This print was taken from the portfolio, "Six Rusticated, Wall-Eyed Poems" (1969). The prints are stored in the plastic case with the complete sets. -- Source of annotation: Marvin or Ruth Sackner.

This print was reproduced from the portfolio, "Six Rusticated, Wall-Eyed Poems" (1969). The prints are stored in the plastic case with the complete sets. -- Source of annotation: Marvin or Ruth Sackner.

Williams notes, "These Polycotyledonous poems are the response to a call by Ian Hamilton Finlay for a one word poem anthology issue of his magazine Poor Old Tired Horse. Being a mountaineer I have a garrulous landscape nature that feeds on Brucknerian lengths, but also being a mountaineer, I have an exactly contrary nature that yearns to be as laconic as Webern or a pebble. Here the titles work as hinges to spring what follows loose. There are no pictures here in the pure concrete way of, for instance Ian Hamilton Finlay. But the ear is on the prowl, prying into the substance of words and finding there in the syllables, while one eye watches and one wanders a bit bemused. The dedication to Francis Poulenc is homage for his beautiful simplicities. He teaches that the common is not common at all. Man your dictionaries accordingly." -- Source of annotation: Marvin or Ruth Sackner.

The design of the dust jacket and 40 black and white grainy photographic images were provided by Tom Phillips to illustrate Willliams' poems. The book and its typography were designed by Donato Cinicolo 3 who employed a large variety of typefaces including those from a typewriter. Jonathan Williams also contributed notes on the poems as well as an afterword. A slip inserted into the book states that as a result of a disagreement between the publishers and one of the authors over the book design, the publishers decided not to publish it. Before this decision was reached, 120 copies were bound and distributed to friends of the Trigram Press. -- Source of annotation: Marvin or Ruth Sackner.

The design of the dust jacket and 40 black and white grainy photographic images were provided by Tom Phillips to illustrate Willliams' poems. The book and its typography were designed by Donato Cinicolo 3 who employed a large variety of typefaces including those from a typewriter. Jonathan Williams also contributed notes on the poems as well as an afterword. -- Source of annotation: Marvin or Ruth Sackner.

The poem can be read as So Long or Song. The title is in Latin meaning Rest in Peace. -- 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.

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.

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.