Critical essays on Finlay's work and specific poems are provided by Piotr Rypson and Tadeusz Slawek, respectively. The illustrations in this catalogue depict prints and cards of Finlay's work. -- Source of annotation: Marvin or Ruth Sackner.

Wikipedia: Poi refers to both a style of performing art and the equipment used for engaging in poi performance. Poi originated from the Māori people of New Zealand as a performance art that involves swinging tethered weights through a variety of rhythmical and geometric patterns. Poi artists may also sing or dance while swinging their poi. Poi can be made from various materials with different handles, weights, and effects (such as fire). Poi originated with the Māori people of New Zealand, where it is still practiced today. Poi has also gained a following in many other countries. The expansion of poi culture has led to a significant evolution of the styles practiced, the tools used, and the definition of the word "poi." Poi is not a French word. -- Source of annotation: Marvin or Ruth Sackner.

In this poem, Furnival plays with permutations of bear, the personal pronouns, ours & nous (we in English from the French), and son using his distinctive calligraphic printed letterform style. This print is depicted in Furnival's "Lost For Words" (2011) page 56. -- Source of annotation: Marvin or Ruth Sackner.

Edited by d.a.levy. The poem deals with speed (the drug or the automobile) that can lead to disaster. -- Source of annotation: Marvin or Ruth Sackner.

Edited by d.a.levy. This booklet consists of a concrete poem which employs Scottish words that deal with the docking maneuver for a ship in harbor. -- Source of annotation: Marvin or Ruth Sackner.

Edited by d.a.levy. Sam Dogin may be a pseudonym for another poet, perhaps d.a. levy. This poem deals with the act of defecation. -- Source of annotation: Marvin or Ruth Sackner.

Correction: Sam Dogin was proprieter of The Book Spot, where Levy worked for a time, Sam Dogin is is not a pseudonym.--Source of annotation: Kenty Taylor.

Edited by d.a.levy aka the author, Alan Denis. The letter "z" is repeated several times in varied typefaces to suggest snoring. -- Source of annotation: Marvin or Ruth Sackner.

Edited by d.a.levy. This book has a concrete poem that depicts a sexual orgasm; another version was published by the poet in the Ohio City Series. The author subsequently wrote feminist critical texts. -- Source of annotation: Marvin or Ruth Sackner.

This magazine is one of the earliest to use semiotic signs for its poems. It was published by a group of Brazilian poets who wanted to be more avant garde than the current style of concrete poetry popularized by the Noigandres group. -- Source of annotation: Marvin or Ruth Sackner.

This copy has an additional 8 unbound pages (compared to other copy in Archive) by Nei Leandro De Castro regarding a semiotic poem for the third world. He states, "In terms of my encounter with these semiotic poems that consist of constructivistic-shaped ideograms & Portuguese translations, I read them with the same feelings as I do with Japanese visual poems that are presented to the West as Japanese ideograms and English translations." -- Source of annotation: Marvin or Ruth Sackner.

Note that one of the three copies has price list of publications on a loose sheet. The optical illustrations throughout the pages of this issue are taken from paintings by Jeffrey Steele. -- Source of annotation: Marvin or Ruth Sackner.

Gannon reviews "The Catalog of Lost Books" by Tad Tuleja, held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This page was personally scnned under the direction of Augusto De Campos. -- Source of annotation: Marvin or Ruth Sackner.