This book consists of a collection of the following essays. Raines contributed a poem about Stonypath. Bann discussed Heroic Emblems by Finlay (designated Picture Poems in the Sackner Archive). Douglas Hall wrote of Finlay's collaboration with Jud Fine in their series of 20 drawings. Miles Orvell analyzed Finlay's "Pacific." Scobie provided an essay on Finlay's picture poem, "Homage to Kahnweiler." Finlay created a pun on Daniel-Henry Kahnweiler's critical book on Juan Gris "Life" and "Work" with the caption Juan Gris: His "Knife" and "Fork." -- Source of annotation: Marvin or Ruth Sackner.

Raines contributes a poem about Stonypath. Bann discusses Heroic Emblems by Finlay (designated Picture Poems in the Sackner Archive). Douglas Hall writes of Finlay's collaboration with Jud Fine in their series of 20 drawings. Miles Orvell analyzes Finlay's "Pacific." Scobie provides an essay on Finlay's picture poem, "Homage to Kahnweiler." Finlay creates a pun on Daniel-Henry Kahnweiler's critical book on Juan Gris "Life" and "Work" with the caption Juan Gris: His "Knife" and "Fork." Pencilled-in corrections in an unknown hand have been made for two typographic errors, 'r' for 't' on page 7 to change the word 'takes' to 'rakes' and 'n' for 'r' to change the name 'Gallard' to 'Galland.' -- Source of annotation: Marvin or Ruth Sackner.

This is an extensive architectural project for a German bank that was planned from the onset of construction. It consisted of six carved, lettered stone sculptures for the facade, poetic wall paintings, poems on glass doors, and a floor poem. The concrete and picture poems were modified from earlier published versions, e.g., wave/rock, star, evening will come, sackcloth n., wild flower n. Bann wrote a critical analysis, Simig helped in production, & Sloan provided the stone carvings. -- Source of annotation: Marvin or Ruth Sackner.

The card is accompanied by a critical essay by Bann and photographic reproductions of Finlay's works in the show. -- Source of annotation: Marvin or Ruth Sackner.

Photographs of bronze sculptures in the exhibition were collaged onto the pages. The catalog was designed by Finlay, Pia Simig, and Paul Khera. The photographs were taken by Antonia Reeve and Stephen White. Stephen Bann contributes an essay that describes and analyzes each work in the exhibition. -- Source of annotation: Marvin or Ruth Sackner.

Wilma Paterson contributed a music score on "julie.' Finlay contributed two pages on "Unconnected Sentences on Gardening" including "A Garden is not an object but a process, Modern Sculpture is "Wilfuly" ignorant, Technology - Epic Convenience, A liberal's compost heap is his castle, and Weather is the chief content of a garden, Camouflage is the last form of classical landscape painting - It represents not 'this' tree but fields and trees, etc. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue marks the first, sudden rise in prices for Ian Hamilton Finlay's cards, books, and prints. -- Source of annotation: Marvin or Ruth Sackner.

This depicts a photograph of a sundial sited at the museum. The drawing for this work is also held by the Sackner Archive. The motto refers to the fact that it is the "golden sun" that is the origin of the shadow which indicates the solar hour. This work is also depicted in Bulletin of the National Galleries of Scotland No.3, a pamphlet periodical held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The essay written by Stephen Bann on the back inside folder explains the metaphor of grouping designs of hulls of sailing ships like sea shells in a display case. Proctor is a ship designer and Costley the artist who made this print. -- Source of annotation: Marvin or Ruth Sackner.

Stephan Bann provides an explanation of the poem in the accompanying leaflet as follows. Thermidor was the month in the French Revolutionary calendar when the summer heat was its most intense, and the grain at its ripest. It was also the month, in 1794, when Robespierre and his followers met their deaths at the guillotine. In the image of this poem, the abrupt cleavage of the word, THER MIDOR, and of the figured sheaf of flowers, suggest the termination of the revolution in its Jacobian sense. -- Source of annotation: Marvin or Ruth Sackner.