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The numbering of this publication did not follow the order of the others owing to an addition to the original listing by the press. This is the second book dealing with Wittgenstein's theories by the press - see No.12, 1994. -- Source of annotation: Marvin or Ruth Sackner.

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On each page, the student has rendered a typographic composition within a rectangle, 10.2 cm x 7.2 cm (and sometimes overflowing outside these limits). -- Source of annotation: Marvin or Ruth Sackner.

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This collection of prints, done in black, printed, typefaces of varied dimensions, was a student project. The instructor for the class was Vance Studley. The writings were excerpted from Ray Bradbury's stories. A chronologic numbering system for this publication has been adopted by the Sackner Archive; no numbering system has been used by the Archetype Press. Alice Vaughn made the bookbindings for the issues through 2009. -- Source of annotation: Marvin or Ruth Sackner.

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In the title, Bory indicates his debt to the calligrams of Apollinaire. This archive includes preliminary drawings and collages for the book with the same title as well as corrected galleys. -- Source of annotation: Marvin or Ruth Sackner.

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curry traces the development of concrete and visual poetry in Toronto for an essay in Cross-Canada Writers' Quarterly Vol.9 No.3-4, 1987, a periodical held by the Sackner Archive. He lists Earle Birney's book entitled pnomes jukollages and other stunzas 1969, as the first concrete poetry by a main stream Canadian poet. He comments that bp Nichol's 1st book, Cycles etc., 7 Flowers Press, were chant structures that relied heavily on visual sonic similarities between words. -- Source of annotation: Marvin or Ruth Sackner.

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curry then briefly comments on Toronto poets and their activities in concrete, visual, and sound poetry up to the time of publication of the essay in 1987. The 2nd version of the manuscript was submitted for publication to Cross-Canada Writers Quarte In the Afterward written for Innovations in 1989, curry corrects errors in the original essay and comments upon younger poets not mentioned in the earlier essay, e.g., Daniel f. Bradley, Steven Smith, Gary Barwin, Stuart Ross, Steve Venright, -- Source of annotation: Marvin or Ruth Sackner.

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The handwritten manuscript consists of a bibliography for the essay and the afterward contribution to Innovations. The typed version was submitted to Innovations as the final version. It included reprinting the original essay with corrections publish in Cross-Canada Writers Quarterly in 1987 and the new afterward and bibliography. curry in a letter to the Sackners complained of editing by Innovations 1 & CCWQ 9:3/4, magazines in which this version appeared; both omitted his bibliography. -- Source of annotation: Marvin or Ruth Sackner.

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The manuscript is a typed version of the booklet. The first two additional stapled pages provide instructions to the Stellar Press as to its layout. Another two pages give instructions on revisions to the layout after Finlay's receipt of the first proof copy. The layout was modified from an earlier booklet "A Pretty Kettle of Fish" (1974) to demonstrate it to the printer, viz., a cover drawing indicates the desired placement of the cover photograph and the title typeface. Finlay also furnishes drawings for the inside photographic layout. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents In March 1973, Finlay writes to Stephen Bann to compliment him on an account of a Tarasque weekend and to discuss a poem in French by Claudel, from "100 Phrases for Fans," that had been translated and sent to him by Edward Lucie-Smith. He encloses a copy of this poem which he retyped with his own modifications as well as a letter from Smith. Finlay requests Bann's opinion as to the appropriateness for him to interpret the poem's layout as a sundial inscription and of Finlay's rendition. Still in March 1973, Finlay writes to Edward Lucie-Smith for clarification of Claudel's poem that he had sent to Finlay previously. The poem reads Fan (opposite page), Poems written upon the breath. Finlay asks Smith as to why "Fan" is on the opposite page and why the words have been split. Finlay wonders whether the disjointed words equate to a fan-picture when the fan is closed and if the phrase in the poem, "written upon a breath" signifies that the fan makes a little breathing. Bann responds to...

