frenchmen Lionel Ray and Edmond Jabes that she designates optical poetry as related to reading of the poems not to their optical imagery as in the typings of Dom Sylvester Houedard. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This book explores the ways in which books represent art and literature, and how the marriage of word and image can create a work of art in its own right. Chapters include the following: Illumination, Bindings, Documentary Manuscripts, Children's Books, Comics, Poetry and Experimental Typography, Book Art and Contemporary Art and Publishing. It also includes a history of the National Art Library in the Victoria and Albert Museum. Several examples of the books depicted in this catalogue are held by the Sackner Archive. In addition, several of the contemporary artist/poets works are represented in the Archive.Some definitions are of the book/poetry forms are not in the mainstream of classification. For example, Bob Cobbing's abstract sound poetry scores are classified as visual poetry in contrast to the more usual classification of visual poetry along the lines of poesia visiva.Under the citation of the John-Eric Broaddus book, Marvin Sackner's comments about his working methods are...

Scope and Contents

The child-like illustrations reproduced in this booklet are by Finlay's son. Although the title of this booklet, "The Axis," appears on the title page as such, the cover is printed with the title, "The Uris." From the Archive for this work that is held by the Sackners, it appears that only about 30 copies were distributed. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The child-like illustrations reproduced in this booklet are by Finlay's son. Although the title of this booklet, "The Axis," appears on the title page as such, the cover is printed with "The Uris." From the Archive for this work that is held by the Sackners, it appears that only about 30 copies were distributed. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Deals with interview of Ian Hamilton Finlay by Jackson regarding "Bicentenary Tricolour" produced to commemorate the French Revolution. The author explains the imagery in this commissioned work which was refused by the French government because of the incorporation of Nazi images. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Exhibition was curated by Peter Day. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Exhibition was curated by Peter Day. Excellent discussion and documentation behind the French government's decision to withdraw Finlay's commission on the Right Of Man for the city of Paris. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Calendar design was done by Herbert M. Rosenthal. Consists of one poem print per month with a critical analysis by Stephen Bann on an accompanying page. The poems include ho/horizon, ajar, net/net, cork/net, acrobats, wave/rock, green waters, you/me, broken/heartbroken, wind/wind, ring of waves, and le circus. In the 1990 Finlay bibliography, a set of 12 framed poems from this calendar was offered for $3200 (calendar is out of print). -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book is a selection of Finlay's poems over 40 years. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Each page depicts a duotone photograph of Finlay's toy airplane, glider and ship models. The facing page has a description for the photograph. There is one photograph and description for each letter of the alphabet. bp Nichol was the editor of Coach House Press at the time of the publication of this book. The Archive for this book is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is a drawing of an airplane on take-off or landing with its accompanying shadow. The completed card was unrealized. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The cover is a color photograph of Callender standing among his artifacts, brushes, sweeper, license plate, etc., that are laid out on the floor. The poem reads, "tidings." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is the 3rd edition of the book even though it was purported to be a 1st edition by the publisher who was supported in part by the British Arts Council. This attribution led to a lengthy legal battle between Finlay & Fulcrum Press. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

According to Alec Finlay, this book included all the poems Finlay wanted reprinted as of 1996. It reprinted 46 of the 48 poems in The Dancers Inherit the Party, the Scottish poem entitled, Glasgow Beasts, that was illustrated with papercuts by John Picking and Pete McGinn, and Orkney Lyrics illustrated by John Arran. Robert Creeley contributed a brief foreward and Alec Finlay a long afterward that provides historic information about Finlay's early poetic years. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The word, "new" in ink has been added to the last line of the poem on page 33, which does not appear in the other copy held by the Sackner Archive. The print and cover design were made by Zeljko Kujundzic. This copy was owned by Edwin Morgan, a well-known Scottish poet. The book was subsequently published by Fulcrum Press in 1969 and advertised as a 1st edition, a fact disputed by Finlay that led to a lengthy legal battle between him and the British Arts Council who sponsored Fulcrum Press.This pamphlet was advertised in Migrant No.8, 1960 for $0.25. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Finlay writes that the statement is "A likely fragment of Archilochos suggested by a sentence in Basil Greenhill's "Sailing For A Living." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

In this poem contrasts the styles of two architects, Voysey and Lutyens. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

The image was the drawing for a sculpture to be made in slate. -- Source of annotation: Marvin or Ruth Sackner.