The print, done in commemoration of Jonathan Williams' 70th birthday, shows him playing cricket. -- Source of annotation: Marvin or Ruth Sackner.

The prints show water damage in the lower part of the unprinted area but the images are intact. The poems in this portfolio are found poems in public places that have been rendered typographically by Dana Atchley. The poems are captioned by Williams so that they are concrete-picture poems. Willams comments in the introduction, "Very quick, very large. I want poems to get their ass out of books and out into the world where they stare back at people. Thre is NO reason why this nation has to be surrendered only into the hands of TEXACO looming 60 feet high on the steel towers against the polluted sunset. Energy is Eternal Delight, said Mr. Blake. The concrete poem, the seen pem, is just another tool, another way -- the slow curve to go along with the lyrical fastball -- to keep us alive and in the majors." -- Source of annotation: Marvin or Ruth Sackner.

The poems in this portfolio are found poems in public places that have been rendered typographically by Dana Atchley. The poems are captioned by Williams so that they are concrete-picture poems. Willams comments in the introduction, "Very quick, very large. I want poems to get their ass out of books and out into the world where they stare back at people. Thre is NO reason why this nation has to be surrendered only into the hands of TEXACO looming 60 feet high on the steel towers against the polluted sunset. Energy is Eternal Delight, said Mr. Blake. The concrete poem, the seen pem, is just another tool, another way -- the slow curve to go along with the lyrical fastball -- to keep us alive and in the majors." Both sets of prints are stored in the same plastic case. The print image depicted here was scanned from the book by Williams, "Blues & Roots Rue & Bluets" (1971). -- Source of annotation: Marvin or Ruth Sackner.

The poems in this portfolio are found poems in public places that have been rendered typographically by Dana Atchley. The poems are captioned by Williams so that they are concrete-picture poems. Willams comments in the introduction, "Very quick, very large. I want poems to get their ass out of books and out into the world where they stare back at people. Thre is NO reason why this nation has to be surrendered only into the hands of TEXACO looming 60 feet high on the steel towers against the polluted sunset. Energy is Eternal Delight, said Mr. Blake. The concrete poem, the seen pem, is just another tool, another way -- the slow curve to go along with the lyrical fastball -- to keep us alive and in the majors." Both sets of prints are stored in the same plastic case. -- Source of annotation: Marvin or Ruth Sackner.

The print depicts an image of a sheep and lamb. -- Source of annotation: Marvin or Ruth Sackner.

This is a two page letter to John Sharkey that includes a poem from Lionel Kearns and mentions information about a notable group of poets and plans for future publications. -- Source of annotation: Marvin or Ruth Sackner.

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.

Two semi-realistic prints on gold foil and two on silver foil by Furnival are laid into the book. Comments on each of his poems are placed by Williams at the bottom of each page. -- Source of annotation: Marvin or Ruth Sackner.

Two semi-realistic prints on gold foil and two on silver foil by Furnival are laid into the book. Comments on each of his poems are placed by Williams at the bottom of each page. -- Source of annotation: Marvin or Ruth Sackner.

The book is a collection of short essays dealing with reminisciences of poets and artists that Williams had met. There are also diarist essays in this book. -- Source of annotation: Marvin or Ruth Sackner.

The images of the prints depict fantastic buildings after the style of the artist, Claes Oldenburg, to whom this work is dedicated. -- Source of annotation: Marvin or Ruth Sackner.

A beautifully rendered drawing of a rain storm seen through a double window. The view is probably from the Furnivals' English house. Part of a series of eight prints in collaboration with Jonathan Williams, "St Swithin's Swivet." This print is depicted on page 44 of Furnival's book "The Locative-Vocative Cases" (2012). -- Source of annotation: Marvin or Ruth Sackner.

This is designated Jargon Society Card No.21. -- Source of annotation: Marvin or Ruth Sackner.