Zukovsky's poem reads, "There is a heart - has no complaint - better a-part - than faint - so the faintest - part of it - has no complaint - a part." Furnival illustrated it with concrete poems and Edward Wright did the typography. -- Source of annotation: Marvin or Ruth Sackner.

The card prints the names of Scottish fishing ships that end in "star." The names are printed in blue and arranged and tilted to be analagous to stars in the sky. The word 'pole" is printed on the two closed borders and the word 'night' is printed on the opened borders. -- Source of annotation: Marvin or Ruth Sackner.

The card prints the names of Scottish fishing ships that end in "star." The names are printed in blue and arranged and tilted to be analagous to stars in the sky. The word 'pole" is printed on the two closed borders and the word 'night' is printed on the opened borders. -- Source of annotation: Marvin or Ruth Sackner.

The card prints the names of Scottish fishing ships that end in "star." The names are printed in blue and arranged and tilted to be analagous to stars in the sky. The word 'pole" is printed on the two closed borders and the word 'night' is printed on the opened borders. -- Source of annotation: Marvin or Ruth Sackner.

John Furnival and dom Silvester Houedard, the editors define this venture as follows. "typography - openings are constituted by poet/ typographer/ artist - openings are active poetry - openings make everybody make poetry - poetry means making poesis - a typographer thinks that the poem is the first of of the first things first." graphics - we aim to produce a series which is not a complete integration of graphics and text, i.e. not an illustrated poem or a captioned drawing but a picture/poem - in fact, we always start out with, and work from, the poem - the difficulty lies in maintaining the balance between text and drawing." -- Source of annotation: Marvin or Ruth Sackner.

The proof copy verso lacks information on poetry, graphics, typography, and printing contacts as on the distributed copy. On the verso of this pamphlet, Furnival writes, "Rough proof of propectus for OPENINGS PRESS, founded in 1964 by John Furnival + dom Silvester Houedard." They define this venture as follows. "typography - openings are constituted by poet/ typographer/ artist - openings are active poetry - openings make everybody make poetry - poetry means making poesis - a typographer thinks that the poem is the first of of the first things first." graphics - we aim to produce a series which is not a complete integration of graphics and text, i.e. not an illustrated poem or a captioned drawing but a picture/poem - in fact, we always start out with, and work from, the poem - the difficulty lies in maintaining the balance between text and drawing." -- Source of annotation: Marvin or Ruth Sackner.

This card is depicted in Furnival's "Lost for Words" (2011) page 15. -- Source of annotation: Marvin or Ruth Sackner.

This card is depicted in Furnival's "Lost for Words" (2011) page 15. -- Source of annotation: Marvin or Ruth Sackner.

The 'l' has been cut out from the word, "link." -- Source of annotation: Marvin or Ruth Sackner.

Depicts orange overprinted letters, A and Omega in the shape of a regular cross. -- Source of annotation: Marvin or Ruth Sackner.

The drawing and its frame have an octogonal shape. The labyrinth was taken from Furnival's illustrated book, "Blind Date." The words "Parole, Parabole and Parabolique" are written run-on and in some places on top of the original words in the passages of the labyrinth as viewed from above. The text appears to be an attempt to solve the correct route for exiting the labyrinth. -- Source of annotation: Marvin or Ruth Sackner.

These photographs, taken during the year's artists-in-residence in Rosewell, show the Furnivals posing with the completed works including "The Big Apple" sweater, "Fifty-one Towers of Babel," "A-Z of Consumerville" all held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

John Furnival's work includes "Fifty-One Towers of Babel," and Astrid Furnival's work "The Garden" both held in the Sackner Archive. Another photograph shows the coral rock the Sackners gave the Furnivals cemented into their wall in Gloustershire. -- Source of annotation: Marvin or Ruth Sackner.

The image depicts the shape of the Leaning Tower of Pisa created totally of text. The verso indicates that the original is in the collection of Hansjorg Mayer. -- Source of annotation: Marvin or Ruth Sackner.

This card is depictd in Furnival's "Lost for Words" (2011) page 14 and was first published in 'Revue Ou' in 1964. -- Source of annotation: Marvin or Ruth Sackner.

This represents a posthumous homage to Dom Sylvester Houedard from John Furnival who reprinted the poet's most famous poems and included a photographic silkscreened portrait as well as two photographs of the poet. Contains a tribute page by Marina Warner which she begins with "A letter from dom Sylvester Houedard was an archive (though always succinct), a poem (of an unusual kind), and, sometimes, a personal message of touching kindness..." Marina Warner provided an introductory essay. -- Source of annotation: Marvin or Ruth Sackner.

The cover of the card depicts Emmett Williams' poem "SolDIEer." -- Source of annotation: Marvin or Ruth Sackner.

This catalogue features the prints of Ian Hamilton Finlay. -- Source of annotation: Marvin or Ruth Sackner.