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The photographs that were reproduced in this book were taken by Dianne Tammes. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This is a kinetic image of the name "Viala," a child-hero of the French revolution. Wikipedia: Joseph Agricol Viala (22 September 1780, Avignon "“ 6 July 1793, Caumont-sur-Durance) was a child hero in the French Revolutionary Army. Viala was living in Avignon when, in 1793, a federalist revolt broke out in the Midi after the fall of the Girondins in Paris. Supported by the British, the French Royalists allied themselves with the Federalists and took control of Toulon and Marseille. Faced with this uprising, the Revolutionary soldiers were forced to abandon Nîmes, Aix and Arles to the insurgents and fall back on Avignon. The inhabitants of Lambesc and Tarascon joined up with the rebels from Marseilles and together they headed for the Durance in order to march on Lyon, which had also revolted against the central government in Paris. The rebels hoped to destroy the Convention and put an end to the French Revolution. Joseph Agricol Viala was a nephew of Agricol Moureau, a Jacobin from...

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Max Bense contributed a two page critical essay. Each page depicts a single poem. -- Source of annotation: Marvin or Ruth Sackner.

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These are preparatory drawings for a wooden sculpture sited in Finlay's garden. One drawing is cut on the circle and the other is not. -- Source of annotation: Marvin or Ruth Sackner.

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Lined sheet was torn from a notebook. This poem was included in the Finlay Archive purchased by the Sackners from Pedler. -- Source of annotation: Marvin or Ruth Sackner.

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This is preparatory print with multiple colored letters on white background for the subsequent smaller dimensioned poster poem which was printed on heavier paper by Tarasque Press with glowing red letters on a light blue background. The latter had optical image characteristics whereas this version does not. The Sackner Archive holds several works by Ann Stevenson under another name, Ann Noel. She is the widow of Emmett Williams. -- Source of annotation: Marvin or Ruth Sackner.

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DeCampos provides a brief discussion of his first meeting with Gomringer in his first communication with Houedard. He thanks Houedard for sending him typogrammes..."very interesting as studies of form though I personally prefer always to use the semantical element." States that both Gomringer and his group began from the same starting point, i.e., Mallarme's the throw of the dice, "the threshold of new poetry." -- Source of annotation: Marvin or Ruth Sackner.

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Letter discusses catalogue and guide for the Brighton Festival exhibition; asks whether Furnival is in possession of "Arc/Ark" piece and whether Furnival's "Ajar" piece is "still in an exhibition-worthy state." -- Source of annotation: Marvin or Ruth Sackner.

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Bann thanks Furnival for typographical material and requests use of two designs in the Alan Ross anthology. Bann asks that Furnival consider an outdoor rather than an indoor site for his installation at the Brighton Festival. -- Source of annotation: Marvin or Ruth Sackner.

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Letter concerns setting up, transporting and caring for Furnival's work at the first Brighton Festival as well as asking for an indication of the arrangement of Furnival's panels and whether Houedard could associate with the project. -- Source of annotation: Marvin or Ruth Sackner.

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Houedard has included two reconstructed abc-rhymes and a new one -" u k rhyming scheme." His letter refers to several early Christian poets writingn in Latin in appoximatley 200 to 600AD. HOuedard writes that Venantius Fortunatus " got there before later people did" in composing and being a foreruner of poster poems. This material deals with his contribution to Cobbing and Mayer's book, 'Concerning Concrete Poetry', with specific respect to chronology. -- Source of annotation: Marvin or Ruth Sackner.

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Mentions receipt of "Bean Train, Night Bean" from Roger & Johnny? and his own mistake with an anonymous Brazilian poem in P.O.T.H. in which he was supposed to print "Gaol" three times at the end but printed "Goal" instead. Notes that two collections of poems are in preparation, "Canal Funnel" and Telegrams De Mon Moulin" (after Daudet). -- Source of annotation: Marvin or Ruth Sackner.

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This is an indirect attack on Michel Blum and the Ligue des Droits for rejection of Finlay's commission for the city of Paris. The poem reads, "l'homme - l'homme - l'homme - l'homme - some. -- Source of annotation: Marvin or Ruth Sackner.

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The cover was designed by Bill Griffiths. -- Source of annotation: Marvin or Ruth Sackner.