Scope and Contents Amazon.com "It doesn't greatly matter to me whether I'm using plants or trees or stones or words or events," the artist, poet and gardener Ian Hamilton Finlay (1925-2006) once told an interviewer; "the impulse is always to make a coherent order out of things." Through a carefully edited selection from a voluminous correspondence, A Model of Order tracks the unique arc of Finlay's development, from poet writing in Scots dialect, to Concrete poet, toymaker and deviser of poems and inscriptions in glass, wood and stone, installed in parks and gardens. The title derives from Finlay's famous definition of Concrete poetry as "a model of order, even if set in a space which is full of doubt," a definition conceived in correspondence with poet Pierre Garnier. Poet and editor Thomas A. Clark's selection of Finlay's letters-to Louis Zukofsky, Robert Creeley and Ernst Jandl among others-explicates a rigorous and moral vision of the act of making." -- Source of annotation: Marvin or Ruth...

Scope and Contents In this Archive, Finlay indicates that this booklet is a collection of 'one-word poems' about boats. The boats are illustrated, as types, in silhouette-form, and the words are to be thought of as being a kind of 'verbal silhouette' or boat-epigram. He explains the reasons for selection of the boat types into the booklet and states that "the idea will be to keep the printed text the same size - as it were - as the illustrations, so that the text can be thought of as kind of a 'verbal' silhouette." These instructions are provided to Laurie Clark for the illustrations and to Michael Harvey for the text layout. In a letter dated 15 August 1973 to Tom and Laurie Clark about the project, he discusses the writings of Simone Weil, is pleased that they liked "Straiks," brings up the Fulcrum Press controversy, mentions ideas for the illustrations of "Silhouettes" that Laurie should draw, and recommends two books to be read. In a letter dated 1 October 1973 to Tom and Laurie Clark, Finlay...

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These documents include an essay by Thomas A. Clark on Finlay's controversial sculpture, OSSO at ARC in 1987 that included the logo of the Waffen SS. This work was considered by Art Press, a Parisian based journal as being pro-Nazi whereas Clark argues that it is anti-Nazi. They includes a copy of a protest letter on Finlay's behalf by Sol Lewitt to Jack Lang, the French cultural minister. Stephen Bann contributes a critical essay on Finlay's proposal for a revolutionary garden in Vers -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue has served as a reference to the Sackner Archive for pricing a large number of Finlay's and Cobbing's concrete and visual poetic works as well as several other poets' works. -- Source of annotation: Marvin or Ruth Sackner.

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Includes handwritten poems by Tom Edmonds and ink drawings by Charles Verey and Neil Mills. Although this mock-up appears to be camera-ready copy, according to Bob Cobbing it was never published as a periodical. Contains a performance poem by Neil Mills, "Breathe" in which a group of participants congregate in a closed space, breathe in and out with everything else to remain silent so that they can appreciate the music of their breathing. -- Source of annotation: Marvin or Ruth Sackner.

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Essay about home in Yorkshire of archivist and Finlay dealer, Greville Worthington. -- Source of annotation: Marvin or Ruth Sackner.