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In May 1973, Finlay writes Norman Cherry, a jewelry designer in Kelso, to make a brooch using his Schiff (German word for ship) poem composed for the Stuttgart Max Plank project. He offers several designs including Schiff depicted as a reflection in a pool which is ultimately accepted. The two exchange letters on the progress of the work which is completed in Aug 1973. A letter dated Nov 1973 from Finlay to Buchwald, architect of the Stuttgart project, offers the silver brooch for sale. -- Source of annotation: Marvin or Ruth Sackner.

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The drawings consist of architectural sketches for a Student Refectory that was unrealized by the Wild Hawthorn Press. One of the Lyle letters also includes an ink sketch for "Sea Stones" also an unrealozed project. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents In Sept 1972, Finlay enters into correspondence with Jurgen Brenner, a German architect, about a commission for an installation within a garden at the Max Planck Institute in Stuttgart. He selects Costley as the calligrapher and artist for the preparatory drawings. He writes Brenner that he wants "free-drawn letters...as opposed to rigid typographic letters. I consider it essential that poems that people are going to see every day, are verbal/visual/decorative, rather than (as it were) merely literary." In Nov-Dec 1972, Finlay sends instructions to Costley about execution of the sculpture for the installation. The poems in English & German include tile murals, Wave/Rock, Wave, Star/Steer, Sails/Waves, and, sundials, Sea/Land. He follows this up with suggestions for Latin & French versions. Finlay's 2nd list of poems include Schiff, Ark/Arc, Homage to Seurat, Cloud, Gourd (together with Nuclear Sail & Fountain/Sphinx), Set of Wild Stones, and The Colours of the Vowels....

Scope and Contents Finlay begins this project in Jan-Feb 1972 with a letter to M. Harvey explaining that he wants to redo Wave/Rock for Stonypath, first constructed and then destroyed for the park at Dunfernline. He supplies a sketch for its placement. Then there ensues a correspondence from members of S.A.C. (Dunbar, Buchanan) to Finlay about funding this project and Finlay's comments. From July-Aug 1972, Finlay expresses disappointment with the Scottish Arts Council response siting for the sculpture mentioning his failed Zulu film project. In Aug 1972, Finlay contacts Harvey to make the drawing for Wave/Rock & provides detailed instructions for a concrete bridge, 16 feet in length with letters incised into tiles. Harvey responds to this directive in September. Finlay receives the drawing and notes variance with his instructions that must be corrected. This does not appear to be a major problem. In Sep, Murray writes Finlay about its fabrication. The correspondence between Finlay and Buchanan of...

Scope and Contents In Nov 1973, Finlay writes to Norman Cherry, a jewelry designer in Kelso about a project for making a brooch from a poem, "Windflower," a little mauve colored flower that trembles in the wind. This poem had been written for the Stuttgart Max Plank project. He requests that the brooch adapted from his poem should be made with material that undulates with movement of one who is wearing it and structured with letters 'pretty in themselves.' He indicates that the long "f" makes a natural stem for the brooch. Cherry replies in Dec 1973 with a suggestion for suspending the letters rather than using a single strip of metal as Finlay suggested. This solution is unsatisfactory to Finlay who provides further ideas. In Jan 1974, Cherry writes to Finlay that a new idea appears to lead to a workable solution and describes how the brooch will be made of almost paper thinness silver. In May-June, Finlay & Cherry exchange letters on progress of making the brooch in this manner and Finlay...

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The linear, black printed text is laid out with mixed typefaces and sizes. The maquette is a sketch book with chaotically arranged handwritten text that employs several colored inks and calligraphic styles. The manuscript appears to have made with a combination of photocopying and colored letraset type. -- Source of annotation: Marvin or Ruth Sackner.

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Donato Cinicolo writes that he will be unable to travel to Prinknish Abbey with Houedard but will meet him there as he has a;ready booked a ticket. The typings are arranged in clusters with frequent use of words translated into French and Italian. -- Source of annotation: Marvin or Ruth Sackner.